Machine in the studio : constructing the postwar American artist
Author(s)
Bibliographic Information
Machine in the studio : constructing the postwar American artist
University of Chicago Press, 1996
- : cloth
- : pbk
Available at / 6 libraries
-
No Libraries matched.
- Remove all filters.
Note
Includes bibliographical references (p. 469-513) and index
Description and Table of Contents
- Volume
-
: cloth ISBN 9780226406480
Description
Looking at the artworld of the 1960s, Caroline Jones explores pervasive imagery of the American artist at work and the implications of those images for understandings of their art. Jones investigates artists' break with Abstract Expressionism after the 1950s, demonstrating that the traditional modernist view of the solitary, suffering individual artist did not seduce artists who came of age in the burgeoning American economy of the 1960s. Far from the countercultural stance associated with the decade, Jones argues that the artists examined here, including Stella, Warhol, and Smithson, identified their work with postwar industry and corporate culture - and revealed the anxieties of this identification through the slippages and darker implications of their art. The text draws on extensive interviews with artists and assistants as well as close readings of the artwork. The author concludes that the work of the 1960s was transformative precisely because it was "mainstream" - central to the visual and economic culture of its time.
Table of Contents
List of Illustrations Preface and Acknowledgments 1: The Romance of the Studio and the Abstract Expressionist Sublime 2: Filming the Artist/Suturing the Spectator 3: Frank Stella, Executive Artist 4: Andy Warhol's Factory, Commonism, and the Business Art Business 5: Post-Studio/Postmodern: Robert Smithson and the Technological Sublime 6: Conclusion: The Machine in the Studio Notes Bibliography Index
- Volume
-
: pbk ISBN 9780226406497
Description
Looking at the artworld of the 1960s, Caroline Jones explores pervasive imagery of the American artist at work and the implications of those images for understandings of their art. Jones investigates artists' break with Abstract Expressionism after the 1950s, demonstrating that the traditional modernist view of the solitary, suffering individual artist did not seduce artists who came of age in the burgeoning American economy of the 1960s. Far from the countercultural stance associated with the decade, Jones argues that the artists examined here, including Stella, Warhol, and Smithson, identified their work with postwar industry and corporate culture - and revealed the anxieties of this identification through the slippages and darker implications of their art. The text draws on extensive interviews with artists and assistants as well as close readings of the artwork. The author concludes that the work of the 1960s was transformative precisely because it was "mainstream" - central to the visual and economic culture of its time.
by "Nielsen BookData"