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The Avant-Garde: A Very Short Introduction (Very Short Introductions) download epub

by David Cottington


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David Cottington is Professor of Art History at Kingston University London.

David Cottington is Professor of Art History at Kingston University London. He has published widely on the Cubist movement and the artistic avant-gardes of the early twentieth century, including Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905-1914 and Cubism and its Histories. Series: Very Short Introductions. Paperback: 160 pages.

бесплатно, без регистрации и без смс. 'The avant-garde' is perhaps the most important and influential concept in the history of modern culture

бесплатно, без регистрации и без смс. 'The avant-garde' is perhaps the most important and influential concept in the history of modern culture. For over a hundred years it has governed critical and historical assessment of the quality and significance of an artist or a work of art, in any medium-if these have been judged to be 'avant-garde', then they have been worthy of consideration. If not, then by and large they have not, and neither critics nor historians have paid them much attention

The Avant-Garde book.

The Avant-Garde book. Cottington looks at the relation between "the avant-garde"-that is, the social entity (the "club")-and "avant-garde" qualities in a work of art (or design, or architecture, or any other cultural product), and he sheds light on the meaning of "avant-gardism.

Cottington looks at the relation between "the avant-garde"-that is, the social entity (the "club")-and "avant-garde" qualities in a work of art (or design, or architecture, or any other cultural product), and he sheds light on the meaning of "avant-gardism.

Very Short Introductions (VSI) are a book series published by the Oxford University Press (OUP). The books are concise introductions to particular subjects, intended for a general audience but written by experts. Most are under 200 pages long. While authors may present personal viewpoints, the books are meant to be "balanced and complete" as well as thought provoking.

The avant-garde' is perhaps the most important and influential concept in the history of modern culture

The avant-garde' is perhaps the most important and influential concept in the history of modern culture.

The Avant Garde: A Very Short Introduction. Publisher: Oxford University Press. Print Publication Date: Jan 2013. Print ISBN-13: 9780199582730.

The avant-garde movements of Dada and Surrealism continue to have a huge influence on cultural practice, especially in contemporary art, with its obsession with sexuality, fetishism, and shock tactics. In this new treatment of the subject, Hopkins focuses on the many debates surrounding these movements: the Marquis de Sade's Surrealist deification, issues of quality (How good is Dali?), the idea of the 'readymade', attitudes towards the city, the impact of Freud, attitudes to women, fetishism, and primitivism.

Very Short Introductions. st Alfred Matthew "Weird Al" Yankovic was born in Downey, California. Weird Al is known for his many parodies of popular songs. Very Short Introductions. 22 October at 06:36 ut the complexities of environmental problems.

For over a hundred years, the idea of the "avant-garde" has been perhaps the most important and influential force in modern culture, ruling the critical assessment of the significance of an artist or a work of art. If they have been judged to be "avant-garde," then they are worthy of consideration. But very little attempt has been made to explore why the idea of the "avant-garde" carries so much authority, or how it came to do so. What is more, the term remains a difficult one to define, and is often used in a variety of ways. In this Very Short Introduction, art historian David Cottington illuminates the concept of the avant-garde, exploring its wider context through the development of western modernity, capitalist culture, and the global impact of both. Cottington looks at the relation between "the avant-garde"--that is, the social entity (the "club")--and "avant-garde" qualities in a work of art (or design, or architecture, or any other cultural product), and he sheds light on the meaning of "avant-gardism." Perhaps most interesting, he considers whether--now that contemporary art seems to have broken all taboos and is at the center of a billion-dollar art market--is there still an "avant-garde" at all. And if so, what is the point of it and who are the artists concerned? About the Series:Oxford's Very Short Introductions series offers concise and original introductions to a wide range of subjects--from Islam to Sociology, Politics to Classics, Literary Theory to History, and Archaeology to the Bible. Not simply a textbook of definitions, each volume in this series provides trenchant and provocative--yet always balanced and complete--discussions of the central issues in a given discipline or field. Every Very Short Introduction gives a readable evolution of the subject in question, demonstrating how the subject has developed and how it has influenced society. Eventually, the series will encompass every major academic discipline, offering all students an accessible and abundant reference library. Whatever the area of study that one deems important or appealing, whatever the topic that fascinates the general reader, the Very Short Introductions series has a handy and affordable guide that will likely prove indispensable.

Comments: (3)

Fordregelv
There isn't any critical thought in it. Only the history of the avant-garde movements. I was disappointed. Doesn't worth its money.
Yllk
The book mentions in chapter 4 uses of the term "avant-garde" in revolutionary movements, such as by Lenin, but is devoted to avant-garde in art. I think this should have been made clear in the title. But this "cosmetic" imperfection in no way blights its substantive qualities, including an unusual combination of being both concise and deep. The book is an outstanding short introduction to the avant-garde in art, discussing its evolution as a movement and an idea (I would say "ideology") within changing cultural, economic and political contexts.
Especially striking is the analysis of the tensions between cooption and institutionalization within dominant cultures on one hand and avant-gardism as iconoclastic and revolutionary at its core on the other. Related is the conflict, also well discussed within the space constraints, between "art for its own sake" versus art as a branch of social architecture, in line with the view of Henri de Saint-Simon that society should be led by a triumvirate of artists, scientists and industrialists, with artists being the "avant-garde" providing "imagination" (p. 22). However this is not a frontal conflict between "authoritarianism and libertarianism" as claimed by the author, when approvingly quoting the cultural historian Matei Calinesco (p. 23). Thus, a democratic society may well mobilize willing artists to enlighten the public via artistic creations on major issues, such as environmental dangers, without interfering with the creative freedom of art and artists as a whole.
The book mentions internet art (pp. 115-6). But, being published in 2013, more attention might well have been devoted to avant-gardism in the expanding cyber-sphere. Thus, it provides a radically different "media" and "canvas" for all forms of art and enables novel clustering of a new generation of diverse avant-gardes. Also deserving attention are new instruments for creating novel forms of art, such as computers programmed by artists of a new genre to compose "avant-garde" music.
However, as it is this book is highly recommended. If I may add a personal reaction, it whetted my appetite to read more on art avant-gardes, to supplement my interest in political and social avant-gardes while also enjoyably reducing my ignorance in the history of art.
Professor Yehezkel Dror
The Hebrew University of Jerusalem
Weetont
The errors in this book are subtle and of sinister design, therefore dangerous, so I felt compelled to add my two cents. I was after factual information about the development of "the avant-garde," for which the book is quite useful, but then again, similar information is contained in Wikipedia. This author is (as the title of this review clearly states) a Marxist in sheep's clothing, and he would like you to believe, for example, that the progression of Communism was arrested by Stalin, rather than (the obvious answer) that Stalin was that sad philosophy's natural consequence. Most notably, and sharing a similarity with Adorno, this author has a perverse notion of poetry, and would like to claim that "Shelley's idealism" has some connection with a "Russian revolution [that] gave artists the chance to play the role . . . of being 'the unacknowledged legislators of the world[.]'" He should understand that Shelley most likely was getting at the ultimate quality of poetry, expressed so well by Robert Graves in his work The White Goddess, which correctly understands that poets (at least insofar as they should be understood within the tradition) make social reality, or civilization, and not that poetry wants anything to do with "revolution" in the conventional sense of that word. Still, if you would like a brief overview of the various trends, a quick and easy means to that end. Nevertheless, I hope the young and easily misled consult other sources before jumping to any conclusions about theory, history, or life for that matter.
The Avant-Garde: A Very Short Introduction (Very Short Introductions) download epub
History & Criticism
Author: David Cottington
ISBN: 0199582734
Category: Arts & Photography
Subcategory: History & Criticism
Language: English
Publisher: Oxford University Press; 1 edition (March 14, 2013)
Pages: 160 pages