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.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
"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
评分Groteque拿到當代藝術語境當中應該是彆的意思瞭，我覺得David Summer的文章寫得比較有見地
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
评分Groteque拿到當代藝術語境當中應該是彆的意思瞭，我覺得David Summer的文章寫得比較有見地
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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