This volume examines how the grotesque has shaped the history, practice, and theory of art in the nineteenth and twentieth centuries. The grotesque entered into the mainstream of modern expression during the romantic era. It has been adopted by a succession of artists as a way to push beyond established boundaries, to explore alternate modes of experience and expression, and to challenge the status quo. Examining specific images by a range of artists, such as Ingres, Gauguin, Hoch, de Kooning, Polke, and Mona Hatoum, the essays also encompass a variety of media, including medical illustration, paintings, prints, photography, multimedia installations, and film. This study brings into focus a range of subjects, styles and theoretical viewpoints that have traditionally been marginalized in the standard narratives on modernism. It demonstrates how the grotesque in modern art directly ties into current debates regarding the representation of race and gender, abjection and the other, globalization, and appropriation.
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Groteque拿到当代艺术语境当中应该是别的意思了，我觉得David Summer的文章写得比较有见地
评分Groteque拿到当代艺术语境当中应该是别的意思了，我觉得David Summer的文章写得比较有见地
评分Groteque拿到当代艺术语境当中应该是别的意思了，我觉得David Summer的文章写得比较有见地
评分Groteque拿到当代艺术语境当中应该是别的意思了，我觉得David Summer的文章写得比较有见地
评分"the horizon where monsters dwell might well be imagined as the visible edge of the hermeneutic circle itself," a critique of the modernist narratives that opens up new creative possibilities
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