A thorough history of 20th- and 21st-century art
A thorough history of 20th- and 21st-century art is provided by Foster, Krauss, Bois, Benjamin, and Buchloh in their book "Art Since 1900: Modernism, Antimodernism." The authors concentrate on art from the USA and Europe and see these works as "texts" that should be studied and problems that need to be fixed.
Pivotal periods in art history
They outline pivotal periods in art history such the creation of a ground-breaking work or important text, the debut of an important show, and other noteworthy occasions. The setting for the text's psychoanalytic and social history is set by the first four pieces. Relevant cross-references to other articles are provided by geometric symbols in the text margins. The authors claim that even though these methodologies might seem at counter-purposes, their clash instead engenders a "dialogical" approach to analysis. They Foster presents provide an elaborate exploration of the mean breakthroughs and turning points of modernism and postmodernism. Foster and colleagues also highlights the interior influence of Italian Modernism such as the Macchiaioli and Futurists artists. They view abstract expressionism as a singular movement that adheres to strict standards of medium purity and anti-commercialism.
Bound to Appear: Exploring the significance of transatlantic slavery on American art
In the "Bound to Appear," Copeland explores the significance of transatlantic slavery within critical aesthetic practice at the close of the 20th century, when, for the first time in history, an appreciable number of artists of non-European ancestry figured prominently in the mainstream United States arts world. Focusing on the work of Reene Green, Loma Simpson and Glenn Ligon, Copeland shows how slavery shaped American art in the 21st century in order to support the reorientation of modern contemporary art where race was critical.
Mise-en-Scene: Exploring the history of transatlantic slave in France's Loire Valley
According to Copeland, Reene Green presented Mise-en-Scene, a complex installation exploring the history of transatlantic slave in France’s Loire Valley. Copeland explores the formal evolution and conceptual afterlives of the context and argues that Green’s work and other of her contemporaries area modes of radical critique that freshly make visible the significance of the African Diaspora in the shaping of the modern world. He articulates the purposefully neglected shared genealogy between materialized object and the black body. Copeland explores the work of these black American artists whose oeuvre marks show blackness was structured by slavery through their sense of installations that foregrounded the body.
Racialization and sexualization of artistic works
For instance, in a compelling hypothesis, details how Wilson’s display a large unglazed water jug made by a slave in 1830. The jug is placed together with other slave creative labor in a darkened hallway. According to Copeland, the presence of the jug was Wilson’s methodology of display, in which the object is placed without the sonic, textual and archival juxtaposition. Using Wilson and Simpson’s work, Copeland shows how their artistic works were racialized and sexualized. For instance, he shows how the history of slavery was clearly aligned with the history of the object. A psychoanalytic analysis of the materialized object shows transitional object. Copeland also demonstrates how Duchampian, in her work “Five Rooms,” uses text and color to show how blackness constitutes formal, technical, social and historical meaning. The black text printed on white walls shows the political contrast and shows the contours of racialization.
Works Cited
Huey Copeland,”introduction: The Blackness of things,” in bound to appear. Art, slavery and the site of blackness in multicultural America.
Hal Foster, Rosalind Krauss, Yve-Alain Boss, Benhamin H.D. Art Since 1900 – Modernism, Antimodernism, Postmodernism
