Painting After Postmodernism

* A unique dialogue between Belgian and American painting by acclaimed American art critic, Barbara Rose* Contains works from Ed Moses, Larry Poons, Jan Vanriet, & Marc Maet* Accompanies an exhibition at 'The Underground' in BrusselsPainting after Postmodernism: Belgium - USA investigates why so many believed Marcel Duchamp when he made his infamous statement of 1918: that painting was dead. After all, as Barbara Rose eloquently argues , Duchamp was wrong. In the decades before and after World War II, Picasso, Matisse, Mir� and the New York School continued to make monumental mural scale paintings on the level of the greatest art of the past. However, in the politically radical 1960s and 1970s it once again became fashionable to toll the death knell for painting, perceived as the product of bourgeois culture. In its place galleries and museums defined the avant-garde as conceptual art, video, mixed media and installations, all of which denied painting its position of pre-eminence. Painting was reduced to just another broken-down offshoot of postmodernism. Highly influential art critic Barbara Rose investigates how contemporary artists rediscovered the art of painting, juxtaposing works from Belgian and American artists to create a cross-cultural dialogue.

In life after postmodernism our conception of photography is not the same as before. Photography After Postmodernism starts with this conception and explores what changes have affected photography, its relation to social life and our image-centred culture. Engaging with the visual environment and issues that have emerged in the postmodern world, David Bate introduces fresh approaches and analysis of photographs and their place within the aftermath of postmodernist thought. The book shows how photographs circulate in an 'image-world' beyond their art or media origins that deeply affects our sense of time and relation to memory. The role of archives, dreams, memories and time are deployed to develop and resituate arguments about photography made by Roland Barthes in Camera Lucida to further engage and understand our contemporary condition. By considering how ‘afterwardness’ is invoked in the developments of modern and contemporary photography, Bate demonstrates the complex ways in which photographic images resonate across public and private spaces, while carrying a slippage of meaning that is never quite fixed, yet always contingent and social. The approach shows how modernist photography was already invested in values that its discourse could not enunciate, which resonates with much contemporary photography today. Featuring a range of historical and contemporary images, the book offers detailed and innovative readings of specific photographs which open new avenues of thought for those studying and researching visual culture and photography.

"Art History After the Sixties examines the 1960s and 1970s as a watershed era in our current understanding of art and its historiography. Pamela Lee asks how, why, and at what cost art critics of that generation shifted their attention away from aesthetics to focus pimarily on the social and political nature of art, most notably in the writings appearing in the influential journal October. She also looks closesly at the major artists of that era from Robert Smithson, most well known for his provocative earthwork Spiral Jetty, to Andy Warhol. Art History After the Sixties is the fifth volume in "Theories of Modernism and Postmodernism in the Visual Arts", James Elkins's series of short books on the theories of modernism written by leading art historians on twentieth-century art and art criticism. The book will feature a critical introduction by a fellow art historian placing the book in conversation with the previous books in the series."--

'Reclaiming Feminine Agency' identifies female agency as a central theme of recent feminist scholarship & offers 23 essays on artists & issues from the Renaissance to the present, written in the 1990s & after.

Marking the fiftieth anniversary of the Educational Philosophy and Theory journal, this book brings together the work of over 200 international scholars, who seek to address the question: ‘What happened to postmodernism in educational theory after its alleged demise?’. Declarations of the death knell of postmodernism are now quite commonplace. Scholars in various disciples have suggested that, if anything, postmodernism is at an end and has been dead and buried for some time. An age dominated by playfulness, hybridity, relativism and the fragmentary self has given way to something else—as yet undefined. The lifecycle of postmodernism started with Derrida’s 1966 seminal paper ‘Structure, Sign and Play in the Discourse of the Human Sciences’; its peak years were 1973–1989; followed by uncertainty and reorientation in the 1990s; and the aftermath and beyond (McHale, 2015). What happened after 2001? This collection provides responses by over 200 scholars to this question who also focus on what comes after postmodernism in educational theory. This book was originally published as a special issue of the journal Educational Philosophy and Theory.

When the grand narrative of modernism is at an end and art is dead, how is the story of art history to continue? What succeeds the postmodern? The premise of this lucid and persuasive book is that an artist's only recourse is to resurrect the ancestral craft of painting. This is what many artists have begun to do already, notwithstanding the danger that it may be an artificial resuscitation of an historically and spiritually exhausted tradition. Benjamin Patterson argues that there is a way to practice the craft authentically. In search of this straight and narrow trajectory, Benjamin Patterson conducts the reader through an intellectual history of the craft, from its medieval roots to its modern demise. The theory of art is explored both in depth and in breadth, from its beginnings in classical philosophy and Renaissance treatises to post-structuralism and phenomenology.

Postmodern fiction presents a challenge to the reader: instead of enjoying it passively, the reader has to work to understand its meanings, to think about what fiction is, and to question their own responses. Yet this very challenge makes postmodern writing so much fun to read and rewarding to study. Unlike most introductions to postmodernism and fiction, this book places the emphasis on literature rather than theory. It introduces the most prominent British and American novelists associated with postmodernism, from the 'pioneers', Beckett, Borges and Burroughs, to important post-war writers such as Pynchon, Carter, Atwood, Morrison, Gibson, Auster, DeLillo, and Ellis. Designed for students and clearly written, this Introduction explains the preoccupations, styles and techniques that unite postmodern authors. Their work is characterized by a self-reflexive acknowledgement of its status as fiction, and by the various ways in which it challenges readers to question common-sense and commonplace assumptions about literature.