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Books on the topic 'Art, Autonomy and Modernity'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Freedom and modernity. Albany: State University of New York Press, 1991.

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2

Totalitarian art and modernity. Aarhus: Aarhus University Press, 2010.

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3

Pattison, George. Art, Modernity and Faith. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21461-7.

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4

Musée royal de l'Afrique centrale, ed. Fetish modernity. Tervuren: Royal Museum for Central Africa, 2011.

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5

German expressionism: Primitivism and modernity. New Haven, Conn: Yale University Press, 1991.

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6

The five paradoxes of modernity. New York: Columbia University Press, 1994.

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7

Black visual culture: Modernity and postmodernity. London: I.B. Tauris, 2000.

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8

Art, power, and modernity: English art institutions, 1750-1950. London: Leicester University Press, 2000.

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9

Pattison, George. Art, modernity and faith: Towards a theology of art. 2nd ed. London: SCM Press, 1991.

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10

Art, modernity, and faith: Towards a theology of art. New York: St. Martin's Press, 1991.

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11

Art, modernity, and faith: Towards a theology of art. Houndmills, Basingstoke, Hampshire: Macmillan, 1991.

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12

Aesthetic and artistic autonomy. London: Bloomsbury, 2013.

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13

Vancouver Conference on Modernism (1981). Modernism and modernity: The Vancouver conference papers. 2nd ed. Halifax, N.S: Press of the Nova Scotia College of Art and Design, 2004.

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14

Punter, David. Modernity. New York: Palgrave Macmillan, 2007.

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15

Painting, language, and modernity. London: Routledge & Kegan Paul, 1985.

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16

Jameson, Fredric. A singular modernity. New York: Verso, 2012.

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17

Bodyscape: Art, modernity, and the ideal figure. London: Routledge, 1995.

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18

Arab Museum of Modern Art (Dawḥah, Qatar), ed. Swalif: Qatari art between memory and modernity. Doha: Bloomsbury Qatar Foundation, 2011.

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19

Modernity, aesthetics, and the bounds of art. Ithaca: Cornell University Press, 1990.

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20

Johnson, C. B. Modernity without a Project. Brooklyn, NY: punctum books, 2015.

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21

Coser, Rose Laub. In defense of modernity: Role complexity and individual autonomy. Stanford, Calif: Stanford University Press, 1991.

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22

Contemporary Chinese visual culture: Tradition, modernity, and globalization. Amherst, NY: Cambria Press, 2010.

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23

Museum, J. Paul Getty, ed. Messerschmidt and modernity. Los Angeles: J. Paul Getty Museum, 2012.

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24

Foucault's philosophy of art: A genealogy of modernity. London: Continuum, 2009.

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25

Trépanier, Esther. Peintres juifs et modernité: Montréal, 1930-1945 = Jewish painters and modernity. Montréal, QC: Centre Saidye-Bronfman, 1987.

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26

Movements of modernity: The case of Glasgow and art nouveau. London: Routledge, 1990.

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27

Kolešnik, Ljiljana, ed. Socialism and Modernity. Art, Culture, Politics 1950-1974. Zagreb, Croatia: MCA, Zagreb, 2012.

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28

The psychologizing of modernity: Art, architecture, and history. Cambridge, U.K: Cambridge University Press, 2000.

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29

Zimmerman, Michael E. Heidegger's confrontation with modernity: Technology, politics, and art. Bloomington: Indiana University Press, 1990.

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30

1890-, Gabo Naum, and Lodder Christina 1948-, eds. Constructing modernity: The art & career of Naum Gabo. New Haven, CT: Yale University Press, 2000.

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31

Imagined museums: Art and modernity in postcolonial Morocco. Minneapolis: University of Minnesota Press, 2010.

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32

Moody, Alys. The Art of Hunger. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828891.001.0001.

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As literary modernism was emerging in the late nineteenth and early twentieth centuries, a number of its most important figures and precursors began to talk about their own writing as a kind of starvation. The Art of Hunger: Aesthetic Autonomy and the Afterlives of Modernism uses this trope as a lens through which to examine contemporary literature’s engagement with modernism, arguing that hunger offers a way of grappling with the fate of aesthetic autonomy through modernism’s late twentieth-century afterlives. The art of hunger appears at moments where aesthetic autonomy enters a period of crisis, and in this context, the writers examined here develop an alternate theory of aesthetic autonomy, which imagines art not as a conduit for freedom, but rather as an enactment of unfreedom. This book traces this theme from the origins of modernism to the end of the twentieth century, focusing particularly on three authors who redeploy the modernist art of hunger as a response to key moments in the history of modernist aesthetic autonomy’s delegitimization: Samuel Beckett in post-Vichy France; Paul Auster in post-1968 Paris and New York; and J. M. Coetzee in late apartheid South Africa. Combining historical analysis of these literary fields with close readings of individual texts, and drawing extensively on new archival research, this book offers a counter-history of modernism’s post-World War II reception and a new theory of aesthetic autonomy as a practice of unfreedom.

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33

Art of Hunger: Aesthetic Autonomy and the Afterlives of Modernism. Oxford University Press, 2018.

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34

The Topography Of Modernity Karl Philipp Moritz And The Space Of Autonomy. Cornell University Press, 2012.

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35

The Topography of Modernity: Karl Philipp Moritz and the Space of Autonomy. Cornell University Press, 2013.

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36

Brazil, Kevin. Art, History, and Postwar Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824459.001.0001.

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Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

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37

Latour, Bruno. Reset modernity! 2016.

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38

Moody, Alys. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828891.003.0001.

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The introduction maps out the broad intellectual history of hunger, modernism, and aesthetic autonomy, sketching the prehistories that led to their convergence in the art of hunger. It sets out two competing definitions of aesthetic autonomy: a sociological definition, deriving from the writing of Pierre Bourdieu; and a philosophical one, deriving from the German philosophical tradition. It argues that the art of hunger represents a crisis in both definitions of aesthetic autonomy. At the same time, the art of hunger reflects a changing understanding of the body more broadly, as it becomes increasingly understood as a limit to human potential in the nineteenth century. The confluence of these failed modes of aesthetic autonomy and the new understanding of the body as a site of human failure and limitation, creates the conditions within which the art of hunger emerges as a modernist trope.

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39

John, Clark, ed. Modernity in Asian art. Broadway, NSW, Australia: Wild Peony, 1993.

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40

Penny, Sparke. Plastic Age: Modernity to Post-Modernity. Antique Collectors' Club, 1996.

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41

Symonds, Michael. Appeal of Art in Modernity. Taylor & Francis Group, 2020.

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42

Symonds, Michael. Appeal of Art in Modernity. Taylor & Francis Group, 2020.

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43

Appeal of Art in Modernity. Taylor & Francis Group, 2020.

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44

Symonds, Michael. Appeal of Art in Modernity. Taylor & Francis Group, 2020.

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45

Symonds, Michael. Appeal of Art in Modernity. Taylor & Francis Group, 2020.

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46

Moody, Alys. Hunger in a Closed System. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828891.003.0003.

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Chapter 2 turns to post-World War II France, where the aftermath of war produced fierce debates about the status of aesthetic autonomy, presided over by the field-shaping influence of Jean-Paul Sartre and his theory of intellectual engagement. In this context, Samuel Beckett emerges as a transitional figure in the art of hunger tradition: both its last modernist and its first standard-bearer in the post-war period beyond modernism. Situating Beckett’s writing from the 1940s onwards within the post-war French debates about the status of aesthetic autonomy, this chapter follows Beckett’s resistance to both littérature engagée, and defenses of autonomy that linked art to freedom. Hunger, linked in his writing of this period with obligation, necessity, and the collapse of collective and political communities, becomes the vehicle through which he develops a new theory of art as a practice of unfreedom.

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47

Barcelona and Modernity. Cleveland Museum of Art, 2006.

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48

(Editor), David L. Hoffman, and Yanni Kotsonis (Editor), eds. Russian Modernity: Politics, Knowledge, Practices. Palgrave Macmillan, 2000.

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49

1961-, Hoffmann David L., and Kotsonis Yanni 1962-, eds. Russian modernity: Politics, knowledge, practices. Houndsmills: Macmillan Press Ltd., 2000.

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50

Penny, Sparke, and Victoria and Albert Museum, eds. The plastics age: From modernity to post-modernity. London: Victoria and Albert Museum, 1990.

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