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Taking a fresh look at the art world of the 1960s, Caroline Jones explores the pervasive imagery of the American artist at work and the implications of those images for understanding their art. The radical break of artists with Abstract Expressionism at the end of the 1950s demonstrates the traditional modernist view of the solitary, suffering artist did not seduce those who came of age in the burgeoning American economy of the 1960s. Jones argues that far from the countercultural stance associated with the decade, 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 work. Drawing on extensive interviews with artists and their assistants as well as close readings of artworks, Jones explains that much of the major work of the 1960s was compelling precisely because it was "mainstream"--Central to the visual and economic culture of its time.

kunst --- kunsttheorie --- Verenigde Staten --- twintigste eeuw --- Stella Frank --- Warhol Andy --- Smithson Robert --- kunst en technologie --- kunstenaarsateliers --- 7.01 --- 7.038 --- Art, American --- Art américain --- Art, American. --- Kunst. --- Kunstenaars. --- Künstler. --- Selbstverständnis. --- Smithson, Robert <1938-1973>. --- Smithson, Robert, --- Stella, Frank <1936->. --- Stella, Frank, --- Warhol, Andy <1928-1987>. --- Warhol, Andy, --- 1900-1999. --- Geschichte 1945-1996. --- Geschichte 1960-1980. --- USA --- USA. --- Kunst --- Art, American - 20th century

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Art --- Contemporary [style of art] --- hedendaagse kunst --- The Studio --- anno 1900-1999 --- United States --- Art, American --- United States of America

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Lobdell, Frank

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The internationally renowned contributors go beyond both science wars and culture wars by exploring substantive links between systems of visual representation and knowledge in science and art. Contributors include Svetlana Alpers, Jonathan Crary, Arnold Davidson, Carlo Ginzburg, Donna Haraway, Bruno Latour, and Simon Schaffer.

Art --- Science --- Art and science --- Art et mathématiques --- Art et science --- Art et sciences --- Kunst en wetenschap --- Mathématiques et art --- Science and art --- Science et art --- Sciences et art --- Wetenschap en kunst --- Art and science. --- 769.04:5 --- kunst --- 7.03 --- 7.01 --- astronomie --- gender studies --- Bosch Hieronymus --- mirakels --- perceptie --- waarneming --- Picabia Francis --- plantkunde --- botanica --- flos pavonis --- stigmata --- lichamelijkheid --- stilistiek --- stijlanalyse --- kunsttheorie --- wetenschap --- kunst en wetenschap --- Prentenverzamelingen in de grafische kunsten. Iconografie. Iconologie-:-Wiskunde. Natuurwetenschappen --- 769.04:5 Prentenverzamelingen in de grafische kunsten. Iconografie. Iconologie-:-Wiskunde. Natuurwetenschappen --- Art et sciences. --- Kunst. --- Naturwissenschaften. --- Wissenschaft. --- Technik. --- Erkenntnis. --- Ästhetische Wahrnehmung. --- Wetenschap. --- èAsthetische Wahrnehmung.

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Un livre qui produit des expériences sensorielles tout en faisant ressortir le concept d'expérience lui-même en tant que sujet de critique et objet de contemplation. Experience offre une expérience de lecture incomparable. Une couverture thermosensible d’Olafur Eliasson révèle des mots, des couleurs et un dessin lorsque vous la touchez à la main. Les pages de garde conçues par Carsten Höller sont imprimées à l’encre contenant des quantités soigneusement calibrées de phéromones humaines synthétisées, estratétraénol et androstadiénone, évoquant la suggestibilité du désir humain. Les marges et les bords du livre sont conçus par Tauba Auerbach dans des couleurs complémentaires qui créent un effet de décalage dynamique lorsque le livre est déplacé ou fermé. Lorsque le livre est ouvert, des signets se détachent du centre-ville, sortant des impressions en toile d'araignée de Tomás Saraceno. L’expérience produit de l’expérience en mettant en évidence le concept lui-même en tant qu’objet de contemplation. L'expérience sensorielle du livre en tant qu'objet physique résonne avec l'expérience intellectuelle du livre en tant que contenant d'idées. Experience met en contact des artistes, musiciens, philosophes, anthropologues, historiens et neuroscientifiques, chacun explorant des aspects de l'expérience des domaines sensoriel et culturel. Les textes comprennent de nouveaux essais écrits pour ce volume et des textes classiques écrits par des personnalités telles que William James et Michel Foucault. La première publication du Centre pour l'art, la science et la technologie du MIT, Experience, aborde le sujet selon plusieurs modes. Conception de la publication de Kimberly Varella avec Becca Lofchie, Studio de conception d'objets de contenu. Concept de couverture par Olafur Eliasson en collaboration avec Kimberly Varella (Objet de contenu). Collaborateurs Tauba Auerbach, Bevil Conway, John Dewey, Olafur Eliasson, Michel Foucault, Adam Frank, Vittorio Gallese, Renée Green, Stefan Helmreich, Carsten Höller, Edmund Husserl, William James, Caroline A. Jones, Douglas Kahn, Douglas Kahn, Brian Kane, Leah Kelly , Bruno Latour, Alvin Lucier, David Mather, Mara Mills, Alva Noë, Jacques Rancière, Michael Rossi, Tomás Saraceno, Natasha Schüll, Joan W.Scott, Tino Sehgal, Alma Steingart, Josh Tenenbaum, Rebecca Uchill. Experience offers a reading experience like no other. A heat-sensitive cover by Olafur Eliasson reveals words, colors, and a drawing when touched by human hands. Endpapers designed by Carsten Holler are printed in ink containing carefully calibrated quantities of the synthesized human pheromones estratetraenol and androstadienone, evoking the suggestibility of human desire. The margins and edges of the book are designed by Tauba Auerbach in complementary colors that create a dynamically shifting effect when the book is shifted or closed. When the book is opened, bookmarks cascade from the center, emerging from spider web prints by Tomas Saraceno. Experience produces experience while bringing the concept itself into relief as an object of contemplation. The sensory experience of the book as a physical object resonates with the intellectual experience of the book as a container of ideas. Experience convenes a conversation with artists, musicians, philosophers, anthropologists, historians, and neuroscientists, each of whom explores aspects of sensorial and cultural realms of experience. The texts include new essays written for this volume and classic texts by such figures as William James and Michel Foucault -- Provided by the publisher.

Experience --- Senses and sensation --- Art and popular culture --- Art --- Artists' books --- Livre d'artiste --- Perception --- Perception de l'art --- Sociologie de la culture --- Esthétique --- Livre-objet --- Philosophy --- Art - Philosophy