Industry and Intelligence : : Contemporary Art Since 1820 / / Liam Gillick.
The history of modern art is often told through aesthetic breakthroughs that sync well with cultural and political change. From Courbet to Picasso, from Malevich to Warhol, it is accepted that art tracks the disruptions of industrialization, fascism, revolution, and war. Yet filtering the history of...
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| Superior document: | Title is part of eBook package: De Gruyter Columbia University Press Complete eBook-Package 2016 |
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| Place / Publishing House: | New York, NY : : Columbia University Press, , [2016] ©2016 |
| Year of Publication: | 2016 |
| Language: | English |
| Series: | Bampton Lectures in America
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| Online Access: | |
| Physical Description: | 1 online resource (208 p.) :; 50 b&w illustrations |
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Table of Contents:
- Frontmatter
- Contents
- Acknowledgments
- Introduction: Creative Disruption in the Age of Soft Revolutions
- 1. Contemporary Art Does Not Account for That Which Is Taking Place
- 2. Projection and Parallelism
- 3. Art as a Pile: Split and Fragmented Simultaneously
- 4. 1820: Erasmus and Upheaval
- 5. ASAP Futures, Not Infinite Future
- 6. 1948: B. F. Skinner and Counter-Revolution
- 7. Abstract
- 8. 1963: Herman Kahn and Projection
- 9. The Complete Curator
- 10. Maybe It Would Be Better If We Worked in Groups of Three?
- 11. The Return of the Border
- 12. 1974: Volvo and the Mise-en-Scène
- 13. The Experimental Factory
- 14. Nostalgia for the Group
- 15. Why Work?
- Notes
- Index