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David Joselit traces and analyzes the contradictory formal, ideological, and political conditions during this period that made American art predominant throughout the world. Social and cultural transformations rooted in mass media technologies'”photography, television, video, and the Internet'”elevated consumer commodities to the status of legitimate art subjects, as in pop and installation art, and also brought about a mechanization of the creative act. Canonical movements and figures are discussed at length'”Pollock, Rothko, Krasner, Oldenburg, Johns, Warhol, Paik, Ruscha, Sherman, Schnabel, Koons, Barney, and others'”in juxtaposition with lesser known contemporary artists and practices.
David Joselit is a Professor in the Department of the History of Art at Yale University.
Table of Contents
The Private Gesture in Public: Art of the New York School
Expanded Gestures: Painting of the 1950s
The Media Public Sphere: Pop and Beyond
Objects, General and Specific: Assemblage, Minimalism, Fluxus
Art as Information: Systems, Sites, Media
The Artist's Properties: From Conceptual Art to Identity Politics
Commodity Lifestyles: From Appropriation to the Posthuman