New Histories of Art in the Global Postwar Era: Multiple Modernisms

Description

This book maps key moments in the history of postwar art from a global perspective. The reader is introduced to a new globally oriented approach to art, artists, museums and movements of the postwar era (1945–70). Specifically, this book bridges the gap between historical artistic centers, such as Paris and New York, and peripheral loci. Through case studies, previously unknown networks, circulations, divides and controversies are brought to light. From the development of Ethiopian modernism, to the showcase of Brazilian modernity, this book provides readers with a new set of coordinates and a reassessment of well-trodden art historical narratives around modernism. This book will be of interest to scholars in art historiography, art history, exhibition and curatorial studies, modern art and globalization. Cover Half Title Series Information Title Page Copyright Page Table of contents Figures Contributors Introduction: Toward a New Understanding of Globalism in Postwar Art The Postwar: A Short History Notes on Multiple Modernisms On the Structure of This Book and Its Contribution Notes Bibliography 1 Prologue: Art History’s Work-in Pro(re)gress – Reflections on the Multiple Modernities Project Mainstream Modernism Radical Revisionism Modern, Modernism, Modernist Minor, Global, Planetary, Situated Contemporary Art and Contemporaneity Notes Bibliography Part 1 Crossings and Encounters: Retracing Artists’ Itineraries 2 Expression for All: Ferlov, Mancoba, Tajiri and the Art of Cobra Primitivism Minoritarian Cosmopolitanism Feminist Humanism Resistance to Violence Notes Bibliography 3 Origins and Brinks: Multiple Modernisms in Postwar London Decentralization: Elective Affinities and Missed Encounters Discrepant Bones: A Case Study Notes Bibliography 4 Multiple Resistances to the Concept of Modernism: The Emergence of Artistic–Poetic Networks between Eastern Europe and Latin Multiplying the Modernist Project Anti-Aesthetics: Toward the Criticism of Western Modernism Self-definition as Arrière-garde Artists Multiple Resistances to the Concept of Western Modernism Notes Bibliography 5 Urban Folklore: Marta Minujín’s Postwar Assemblage and the Modern City Urbanscapes Environmental Assemblages La Menesunda and the City Urban Folklore Notes Bibliography 6 Yayoi Kusama as a Migrant Artist: An Artistic Trajectory as a Model for Understanding Postwar Art Boat Trip Kusama in Europe Polka Dot Love Room Migration Aesthetics Notes Bibliography 7 The Overworked Ground: Franz Erhard Walther in New York Notes Bibliography Part 2 Against the Norm: Decentering and Resisting the Canon 8 Blinded by Mao: The Challenge of Seeing Modernism in Art of the People’s Republic Can We Use the M Word? The Yan’an Talks Pan Tianshou/Fu Baoshi Conclusion Notes Bibliography 9 “Iranian Modernism” and the Idea of Indigenous Art: Translations, Adoptions and (mis)interpretations Persian Art History and the Reconstruction of National Identity Avant-Gardism and/or the Indigenous Figuration The Local–Global Binarism and the Saqqa-khaneh Movement What Was Modernism in Iran? Notes Bibliography 10 Camouflaged Dissent – A Plastic Umbrella and Transparent Balloons: “Happenings” in South Korea, 1967–1968 The First “South Korean Happening”: A Plastic Umbrella Happenings at the Music Café, C’est Si Bon in May 1968: Art or Scandal? Notes Bibliography 11 A Postcard from Addis: Ethiopian Modernism(s) in the World Ethiopia in the World Afewerk Tekle as Patriot and Diplomat The Interstitial Works of Skunder Boghossian 1967: High Points and New Complexities Notes Bibliography 12 The Cultural Politics of Négritude and the Debates around the Brazilian Participation in the First World Festival of Negro A Arts Nègres, Black Arts Continuities and Ruptures of Négritude in Black Brazilian Art Unofficial Mobilities and Black Solidarity Notes Bibliography 13 An Index of Modernity: Feminist Furniture by Teresa Burga and Beatriz González Feminism in Latin America: An Overview From Modernity to Modernism: Burga and González’s Semiotics of the Living Room Conclusion Notes Bibliography Part 3 Collecting Modernisms – Exhibiting Modernisms 14 Traveler’s Tales: Alfred Barr, the Soviet Union and International Modernism in the Postwar Period Notes Bibliography 15 Displaying Whose Modernity?: The Bardis and the Museum of Art of São Paulo Notes Bibliography 16 Cosmonaut Paintings as Contemporary Art: The Soviet Union at the Venice Biennale, 1956–1968 “Insalata Russa”: Soviets in Venice On a Mission to Venice: The 1968 Exhibition A Cold Reception at a Heated Biennale Into Oblivion – Space Debris in Venice Notes Bibliography 17 All That Jazz: Rome’s Galleria Nazionale d’Arte Moderna and the Rise of Abstraction in Postwar Italy Palma Bucarelli: The Joan d’Arc of Parisian Modernisms Arte astratta e concreta in Italia Notes Bibliography Index