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"The Pattern and Decoration movement emerged in the 1970s as an embrace of long-dismissed art forms associated with the decorative. Pioneering artists such as Miriam Schapiro (1923-2015), Joyce Kozloff (b. 1942), Robert Kushner (b. 1949), and others appropriated patterns, frequently from non-Western decorative arts, to produce intricate, often dizzying or gaudy designs in media ranging from painting, sculpture, and collage to ceramics, installation art, and performance. This dazzling book showcases an astonishing array of works by more than 40 artists from across the United States, examining the movement's defiant adoption of art forms traditionally viewed as feminine, craft-based, or otherwise inferior to fine art. In addition to offering an overview of the Pattern and Decoration movement as it is commonly recognized, this volume considers artists of the period who are not typically associated with the movement. Rethinking the significance of patterns and the decorative in postwar American art, this panoramic view provides new insights into abstraction, feminism, and installation art. Essays explore the movement's feminist methods and values, including Miriam Schapiro's "femmage" practice; its impact on contemporary abstract painting; and its relationship to postmodern architecture and design. Artist biographies, an exhibition history, and reprints of historically significant writings further establish With Pleasure as the most expansive publication on the subject."--Provided by publisher

Art, American --- Decoration and ornament in art --- Themes, motives

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Pattern, Crime & Decoration presents an innovative American art movement that began in the mid-1970s and died out in the 1980s. Established by artists, often considered the last organized art movement of the 20th century, it chronologically overlaps with the end of Modernism and the onset of postmodernism, rejecting the rigid precepts of modernist formalism and enthusiastically embracing decorative patterns and non-Western art forms. Deeply rooted in feminism, it includes many female artists, seeking to emphasize forms of art and craft that are often overlooked and considered to belong to the domestic or decorative sphere, such as tapestry, quilting, wallpapers. or embroidery. By reacting to the purist and normative context of the dominant art forms of the time, such as minimal art and conceptual art, Pattern & Decoration signals the end of the reductive trajectory of modernism and that of of the start of a new era, by freely and subversively borrowing elements from the formal repertoire of the arts of Islam, Mexican or Indian cultures, including Roman or Byzantine mosaics. It diverts the rigidity of the minimalist grid to create repeated patterns, boldly highlighting figurative components, motley colors, volutes, arabesques and kitsch. The movement, gathered around the texts of art critic Amy Goldin (1926-1978) , was supported by gallery owners Holly Solomon in New York and Bruno Bischofberger in Switzerland. Although Pattern & Decoration enjoyed critical and commercial success from its inception, it gradually faded in the 1980s. 0Published following the eponymous exhibitions at MAMCO, Geneva, from October 10, 2018 to February 3, 2019 and at the Consortium Museum, Dijon , from May 16 to October 25, 2019. --machine-translated content. Pattern, Crime & Decoration présente un mouvement artistique américain novateur qui débuta au milieu des années 1970 pour disparaître au cours des années 1980. Établi par des artistes, souvent considéré comme le dernier mouvement artistique organisé du XXe siècle, il chevauche chronologiquement la fin du modernisme et le début du postmodernisme, en rejetant les préceptes rigides du formalisme moderniste et en adoptant avec enthousias me motifs décoratifs et formes d'art non-occidentales. Profondément ancré dans le féminisme, il inclut de nombreuses artistes femmes, cherchant à mettre l'accent sur des formes d'art et artisanat souvent négligées et considérées comme appartenant à la sphère domestique ou décorative, comme la tapisserie, le patchwork, les papiers peints ou la broderie. En réagissant face au contexte puriste et normatif des formes d'art dominantes de l'époque, tels l'art minimal et l'art conceptuel, Pattern & Decoration donne le signal de fin de la trajectoire réductive du modernisme et celui du début d'une ère nouvelle, en empruntant librement et de façon subversive des éléments du répertoire formel des arts de l'Islam, des cultures mexicaines ou indiennes, en passant par les mosaïques romaines ou byzantines. Il détourne la rigidité de la grille minimaliste pour créer des motifs répétés, mettant hardiment en relief composantes figuratives, couleurs bariolées, volutes, arabesques et kitsch.0Le mouvement, rassemblé autour des textes de la critique d'art Amy Goldin (1926-1978), était soutenu par les galeristes Holly Solomon à New York et Bruno Bischofberger en Suisse. Bien que Pattern & Decoration ait connu un succès critique et commercial dès ses débuts, il s'estompa progressivement dans les années 1980. 0Publié suite aux expositions éponymes au MAMCO, Genève, du 10 octobre 2018 au 3 février 2019 et au Consortium Museum, Dijon, du 16 mai au 25 octobre 2019.

Art, American --- Pattern and decoration (Art movement) --- Feminism and art --- Decoration and ornament in art --- Arts and crafts movement --- Decorative arts --- Decoration and ornament --- History --- Islamic influences --- Mexican influences --- Indian influences --- Themes, motives --- Arts appliqués --- Pattern and Decoration --- Motif décoratif --- Arts and crafts movement - United States - Exhibitions --- Arts and crafts movement - History - 20th century - Exhibitions --- Decorative arts - Islamic influences - Exhibitions --- Decorative arts - Mexican influences - Exhibitions --- Decorative arts - Indian influences - Exhibitions --- Decoration and ornament - Themes, motives - Exhibitions --- Art, American - 20th century - Exhibitions