LEADER 05535nam 2200721Ia 450 001 9910462746003321 005 20211005022244.0 010 $a1-78138-614-5 010 $a1-78138-907-1 010 $a1-84631-670-7 035 $a(CKB)2670000000234765 035 $a(EBL)1591015 035 $a(SSID)ssj0000740518 035 $a(PQKBManifestationID)11420252 035 $a(PQKBTitleCode)TC0000740518 035 $a(PQKBWorkID)10701754 035 $a(PQKB)11400892 035 $a(StDuBDS)EDZ0000127565 035 $a(MiAaPQ)EBC867101 035 $a(UkCbUP)CR9781781386149 035 $a(Au-PeEL)EBL867101 035 $a(CaPaEBR)ebr10591042 035 $a(OCoLC)811488562 035 $a(MiAaPQ)EBC1591015 035 $a(Au-PeEL)EBL1591015 035 $a(OCoLC)867929454 035 $a(EXLCZ)992670000000234765 100 $a20111102d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aArt and pluralism$b[electronic resource] $eLawrence Alloway's cultural criticism /$fNigel Whiteley 210 $aLiverpool $cLiverpool University Press$d2012 215 $a1 online resource (986 p.) 225 0 $aValue art politics ;$v6 300 $aDescription based upon print version of record. 311 $a1-84631-645-6 320 $aIncludes bibliographical references and index. 327 $aCover; Half-title Page; Title Page; Copyright; Dedication; Contents; Acknowledgements; Section A: Introduction; 1. Alloway and pluralism; 2. Background; 3. The British art scene; 4. Early career; Section B: Continuum, 1952-1961; 1. Art criticism, 1951-1952; 2. The ICA in the early 1950s; 3. The Independent Group: aesthetic problems; 4. The Independent Group: popular culture; 5. Art criticism, 1953-; 6. Alloway and abstraction; 7. Alloway and figurative art; 8. This Is Tomorrow, 1956; 9. Information Theory; 10. Group 12 and Information Theory; 11. Science fiction 327 $a12. The cultural continuum model13. Writings about the movies; 14. Graphics and advertising; 15. Design; 16. Architecture and the city; 17. Channel flows; 18. Art autre; 19. The human image; 20. Modern Art in the United States, 1956; 21. Action Painting; 22. First trip to the USA; 23. The New American Painting,; 24. Alloway and Greenberg; 25. Cold wars; 26. British art and the USA: The Middle Generation; 27. A younger generation and the avant-garde; 28. Hard Edge; 29. Place and the avant-garde,; 30. Situation and its legacy; 31. The emergence of Pop art; 32. Alloway's departure 327 $aSection C: Abundance, 1961-19711. Arrival in the USA and "Clemsville"; 2. Junk art; 3. American Pop; 4. Curator at the Guggenheim; 5. Six Painters and the Object and Six More,; 6. Other writings on Pop; 7. Art as human evidence; 8. Alexander Liberman and Paul Feeley; 9. Systemic Painting,; 10. Abstraction and iconography; 11. The communications network; 12. Departure from the Guggenheim; 13. Exile in Carbondale; 14. Arts Magazine; 15. The Venice Biennale; 16. Return to New York: SVA, SUNY, and The Nation; 17. Options; 18. Expanding and disappearing works of art; 19. Alloway's Nation criticism 327 $a20. Newness and the avant-garde21. Post-Minimal radicalism; 22. Historical revisions: Abstract Expressionism and Picasso; 23. Mass communications; 24. Film criticism; 25. Violent America; 26. Pluralism as a "unifying theory"; Section D: Alternatives, 1971-1988; 1. Disorientation and dissent in the art world; 2. Alloway and the politicization of art, 1968-1970; 3. Changing values, 1971-1972; 4. Artforum and the art world as a system; 5. 1973 and a new pluralism; 6. The uses and limits of art criticism; 7. Criticism and women's art, 1972-1974; 8. Women's art and criticism, 1975 327 $a9. The realist "renewal"10. Photo-Realism; 11. The realist "revival"; 12. Realist revisionism; 13. The decline of the avant-garde; 14. "Legitimate variables"; 15. Earth art; 16. Public art; 17. In praise of plenty; 18. Crises in the art world: criticism; 19. Crises in the art world: feminism; 20. Crises in the art world: curatorship; 21. The co-ops and "alternative" spaces; 22. Turn of the decade decline; 23. Mainstream...; 24. ... and "alternative"; 25. The last years; 26. The complex present; Section E: Summary and Conclusion; 1. Pluralism; 2. "Post-Modernism"; 3. Art history; 4. Art criticism 327 $a5. Alloway's reputation 330 $aLawrence Alloway (1926-1990) was one of the most influential and widely respected (as well as prolific) art writers of the post-war years. His many books, catalogue essays and reviews manifest the changing paradigms of art away from the formal values of modernism towards the inclusiveness of the visual culture model in the 1950s, through the diversity and excesses of the 1960s, to the politicisation in the wake of 1968 and the Vietnam war, on to postmodern concerns in the 1970s. Alloway was in the right places at the right times. From his central involvement with the Independent Group and the 410 0$aValue, Art, Politics 606 $aArt, Modern$y20th century 606 $aPluralism 608 $aElectronic books. 615 0$aArt, Modern 615 0$aPluralism. 676 $a701 700 $aWhiteley$b Nigel$0145557 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910462746003321 996 $aArt and pluralism$92477757 997 $aUNINA 999 $p$135.00$u09/17/2018$5Art