Notice bibliographique
- Notice
Type(s) de contenu et mode(s) de consultation : Texte noté : électronique
Auteur(s) : Maizels, Michael (1983-....)
Titre(s) : Collecting the now [Texte électronique] : on the financial side of postwar art history / Michael Maizels
Publication : Ann Arbor [Mich.] : University of Michigan press, 2022
Description matérielle : 1 online resource
Note(s) : Bibliogr., 13 p.
La pagination de l'édition imprimée correspondante est de : X-201 p.
Sujet(s) : Art -- Aspect économique -- États-Unis -- 20e siècle
Arts -- Finances -- États-Unis -- 20e siècle
Art -- Commerce -- États-Unis -- 20e siècle
Pop'art -- Aspect économique -- États-Unis
Genre ou forme : Études de cas
Indice(s) Dewey :
709.730 904 (23e éd.) = Beaux-arts et arts décoratifs - États-Unis - 1900-1999
Identifiants, prix et caractéristiques : ISBN 9780472220335. - ISBN 0472220330. - ISBN 9780472133093 (erroné)
Voir aussi : Publication alternative dans un autre support/format : Collecting the now [Texte imprimé], ISBN
9780472133093
Identifiant de la notice : ark:/12148/cb472743241
Notice n° :
FRBNF47274324
(notice reprise d'un réservoir extérieur)
Résumé : "Collecting the Now offers a new, in-depth look at the economic forces and institutional
actors that have shaped the outlines of postwar art history, with a particular focus
on American art, 1960-1990. Working through four case studies, Michael Maizels illuminates
how a set of dealers and patrons conditioned the iconic developments of this period:
the profusions of pop art, the quixotic impossibility of land art, the dissemination
of new media, and the speculation-fueled neo-expressionist painting of the 1980s.
This book addresses a question of pivotal importance to a swath of art history that
has already received substantial scholarly investigation. We now have a clear, nuanced
understanding of why certain evolutions took place: why pop artists exploded the delimited
parameters of aesthetic modernism, why land artists further strove against the object
form itself, and why artists returned to (neo-) traditional painting in the 1980s.
But remarkably elided by extant scholarship has been the question of how. How did
conditions coalesce around pop so that its artists entered into museum collections,
and scholarly analyses, at pace unprecedented in the prior history of art? How, when
seeking to transcend the delimited gallery object, were land artists able to create
monumental (and by extension, monumentally expensive), interventions in the extreme
wilds of the Western deserts? And how did the esoteric objects of media art come eventually
to scholarly attention in the sustained absence of academic interest or a private
market? The answers to these questions lie in an exploration of the financial conditions
and funding mechanisms through which these works were created, advertised, distributed,
and preserved"
Table des matières : Opening bell ; Taxing the system : Leo Castelli makes a market ; Marketplace of
ideas : Virginia Dwan, patron of the impossible ; Circuits of exchange : Howard Wise
and distributing media ; Selling speculation : Mary Boone and the roaring '80s ;
Postscript : Theaster Gates builds community.
