Pollock's Modernism provides a new interpretation of the art of Jackson Pollock (1912-1956), one that is based on a phenomenological investigation of the pictorial effects of particular paintings. Focusing on major works that span the artist's career - including Mural (1943), Cathedral (1947), Number 1A, 1948, One: Number 31, 1950, and Portrait and a Dream (1953) - Michael Schreyach argues that Pollock's achievement is best understood by attending to how, technically and formally, he instituted certain modes of pictorial address and structures of beholding in his paintings. From this perspective, Pollock is shown to be an artist who transformed the means by which the phenomenological interdependence of sensation and cognition in our embodied experience could be represented. Offering a provocative counter-argument to dominant accounts of Pollock's work, this book advances bold claims about Pollock's intentions as they are expressed in his art, and illuminates what constituted the artist's unique form of modernism at mid-century.

expressionism.

Museums After Modernism is a unique collectionthat showcasesthe ways questions about the museum go to the heart of contemporarydebates about the production, consumption and distribution of art.The book features expert artists, curators and art historians whograpple with many of the vibrant issues in museum studies, whilepaying homage to a new museology that needs to be considered. Examines the key contemporary debates in museum studies Includes original essays by noted artists, curators, and arthistorians Engages with vital issues in the practice of art-making andart-exhibiting Edited by the world-renowned art historian and author, GriseldaPollock

This work discusses the art of the middle third of the twentieth century. It consists of a short general introduction and four parts, each concentrating on a key aspect of the art of the period.

Rejecting the typical view of formalism's exclusive engagement with essentialized and purified notions of abstraction and its disengagement from issues of gender and embodiment, Brennan explores the ways in which these categories were intertwined. Historically and theoretically."--Jacket.

This thoroughly revised and updated edition of Fashion Theory: A Reader brings together and presents a wide range of essays on fashion theory that will engage and inform both the general reader and the specialist student of fashion. From apparently simple and accessible theories concerning what fashion is to seemingly more difficult or challenging theories concerning globalisation and new media, this collection contextualises different theoretical approaches to identify, analyse and explain the remarkable diversity, complexity and beauty of what we understand and experience every day as fashion and clothing. This second edition contains entirely new sections on fashion and sustainability, fashion and globalisation, fashion and digital/social media and fashion and the body/prosthesis. It also contains updated and revised sections on fashion, identity and difference, and on fashion and consumption and fashion as communication. More specifically, the section on identity and difference has been updated to include contemporary theoretical debates surrounding Islam and fashion, and LGBT+ communities and fashion and the section on consumption now includes theories of 'prosumption'. Each section has a specialist and dedicated Editor's Introduction which provides essential conceptual background, theoretical contextualisation and critical summaries of the readings in each section. Bringing together the most influential and ground breaking writers on fashion and exposing the ideas and theories behind what they say, this unique collection of extracts and essays brings to light the presuppositions involved in the things we all think and say about fashion. This second edition of Fashion Theory: A Reader is a timeless and invaluable resource for both the general reader and undergraduate students across a range of disciplines including sociology, cultural studies and fashion studies.

This volume is part of a four-volume series about art and its interpretation in the 19th and 20th centuries. The books provide an introduction to modern European and American art and criticism that should be valuable both to students and to the general reader.