The Met and the Masses in Postwar America: A Study of the Museum and Popular Art Education, Mitchell Frank
Автор: Hedley, Gill Название: Arthur jeffress ISBN: 183860281X ISBN-13(EAN): 9781838602819 Издательство: Bloomsbury Academic Рейтинг: Цена: 6336.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
Arthur Jeffress was an art dealer and collector from a Virginian family who bequeathed his "subversive little collection" (Derek Hill) to Tate and Southampton City Art Gallery on his suicide in 1961. That suicide, a result of his expulsion from Venice, has been the subject of speculation in many memoirs.
Gill Hedley's biography of Jeffress has benefited from access to many hundreds of unpublished letters written between Jeffress and Robert Melville, who ran Jeffress' own gallery from 1955-1961. The letters were written largely while Jeffress was in Venice and reveal a vivid picture of the London gallery world as well as frank details of artists, collectors and the definitive story of his suicide.
Previously unpublished research reveals new information about the lives of Jeffress' lover John Deakin, his business partner Erica Brausen, the French photographer Andr Ostier and Henry Clifford, and the way in which all of them influenced Jeffress' first steps as a collector from the 1930s onwards.
Описание: Interweaving nuanced discussions of politics, visuality, and gender, this title uncovers the complex ways that gender figures into the graphic satire created by artists for the New York City-based socialist journal, the Masses.
Domesticating the Invisible examines how postwar notions of form developed in response to newly perceived environmental threats, in turn inspiring artists to model plastic composition on natural systems often invisible to the human eye. Melissa S. Ragain focuses on the history of art education in Cambridge, Massachusetts, to understand how an environmental approach to form inspired new art programs at Harvard and MIT. As they embraced scientistic theories of composition, these institutions also cultivated young artists as environmental agents who could influence urban design and contribute to an ecologically sensitive public sphere. Ragain combines institutional and intellectual histories to map how the emergency of environmental crisis altered foundational modernist assumptions about form, transforming questions about aesthetic judgment into questions about an ethical relationship to the environment.
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