By Steve Edwards
The essays during this quantity have interaction without delay with topical matters round artwork and gender, globalization, cultural distinction, and curating, in addition to explorations of key artists and hobbies and a few much less well-documented paintings via modern artists.
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Sample text
The aesthetic power of a painting, it is claimed, does not depend on literary narrative; visual art can be independent of literature. It can be, indeed if it is to perform to the maximum purity and intensity, it has to be, ‘autonomous’. Far from being the servant of traditional morality or modern politics, the claim is that art has to be self-running, self-regulating, consecrated first and foremost to aesthetic value.
Modern artists tried to face modern society, rather than looking back to classical Rome. A breach with the past is seen by some as central to modern art or ‘modernism’, while others have argued for a continuity of values. Certainly, from the mid nineteenth century onwards, modern art underwent a series of rapid transformations. There was an intensification of formal experimentation and an urgent search for new ways of working. Right through this period, some artists continued to find ways of responding to modern life, both by introducing new formal equivalents for experience and by searching out novel subjects.
The reality is not that the majority world will be transformed into a high-tech consumer paradise. In fact, inequality is increasing across the world. What is referred to as globalisation is the most recent phase of uneven and combined development. 5). Under these conditions, the making of modern art has entered a new and geographically extended phase. If an earlier phase of modernism is identified with internationalism, it is increasingly apparent that this dream of a place that was nowhere (Paris, New York) was just that – a dream.
Art & Visual Culture 1850-2010 Modernity to Globalization by Steve Edwards
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