Contemporary Classicism as the Aftermath of Postmodern Conceptualism? A Critical Historicisation

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F19%3A00112171" target="_blank" >RIV/00216224:14210/19:00112171 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.henry-moore.org/whats-on/2019/11/15/order-art-classicism-and-discourse-from-1755-to-today" target="_blank" >https://www.henry-moore.org/whats-on/2019/11/15/order-art-classicism-and-discourse-from-1755-to-today</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Contemporary Classicism as the Aftermath of Postmodern Conceptualism? A Critical Historicisation

Popis výsledku v původním jazyce

Classicism is not consider to play a huge role in post-1945 art. Therefore, influences of classicist styles have to be traced in other discourses. Beginning in the 1960s, the more and more theorized and linguistics-focused art forms of Minimal Art, Concept Art and Appropriation Art started a development that soon was set to criticize every discourse in the art world and beyond, including its institutions or older styles. Classicism was not only a prime example of unwanted canonization, but was also abused by the totalitarian regimes in the 1930s and 1940s. Only through that critique classicism remained a part of contemporary art to this day, but lost its original demeanour of incrementally working on the human body and a set range of forms. As many art movements today, classicism is part of the institutional critique and post-critical period right now. The paper focused on Robert Morris and Gerhard Merz to discuss both extremes, the forms of linguistics deconstruction and the ideological critique.

Název v anglickém jazyce

Contemporary Classicism as the Aftermath of Postmodern Conceptualism? A Critical Historicisation

Popis výsledku anglicky

Classicism is not consider to play a huge role in post-1945 art. Therefore, influences of classicist styles have to be traced in other discourses. Beginning in the 1960s, the more and more theorized and linguistics-focused art forms of Minimal Art, Concept Art and Appropriation Art started a development that soon was set to criticize every discourse in the art world and beyond, including its institutions or older styles. Classicism was not only a prime example of unwanted canonization, but was also abused by the totalitarian regimes in the 1930s and 1940s. Only through that critique classicism remained a part of contemporary art to this day, but lost its original demeanour of incrementally working on the human body and a set range of forms. As many art movements today, classicism is part of the institutional critique and post-critical period right now. The paper focused on Robert Morris and Gerhard Merz to discuss both extremes, the forms of linguistics deconstruction and the ideological critique.

Druh

O - Ostatní výsledky

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů