Art in Transfer in the Era of Pop : Curatorial Practices and Transnational Strategies (häftad)
Fler böcker inom
Häftad (Danskt band)
Södertörn Academic Studies (del 67)
Antal sidor
Södertörns högskola
Piotrowski, Piotr / Arnoux, Mathilde
227 x 153 x 18 mm
720 g
Antal komponenter
4423:Standard Color 6 x 9 in or 229 x 152 mm Perfect Bound on Standard 70 White w/Matte Lam

Art in Transfer in the Era of Pop : Curatorial Practices and Transnational Strategies

Häftad,  Engelska, 2017-01-01
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How should we understand post-war art? How were issues of cultural transfer and curatorial strategies dealt with in the extended 1960s - the era of pop?

Art in Transfer in the Era of Pop juxtaposes issues and contexts approaching the concept and reception of Pop Art. Contributors from Europe and beyond weave a web that resists the notion of universialism, adding to art historian Piotr Piotrowski"s "horizontal" art history. This volume avoids the historiographic stance where the US-Europe relationship appears to be a one-way affair. Instead, the reader is drawn into the history of the circulation and cross-pollination of ideas, the aesthetic practices and the various contexts that influenced them.
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Fler böcker av Annika Öhrner

Övrig information

Annika hrner is a Senior Lecturer at the Department of Art History,
School of Culture and Education, Sdertrn University. In 2010, she
defended her dissertation Barbro stlihn & New York, at Uppsala University,
published by Makadam. It deals with a painter who worked in
New York in a neo-avantgarde context, as well as with issues of transfer of
American pop art to Sweden. Her research scope also includes the classical
avant-garde. hrner was Dean of the Valand Academy, Faculty of Fine,
Applied and Performing Arts, Gothenburg University, 1996-2001. She has
curated numerous exhibitions, for example retrospectives of Meret
Oppenheim (2004) and Siri Derkert (2011) at the Moderna Museet,
Stockholm. hrner is working presently within the research project Art,
culture, conflict: transformations of museums and memory culture in the
Baltic Sea region after 1989, funded by The Foundation for Baltic and East
European Studies.


Introduction - Annika hrner

Why Were There No Great Pop Art Curatorial Projects in Eastern Europe in the 1960s? - Piotr Piotrowski

Part 1: Exhibitions, Encounters, Rejections

1. Contemporary Polish Art Seen Through the Lens of French Art Critics Invited to the AICA Congress in Warsaw and Cracow in 1960 - Mathilde Arnoux

2. "Be Young and Shut Up": Understanding France's Response to the 1964 Venice Biennale in its Cultural and Curatorial Context - Catherine Dossin

3. The "New York Connection": Pontus Hultn's Curatorial Agenda in the 1960s - Hiroko Ikegami

4. On the Construction of Pop Art: When American Pop Arrived in Stockholm in 1964 - Annika hrner

5. Pop Art at the Frontline of the Cold War: Ren Block's "Capitalist Realism" in 1960s West Berlin - Hannah Abdullah

Part 2: Works, Practices, Movements

6. yvind Fahlstrm's Impure Pop in a World of Impure Cold War Politics - Sophie Cras

7. AnthroPOPhagous: Political Uses of Pop Art in the Aftermath of the Brazilian Military Coup d'tat of 1964 - Oscar Svanelid

8. Personalising the Global History of Pop Art: Alina Szapocznikow And Maria Piniska-Bere - Agata Jakubowska

9. The Domestic Paradox - Katarina Wadstein MacLeod

10. Collective Modernism: Synthesising the Arts, Engaging in Society - Hkan Nilsson

11. Terminology in the Making: Pop and Minimalism in the 1960s - Tania rum

12. Pop Beyond Pop: Some Exhibitions of the Hungarian "Iparterv-Circle" - Dvid Fehr