The Birth of Contemporary Art. A Global History. 1945–1970.
CNRS| N° d'inventaire | 23382 |
| Format | 17 x 24 |
| Détails | 608 p., paperback. |
| Publication | Paris, 2021 |
| Etat | Nine |
| ISBN | 9782271132321 |
Has New York really been the center of artistic innovation since 1945, as we read everywhere? A global hegemony is studied on a global scale. However, the comparative approach dismantles the myth of New York art and highlights the emergence, from the 1950s, of an internationalized but unequal system of production of works and careers. Based on the rapid renewal of artistic stables and the systematic search for originality, this speculative system maintained competition between countries, museums, dealers, artists, and collectors. From a social and economic perspective as well as an aesthetic and geopolitical one, Béatrice Joyeux-Prunel explores this universe of artistic avant-gardes from 1945 to 1970.
This global history of art also speaks of works and people. It examines astonishing global turning points: the materialist choice of certain artists in the 1950s, the sadomasochistic violence of some groups after 1961, and the sudden politicization of artists around 1965 (when Mao, Cuba, Vietnam, and decolonization had held little interest for them until then).
From Brazilian concretism to Italian and Yugoslav kinetic art, from Japanese Neo-Dada Organizers to Viennese actionists, via the heterogeneous globalizations of happening and pop art, this book allows us to understand what our museums erect as a canon, while revealing little-known stories from the world of contemporary art.
Has New York really been the center of artistic innovation since 1945, as we read everywhere? A global hegemony is studied on a global scale. However, the comparative approach dismantles the myth of New York art and highlights the emergence, from the 1950s, of an internationalized but unequal system of production of works and careers. Based on the rapid renewal of artistic stables and the systematic search for originality, this speculative system maintained competition between countries, museums, dealers, artists, and collectors. From a social and economic perspective as well as an aesthetic and geopolitical one, Béatrice Joyeux-Prunel explores this universe of artistic avant-gardes from 1945 to 1970.
This global history of art also speaks of works and people. It examines astonishing global turning points: the materialist choice of certain artists in the 1950s, the sadomasochistic violence of some groups after 1961, and the sudden politicization of artists around 1965 (when Mao, Cuba, Vietnam, and decolonization had held little interest for them until then).
From Brazilian concretism to Italian and Yugoslav kinetic art, from Japanese Neo-Dada Organizers to Viennese actionists, via the heterogeneous globalizations of happening and pop art, this book allows us to understand what our museums erect as a canon, while revealing little-known stories from the world of contemporary art.