Jaleh Mansoor provides a counter narrative of modernism and abstraction, showing how art and abstraction resist modes of production at the level of process and form rather than representation.
Jaleh Mansoor provides a counter narrative of modernism and abstraction, showing how art and abstraction resist modes of production at the level of process and form rather than representation.
Jaleh Mansoor is Associate Professor of Art History, Visual Art, and Theory at the University of British Columbia and author of Marshall Plan Modernism: Italian Postwar Abstraction and the Beginnings of Autonomia, also published by Duke University Press.
Inhaltsangabe
Preface ix Acknowledgments xv Introduction 1. Toward a Materialist Formalism 1 Introduction 2. Modernism’s Aesthetic Economy: An Art History of Labor’s Subsumption 25 1. Georges Seurat’s Muses, Abstracted: Abstract Anonymous Labor and the Beginnings of Aesthetic Abstraction 51 2. Francis Picabia’s Real Abstraction and the Beginnings of Futurist Cyborgs: The Prefigurative Avant-Gardes 78 3. The Future of the Futurists: The Young-Girl; En/gendering Real Abstraction 104 4. The [Young-Girl] Worker as Equipment: Yves Klein’s Living Paintbrushes 133 5. Surplus Bodies: Santiago Sierra’s Exploitive Remuneration 157 Conclusion 177 Notes 197 Bibliography 213 Index 225
Preface ix Acknowledgments xv Introduction 1. Toward a Materialist Formalism 1 Introduction 2. Modernism’s Aesthetic Economy: An Art History of Labor’s Subsumption 25 1. Georges Seurat’s Muses, Abstracted: Abstract Anonymous Labor and the Beginnings of Aesthetic Abstraction 51 2. Francis Picabia’s Real Abstraction and the Beginnings of Futurist Cyborgs: The Prefigurative Avant-Gardes 78 3. The Future of the Futurists: The Young-Girl; En/gendering Real Abstraction 104 4. The [Young-Girl] Worker as Equipment: Yves Klein’s Living Paintbrushes 133 5. Surplus Bodies: Santiago Sierra’s Exploitive Remuneration 157 Conclusion 177 Notes 197 Bibliography 213 Index 225
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