Contemporary Art and Classical Myth book cover

SAVE
£ix.00

Contemporary Art and Classical Myth book cover

Salve
£25.00

1st Edition

Gimmicky Art and Classical Myth

Copyright Year 2011

Preview

Book Description

Contemporary art is deeply engaged with the field of study of classical myth. Yet within the literature on contemporary art, fiddling has been said about this provocative relationship. Composed of fourteen original essays, Contemporary Art and Classical Myth addresses this scholarly gap, exploring, and in large office establishing, the multifaceted intersection of contemporary fine art and classical myth. Moving across the notion of fine art every bit illustration, the essays assembled here adopt a range of methodological frameworks, from iconography to deconstruction, and do so across an impressive range of artists and objects: Francis Alÿs, Ghada Amer, Wim Delvoye, Luciano Fabro, Joanna Frueh, Felix Gonzales-Torres, Duane Hanson, Yayoi Kusama, Roy Lichtenstein, Kara Walker, and an iconic photo by Richard Drew subsequently entitled The Falling Homo. Arranged so as to highlight both thematic and structural affinities, these essays manifest various aspects of the link between contemporary art and classical myth, while offering novel insights into the artists and myths under consideration. Some essays concentrate on single works as they relate to specific myths, while others have a broader approach, calling on myth equally a means of grappling with dominant trends in contemporary art.

Table of Contents

Contents: Introduction, Isabelle Loring Wallace and Jennie Hirsh; Prologue: Faraway, so close; mythic origins, contemporary art: the case of Kara Walker, Lisa Saltzman. Section I Myth every bit Pregnant: A poetics of becoming: the mythography of Cy Twombly, Craig M. Staff; Art is glimpsed, Sharon Hecker; Narcissus, narcosis, neurosis: the visions of Yayoi Kusama, Jody B. Cutler; The porous space of Bracha L. Ettinger's Eurydices, Marisa Vigneault; Double have, or theorizing reflection in Felix Gonzalez-Torres, Jennie Hirsh. Section 2 Myth as Medium: Lichtenstein'southward Narcissus, Graham Bader; Philomela as metaphor: sexuality, pornography and seduction in the fabric works of Tracey Emin and Ghada Amer, Giulia Lamoni; Icarus returned: the falling man and the survival of antiquity, Sharon Sliwinski; Deep shit: thoughts on Wim Delvoye'southward Cloaca project, Isabelle Loring Wallace. Section 3 Myth as Method: A new Parrhasius: Duane Hanson's uncanny realism, Elizabeth Mansfield; Over and over, once more and over again, Emma Cocker; Video art in the house of Hades, Sophie-Isabelle Dufour. Section IV Epilogue: The Sphinx unwinds her ain sweetness cocky, Joanna Frueh; Bibliography; Index.

Editor(south)

Biography

Isabelle Loring Wallace is Acquaintance Professor of Contemporary Art at the Lamar Dodd School of Art, Academy of Georgia, United states of america. Jennie Hirsh is Assistant Professor of Modern and Gimmicky Art in the Department of Art History, Theory, and Criticism, Maryland Institute College of Art, Us.

Reviews

'...a very timely volume, with a tight focus on a significant nevertheless seriously understudied theme...addresses the almost complete neglect of the prospect that the decline of democratic art portends non the rebirth of Christianity as the leading context for fine art interpretation but the re-emergence of older, more classical, hence more than buried contexts of interpretation.' Gregg K. Horowitz, author of Sustaining Loss: Art and Mournful Life

'As this compelling and revelatory volume proposes, classical mythology's rich territory and enduring stories of morality and the human condition provide a provocative lens through which to read and re-read the works of some of contemporary art's nigh celebrated artists.' Irene Hofmann, SITE Santa Fe, United states

'... as this volume addresses an interesting yet apparently nether-explored area of art history, it is recommended for libraries serving scholars and advanced students.' ARLIS/NA

'Jennie Hirsh and Isabelle Loring Wallace have washed a superb task in bringing together a rich collection of essays that not but uncovers the (perhaps surprising) role that classical mythology plays in a wide diversity of contemporary art (hither defined equally 1960 to the present), only likewise shows us how contemporary art historians can fruitfully employ classical myths as role of their methods of interpretation. Classicists will discover here an exemplary volume on the reception of Classical mythology in the history of art distinguished by the theoretical sophistication of the essays, the fine art-historical expertise of the authors, and the depth and far-reaching implications of the editors' introduction.' Bryn Mawr Classical Review

'[The] rise of a Classical trend in contemporary art has exposed the relative lack of writings about that topic. As a consequence, the publication of a volume such every bit Contemporary Art and Classical Myth should in itself be welcomed as the sign of a burgeoning interest in a fundamental theme in gimmicky cosmos. Moreover, it focuses on what is the most crucial creative legacy of Classical sculpture: its myths.' Oxford Art Periodical