Bolti ár: 9100 Ft (Az MNB aktuális árfolyamai szerint)
Internetes ár: 8190 Ft (10% kedvezmény)
Kiadó: University of California Press
Kategóriák: Művészettörténet, Kultúra, Társadalomtörténet, Képzőművészet, Társadalomtudomány/Gender Studies
12 color illustrations and 92 black-and-white photographs.
A Best Book of 2009, Artforum Magazine.
During the late 1960s and early 1970s, in response to the political turbulence generated by the Vietnam War, an important group of American artists and critics sought to expand the definition of creative labor by identifying themselves as "art workers." In the first book to examine this movement, Julia Bryan-Wilson shows how a polemical redefinition of artistic labor played a central role in minimalism, process art, feminist criticism, and conceptualism. In her close examination of four seminal figures of the period—American artists Carl Andre, Robert Morris, and Hans Haacke, and art critic Lucy Lippard—Bryan-Wilson frames an engrossing new argument around the double entendre that "art works." She traces the divergent ways in which these four artists and writers rallied around the "art worker" identity, including participating in the Art Workers' Coalition—a short-lived organization founded in 1969 to protest the war and agitate for artists' rights—and the New York Art Strike. By connecting social art history and theories of labor, this book illuminates the artworks and protest actions that were central to this pivotal era in both American art and politics.
"A vivid picture of artistic activism, essential both for the art history of the 1960s and for today's discourse on art and politics." (Artforum)
"An intensive account. . . . Ms. Bryan-Wilson's book is of immediate, practical value to young artists today who want to re-establish art as an alternative place in the culture, though her clean prose will also make the book inviting to more casual readers." (New York Times Book Review)
"This brilliant, vital, and timely study opens up a view of 1960s and 1970s American art that we didn't know we needed until we had it. One by one, the remarkably perceptive chapters of Bryan-Wilson's book converge to form a volume in the best tradition of the intellectual and interdisciplinary freedoms that remain the chief legacy of the period. The political lives of makers and objects have a new champion in Bryan-Wilson." (Darby English)
Julia Bryan-Wilson is Associate Professor of Art History at the University of California, Irvine.