Neo-Avant-Garde

Erscheinungsjahr 2006
ISBN: 978-90-420-2125-9
Verlag: Brill | Rodopi

Buch, Englisch, Band 20, 454 Seiten, Format (B × H): 155 mm x 235 mm, Gewicht: 830 g

Reihe: Avant-Garde Critical Studies

The neo-avant-garde of the 1950s, 60s and 70s, is due for a thoroughgoing reassessment. This collection of essays represents the first full-scale attempt to deal with the concept from an interdisciplinary standpoint. A number of essays in this book concentrate on fine art, particularly painting and sculpture, thereby adding significantly to the growing art historical literature in the field, but a number of the contributions also focus on poetry, performance, theatre, film, architecture and music. Given that there are also major essays here dealing with geographical blindspots in current neo-avant-garde studies, with thematic issues such as art’s entanglement with gender, mass culture and politics, with key neo-avant-garde publications, and with the purely theoretical problems attaching to the theorisation of the topic, this collection offers a multi-dimensional approach to the subject which is noticeably lacking elsewhere. Taken together these essays represent a consolidated attempt at re-thinking the ‘cultural logic’ of the immediate post-World War II period.

Autoren/Hrsg.

Weitere Mitwirkende

Hopkins, David

Fachgebiete

• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: 20./21. Jahrhundert

Inhaltsverzeichnis

Preface
David HOPKINS: Introduction
I. Art and Life
David HOPKINS: ‘Art’ and ‘Life’… and Death: Marcel Duchamp, Robert Morris and Neo-Avant-Garde Irony
Mark SILVERBERG: Working in the Gap between Art and Life: Frank O’Hara’s Process Poems
Anna DEZEUZE: ‘Neo-Dada’, ‘Junk Aesthetic’ and Spectator Participation
II. Across Art Forms
Günter BERGHAUS: Neo-Dada Performance Art
Anna Katharina SCHAFFNER: Inheriting the Avant-Garde: On the Reconciliation of Tradition and Invention in Concrete Poetry
R. Bruce ELDER: The Structural Film: Ruptures and Continuities in Avant-Garde Art
III. Centres/Peripheries
Tania ØRUM: Minimal Requirements of the Post-War Avant-Garde of the 1960s
Claus CLÜVER: The “Ruptura” Proclaimed by Brazil’s Self-Styled “Vanguardas” of the Fifties
Richard J. WILLIAMS: Towards an Aesthetics of Poverty: Architecture and the Neo-Avant-Garde in 1960s Brazil
IV. ‘High’/’Low’
Keith ASPLEY: The Avant-Garde, Neo-Avant-Garde and Radio: Robert Desnos and Philippe Soupault
Ben HIGHMORE: Home Furnishings: Richard Hamilton, Domesticity and ‘Post-Avant-Gardism’
V. Body/Gender
Katharine SWARBRICK: Gender Trouble? Body Trouble? Reinvestigating the Work of Marisol Escobar Gavin BUTT: Joe Brainard’s Queer Seriousness, or, How to Make Fun out of the Avant-Garde
VI. Discourse/Politics
Michael CORRIS: The Dialogical Imagination: The Conversational Aesthetic of Conceptual Art
Frances STRACEY: Destruktion RSG-6: Towards a Situationist Avant-Garde Today
VII. Dissemination
Friedrich W. BLOCK: “Movens” or The Aesthetics of Movement as a Programmatic Perspective
Martin PUCHNER: The Avant-Garde is Dead; Long Live the Avant-Garde!
VIII. Theoretical Reflections
Hubert F. VAN DEN BERG: Towards a “Reconciliation of Man and Nature”. Nature and Ecology in the Aesthetic Avant-Garde of the Twentieth Century
Martin J. C. DIXON: “Blackbirds rise from a field.”: Production, Structure and Obedience in John Cage’s Lecture on Nothing
Dafydd JONES: “Jeder kann Dada”: The Repetition, Trauma and Deferred Completion of the Avant-Garde
List of Illustrations
Abstracts
Contributors
Index

Über Autor(innen)

David Hopkins is Professor of Art History at the University of Glasgow. His previous publications include After Modern Art 1945-2000 (2000), Dada and Surrealism: A Very Short Introduction (2004) and Marcel Duchamp and Max Ernst: The Bride Shared ( 1998 ) all published by Oxford University Presss.