Art and Pluralism: Lawrence Alloway's Cultural Criticism

Art and Pluralism: Lawrence Alloway's Cultural Criticism

by Nigel Whiteley

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Product Details

ISBN-13: 9781846316456
Publisher: Liverpool University Press
Publication date: 06/15/2012
Series: Liverpool University Press - Value-Art-Politics Series
Pages: 510
Product dimensions: 9.30(w) x 6.50(h) x 1.50(d)

About the Author

Nigel Whiteley was Professor of Visual Arts at the University of Lancaster.

Table of Contents

Contents
Section A: Introduction
1. Alloway and pluralism (1)
2. Background (3)
3. The British art scene (6)
4. Early career (9/12)

Section B: Continuum (1952-1961)
1. Art criticism, 1951-1952 (1)
2. The ICA in the early 1950s (4)
3. The Independent Group: aesthetic problems (6)
4. The Independent Group: popular culture (9)
5. Art criticism, 1953-1955 (14)
6. Alloway and abstraction (18)
7. Alloway and figurative art (21/23)
8. This Is Tomorrow, 1956 (1)
9. Information Theory (3)
10. Group 10 and Information Theory (5)
11. Science Fiction (8)
12. The continuum model of culture (10)
13. Writings about the movies (18)
14. Graphics and advertising (23)
15. Design (27)
16. Architecture and the City (30/33)
17. Channel flows (1)
18. Art autre (4)
19. The human image (6)
20. Modern Art in the United States, 1956 (12)
21. Action Painting (16)
22. First trip to the USA (19)
23. The New American Painting, 1958 (20)
24. Alloway and Greenberg (22)
25. Cold wars (25/26)
26. British art and the USA: the Middle Generation (1)
27. A younger generation and the avant garde (3)
28. Hard Edge (9)
29. Place and the avant-garde, 1959 (11)
30. Situation and its legacy (16)
31. The emergence of Pop art (22)
32. Alloway's departure (26/31)

Section C: Abundance (1961-1971)
1. Arrival in the USA and Clemsville (1)
2. Junk art (4)
3. American Pop (7)
4. Curator at the Guggenheim (8)
5. Six Painters and the Object and Six More, 1963 (10)
6. Other writings on Pop (15)
7. Art as human evidence (17)
8. Alexander Liberman and Paul Feeley (23)
9. Systemic Painting, 1966 (28/33)
10. Abstraction and iconography (1)
11. The communications network (6)
12. Departure from the Guggenheim (13)
13. Exile in Carbondale (15)
14. Arts Magazine (19)
15. The Venice Biennale (22)
16. Return to New York: SVA, SUNY and The Nation (27/28)
17. Options (1)
18. Expanding and disappearing works of art (5)
19. Alloway's Nation criticism (8)
20. Newness and the avant-garde (12)
21. Post-Minimal radicalism (17)
22. Historical revisions: Abstract Expressionism, and Picasso (21/28)
23. Mass Communications (1)
24. Film criticism (4)
25. Violent America (8)
26. Pluralism as a "unifying theory" (14/16)

Section D: Alternatives (1971-1988)
1. Disorientation and dissent in the art world (1)
2. Alloway and the politicization of art, 1968-1970 (5)
3. Changing values, 1971-1972 (13)
4. Artforum and the art world as a system (15)
5. 1973 and a new pluralism (21/27)
6. The uses and limits of art criticism (1)
7. Criticism and women's art, 1972-1974 (6)
8. Women's art and criticism, 1975 (13)
9. The realist "renewal" (16)
10. Photo-Realism (20)
11. The realist "revival" (25/31)
12. Realist revisionism (1)
13. The decline of the avant-garde (4)
14. "Legitimate variables" (6)
15. Earth art (9)
16. Public art (13)
17. In praise of plenty (17)
18. Crises in the art world: criticism (18/24)
19. Crises in the art world: feminism (1)
20. Crises in the art world: curatorship (6)
21. The co-ops and "alternative" spaces (13)
22. Turn of the decade decline (21/23)
23. MainstreamEL (1)
24. ELand "alternative" (6)
25. The last years (8)
26. The complex present (11/14)

Section E: Summary and Conclusion
1. Pluralism (1)
2. "Post-Modernism" (8)
3. Art history (13)
4. Art criticism (17/22)
5. Alloway's reputation (1)
6. Art (6)
7. The legacy of pluralism (10/12)

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