Produktdetaljer
Om bidragsyterne
Natalie Adamson is Senior Lecturer in Art History at the University of St Andrews, and was Deputy Editor of Art History from 2012 to 2017. She is the author of Academics, Pompiers, Official Artists and the Arrière-Garde: Defining Modern and Traditional in France, 1900-1960 (2009) and Painting, Politics, and the Struggle for the École de Paris, 1944-1964 (2009). She currently holds a two-year Major Research Fellowship from the Leverhulme Trust for a book project provisionally entitled Pierre Soulages: Radical Abstraction.
Steven Harris is Associate Professor in History of Art, Design and Visual Culture at the University of Alberta. He is the author of articles on surrealism, postwar abstraction, and Fluxus, and the book Surrealist Art and Thought in the 1930's: Art, Politics and the Psyche (2004). His current research project, The Poetics of Disenchantment, investigates both the surrealist movement in the postwar period, and how surrealist ideas and values were taken up or challenged by postwar European collectives like Cobra, the College of 'Pataphysics, and the Situationist International.
Material Imagination examines the interrelated concepts of matter, materialism, and materiality in postwar European art, from 1946-1972.
- Provides a unique perspective on European art by prioritizing material dimensions over concept or context, while also paying attention to theoretical and historical concerns
- Explores artists’ methods and materials in order to better understand the social and cultural environments in which their works of art were made
- Demonstrates how materials can be harnessed to affect the critical interpretation of artwork
- Brings together exceptional illustrations and new research in eight essays by art historians and scholars
Notes on Contributors 6
Chapter 1 Material Imagination: Art in Europe, 1946–72 8
Natalie Adamson and Steven Harris
Chapter 2 Black Flowers Blossom: Bachelard, Soulages and the Material Imaginary of Abstract Painting 22
Natalie Adamson
Chapter 3 Materialism and Intersubjectivity in Cobra 44
Karen Kurczynski
Chapter 4 Makeshift Wholes: Interiority and Texture in Postwar British Design 66
Alex Kitnick
Chapter 5 Materializing Modernism in Postwar Italy: Fausto Melotti, Gio Ponti, and the 1961 88
Esposizione Internazionale del Lavoro Marin R. Sullivan
Chapter 6 L’Optique Moderne: Daniel Spoerri’s ‘Optical Readymades’ 112
Jill Carrick
Chapter 7 Terrain vague: Ben Vautier and the Ecole de Nice 140
Anna Dezeuze
Chapter 8 ‘Not Yet’ Materialized: Carlfriedrich Claus’s ‘Talking Papers’ 164
Sarah E. James
Chapter 9 The Longevity of Roman Opałka 188
Alistair Rider
Index 209
Material Imagination examines the interrelated concepts of matter, materialism, and materiality in postwar European art, from 1946 to 1972. In the postwar period, European artistic experiment prioritized material dimensions over concept or context. The eight essays in this volume bring together new research and exceptional illustrations to provide a unique perspective on this period, while also paying attention to broader theoretical and historical concerns. The essays explore artists' methods and materials in order to understand better the social and cultural environments in which their works of art were made. Taken together, these essays demonstrate how an emphasis on materials can affect artistic thinking and imagination and lead to a richer and more diverse framework for critical interpretation.
Produktdetaljer
Om bidragsyterne
Natalie Adamson is Senior Lecturer in Art History at the University of St Andrews, and was Deputy Editor of Art History from 2012 to 2017. She is the author of Academics, Pompiers, Official Artists and the Arrière-Garde: Defining Modern and Traditional in France, 1900-1960 (2009) and Painting, Politics, and the Struggle for the École de Paris, 1944-1964 (2009). She currently holds a two-year Major Research Fellowship from the Leverhulme Trust for a book project provisionally entitled Pierre Soulages: Radical Abstraction.
Steven Harris is Associate Professor in History of Art, Design and Visual Culture at the University of Alberta. He is the author of articles on surrealism, postwar abstraction, and Fluxus, and the book Surrealist Art and Thought in the 1930's: Art, Politics and the Psyche (2004). His current research project, The Poetics of Disenchantment, investigates both the surrealist movement in the postwar period, and how surrealist ideas and values were taken up or challenged by postwar European collectives like Cobra, the College of 'Pataphysics, and the Situationist International.