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Tapies, Antoni, --- Alloway, Lawrence,

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How a group of artists and theorists turned to exhibition design as the only medium capable of synthesizing high and low in postwar culture. In 1950s London, a cadre of young artists, theorists, and popular culture aficionados known as the Independent Group (IG) came together for a series of pressing meetings. Their humble goal: to reimagine the structure of postwar culture by situating art in the midst of military-industrial technologies and pop pleasures. In this book, Kevin Lotery argues that the IG turned to the cross-disciplinary form of exhibition design as the only medium capable of getting the measure of these forces, the only technique that could integrate high and low, aesthetic and scientific, and redesign them in turn. At the heart of this story are the IG's most unruly members, including artists Richard Hamilton, Nigel Henderson, and Eduardo Paolozzi; architects Alison and Peter Smithson; and critics Lawrence Alloway and Reyner Banham. To these upstarts, art was no more privileged an activity than the streamlining of a helicopter blade or the screening of the latest cinema spectacle. In place of the old cultural hierarchies, they saw a continuum that Alloway termed the long front of culture. Only exhibition making could redirect this long front toward something genuinely, startlingly new. Lotery shows that the IG's exhibitions sought out temporary interfaces with technological invention and scientific research in a search for the form of the new itself. The IG exhibitions he examines drew on biological morphogenesis, anthropology and photography, human-machine prosthetics, American pop, abstraction, and theories of play. The IG is often described as the precursor to the pop art of the 1960s. Lotery shows that it was much more, as entangled with the histories of science, technology, and design as with the dialectics of modern art and mass culture

Pop art --- Art --- Hamilton, Richard, 1922-2011 --- Henderson, Nigel --- Paolozzi, Eduardo, 1924-2005 --- Smithson, Alison --- Smithson, Peter --- Alloway, Lawrence, 1926-1989 --- Banham, Reyner, 1922-1988 --- London

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Lawrence Alloway (1926-1990) was one of the most influential and widely respected (as well as prolific) art writers of the post-war years. His many books, catalogue essays and reviews manifest the changing paradigms of art away from the formal values of modernism towards the inclusiveness of the visual culture model in the 1950s, through the diversity and excesses of the 1960s, to the politicisation in the wake of 1968 and the Vietnam war, on to postmodern concerns in the 1970s.Alloway was in the right places at the right times. From his central involvement with the Independent Group and the ICA in London in the 1950s, he moved to New York, the new world centre of art, at the beginning of the 1960s. In the early 1970s he became deeply involved with the realist revival and the early feminist movement in art - Sylvia Sleigh, the painter, was his wife - and went on to write extensively about the gallery and art market as a system, examining the critic's role within this system. Positioning himself against the formalism and exclusivism associated with Clement Greenberg, Alloway was wholeheartedly committed to pluralism and diversity in both art and society. For him, art and criticism were always to be understood within a wider set of cultural, social and political concerns, with the emphasis on democracy, social inclusiveness, and freedom of expression. Art and Pluralism provides a close critical reading of Alloway's writings, and sets his work and thought within the cultural contexts of the London and New York art worlds from the 1950s through to the early 1980s. It is a fascinating study of one of the most significant art critics of the twentieth century.

Art, Modern --- Pluralism. --- Monadology --- Monism --- Philosophy --- Reality --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Modernism (Art) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Alloway, Lawrence, --- Art critics --- Art --- Philosophy. --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Critics --- Analysis, interpretation, appreciation --- Art critics.

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"It has been argued, most notably in psychoanalytic and modernist art discourse, that the production of works of art is fundamentally driven by sexual desire. It has been further argued, particularly since the early 1970s, that sexual drives and desires also condition the distribution, display and reception of art. This anthology traces how and why this identification of art with sexual expression or repression arose and how the terms have shifted in tandem with artistic and theoretical debates, from the era of the rights movements to the present. Among the subjects it discusses are abjection and the "informe," or formless; pornography and the obscene; the performativity of gender and sexuality; and the role of sexuality in forging radical art or curatorial practices in response to such issues as state-sponsored repression and anti-feminism in the broader social realm." -- Publisher's description

politics --- performance art --- philosophy of art --- hedendaagse kunst --- theme --- seksualiteit --- Contemporary [style of art] --- longing --- pornography --- thema's in de kunst --- Art --- sexuality --- Sex and art --- Art, Modern --- Psychology --- Sex and art. --- Psychology. --- 7.041 --- Iconografie ; de mens, portretten --- Thema's in de kunst ; seksualiteit ; erotiek --- Beeldende kunst ; 20ste en 21ste eeuw --- Gender Studies --- Sexualité --- Bourgeois, Louise --- Acconci, Vito --- Alloway, Lawrence, 1926-1989 --- Chicago, Judy --- Crimp, Douglas --- Delvoye, Wim --- Duchamp, Marcel --- Foucault, Michel --- Krauss, Rosalind --- Mccarthy, Paul --- Marcuse, Herbert --- Mekas, Jonas --- Michelson, Annette --- Neshat, Shirin --- Opie, Catherine, --- Sontag, Susan --- Minh-ha, Trinh T. --- Kunst --- politiek --- pornografie --- performances [live] --- thema --- kunstfilosofie --- verlangen --- anno 1900-1999 --- anno 2000-2099 --- kunst --- 130.2 --- 7.039 --- 7.01 --- homoseksualiteit --- performance --- cultuurfilosofie --- twintigste eeuw --- eenentwintigste eeuw --- erotiek --- gender studies --- Foucault, Michel, --- seksualiteit in de kunst --- Art, Modern. --- Sexualität. --- Kunst. --- 1900 - 2099. --- Foucault, Michel, 1926-1984 --- Opie, Catherine, 1961 --- -Sontag, Susan --- lichaam (van de mens) --- Artists --- Pornography --- Sexuality --- Book --- Eroticism

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130 essays, interviews, manifesten, statements, gedichten en beschouwingen, waarvan 30 teksten voor het eerst in Nederlandse vertaling - teksten die ertoe doen binnen de beeldende kunst van na 1945

Art, Modern --- kunsttheorie --- 20ste eeuw --- Comparative literature --- art history --- art theory --- Contemporary [style of art] --- Art --- anno 1900-1999 --- Kunst ; 1945 --- -Art, Modern --- Morris Robert --- Musil Robert --- narcisme --- naslagwerk --- neue Wilden --- Newman Barnett --- Nietzsche Friedrich --- nouveau réalisme --- Nul --- Oldenburg Claes --- op art --- Peeters Henk --- Piene Otto --- Pieters Din --- Plato --- Pollock Jackson --- pop art --- postmodernisme --- post-painterly abstraction --- Reichenfeld J --- Reijnders Frank --- Reinhardt Ad --- Restany Pierre --- Rohde Carl --- Roodnat Bas --- Rooduijn Tom --- Rosenberg Harold --- Roszak Theodore --- Rothko Mark --- Ruyters Dominiek --- Sartre Jean-Paul --- Satie Erik --- schilderkunst --- Schoonhoven Jan --- Simons Riki --- Sontag Susan --- Steiner George --- Stein Gertrude --- Stella Frank --- Tapié Michel --- Tegenbosch Lambert --- Tilroe Anna --- Tinguely Jean --- twintigste eeuw --- Uecker Günther --- van Weelden Dirk --- Vos Marcel --- Warhol Andy --- Weiner Lawrence --- Wittgenstein Ludwig --- Wölfflin Heinrich --- Woolf Virginia --- Zero --- 7.038 --- beeldende kunst --- kunst 20e eeuw --- 7.01 --- Abramovic Marina --- abstracte kunst --- abstracte schilderkunst --- abstractie --- action painting --- Ad de Visser --- Adorno Theodor W --- After Nature --- Alloway Lawrence --- Andre Carl --- Appel Karel --- Armando --- art brut --- arte povera --- Baudrillard Jean --- beat generation --- beatniks --- beeldhouwkunst --- Beeren Wim --- Benjamin Walter --- Bergson Henri --- Beuys Joseph --- Bongard Willi --- Boomgaard Jeroen --- Broodthaers Marcel --- Cage John --- Cameron Dan --- Celant Germano --- Cobra --- concept art --- conceptuele kunst --- Constant --- Dante Arthur C --- de Kooning Willem --- den Hartog Jager Hans --- Denis Maurice --- Depondt Paul --- Derrida Jacques --- Dotremont Christian --- Dubuffet Jean --- Eco Umberto --- Emmerik Pam --- Engelander Ruud --- esthetica --- Fabre Jan --- Finkielkraut Alain --- fluxus --- Fontana Lucio --- fotografie --- Foucault Michel --- Fuchs Rudi --- Giacometti Alberto --- Gilbert & George --- Greenberg Clement --- Groot Ger --- Grootveld Robert Jasper --- Habermas Jürgen --- Hamilton Richard --- Hassan Ihab --- Heyting Lien --- Illich Ivan --- informele kunst --- installaties --- Jencks Charles --- Kaal Ron --- Kaprow Allan --- kinetische kunst --- Klein Yves --- Kosuth Joseph --- Kounellis Jannis --- kunst --- LeWitt Sol --- Lucebert --- Lüpertz Markus --- Lyotard Jean-François --- Maciunas George --- Manzoni Piero --- Mitchell Adrian --- Modern art --- kunstgeschiedenis - kunst na 1945 --- Nieuwe Ploeg (Group of artists) --- -Art --- Kunsten --- 1945 --- -20e eeuw --- Kunstgeschiedenis --- Schilderkunst --- Tekenkunst --- Beeldhouwkunst --- -Kunsten --- Kunst --- 2e helft 20e eeuw --- 20e eeuw --- -Kunst --- writings [documents] --- artists' statements --- Art, Modern - 20th century - Sources --- 20ste eeuw.