Art & Visual Culture 1850-2010: Modernity to Globalisation
The essays in this volume engage directly with topical issues around art and gender, globalization, cultural difference, and curating, as well as explorations of key artists and movements and some less well-documented work by contemporary artists.
when applied to artworks and their possible meanings. Section 4 is concerned with the role of installation art in the so-called ‘globalisation’ of the art world over the last few decades. The successful modern artist has increasingly become what is loosely defined as a ‘global nomad’, or ‘travelling artist’, whose work is known and exhibited on an international circuit, and who regularly travels to and works in different countries and contexts. Her/his income and reputation is often dependent on
as falling outside the remit of art history, have become the warp and weft of our historical understanding of the art and culture of modernity. An apprehension that the modern condition demanded new forms of representation had begun to emerge earlier in the nineteenth century with Romanticism. In his review of the Salon of 1824, the novelist Stendhal (1783–1842) inveighed against huge academic pictures, full of nude figures copied from classical bas-reliefs, arguing that ‘the Romantic, in all
capitalism survived and the empire too; and with it, needless to say, modernity. There is no doubt that much French avant-garde art seeks to represent new forms of life in the modern metropolis. But sometimes the ‘worldedness’ of that modernity leaks through. The Japanese print phenomenon is the most important aspect of this. But its implications are more than just technical. In a recent study of the impact of Japonisme on French literature, Jan Walsh Hokenson has drawn attention to earlier
are simplified to echo the rectangular frame, the overall effect is more unified. In Russia, Kasimir Malevich (1878–1935) drew on a different aspect of Cubism, collage, to produce complex collisions of words, iconographic images and flat planes of colour (see Plate 3.19). Shortly, it seems, he began to perceive the possibility of making compositions just from the coloured planes, floating in pictorial space. Plate 3.18 Piet Mondrian, Flowering Apple Tree, 1912, oil on canvas, 78 × 106 cm.
what every artist seeks: to express harmony through the equivalence of relationships of lines, colours and planes’, but, he added, ‘in the clearest and strongest way’.21 One can see why Barr spoke of ‘distilling’ and ‘purifying’. But, for all that, a Mondrian painting is a surprisingly artisanal thing, made by hand and visibly so. Obviously a painting of this type by Mondrian does not involve the agitated brushstrokes of a painting in the expressionist tradition by an artist like van Gogh. But