By Steve Edwards
An innovatory exploration of artwork and visible tradition. via conscientiously selected subject matters and issues instead of via a normal survey, the volumes strategy the method of taking a look at artworks by way of their audiences, features and cross-cultural contexts. whereas excited by portray, sculpture and structure, it additionally explores quite a lot of visible tradition in numerous media and methods.
1850-2010: Modernity to Globalisation" comprises essays which have interaction at once with topical concerns round artwork and gender, globalisation, cultural distinction and curating, in addition to explorations of key canonical artists and routine and of a few much less well-documented paintings of up to date artists.
The 3rd of 3 textual content books, released via Tate in organization with the Open collage, which perception for college kids of artwork background, artwork idea and Humanities.
advent: tales of recent art
half 1: paintings and modernity
1:Avant-garde and glossy international: a few facets of art...
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Additional info for Art & Visual Culture 1850-2010: Modernity to Globalisation
Sample text
Architects abandoned revivalist styles and rich ornamentation. To take one often cited example from painting, while the art of Paul Cézanne (1839–1906) is based on a recognisable motif, say a landscape, when looking at these paintings we get the distinct impression that the overall organisation of the colours and structural elements matters as much or more than the scene depicted. To retain fidelity to his sense impressions, Cézanne is compelled to find a new order and coherence internal to the canvas.
In the process, he looks at the influential account of this art offered later by the critic Clement Greenberg. Wood also provides some pointers to what we might mean by ‘modernism’ and how this important category might relate to ‘modernity’. He also shows that, while Paris was the key site for modern art, it was always connected to the visual culture of other societies. Principally, he reflects on the response to Japanese prints by Impressionist artists; the technical radicalism they saw in these images fired their imagination and provided important resources for rethinking pictures.
This history is currently being recast as a process of global interconnections rather than an exclusively western-centred chronicle, and commentators are becoming more attentive to encounters and interchanges between westerners and people from what has helpfully been called the ‘majority world’, in art as in other matters. 20 The standard perception of globalisation is that the entire world will gradually develop into the equivalent of New York or Strasbourg. Depending on your point of view, this is either utopia or hell.