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Rites de destruction : éphémérité et démolition dans la culture visuelle d'après-guerre par Mona
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Numéro de l'objet eBay :386805063548
Dernière mise à jour le 03 juin 2024 12:05:58 CEST. Afficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- État
- ISBN-13
- 9781784533403
- Book Title
- Destruction Rites
- ISBN
- 9781784533403
- Subject Area
- Art
- Publication Name
- Destruction Rites : Ephemerality and Demolition in Postwar Visual Culture
- Publisher
- Bloomsbury Publishing
- Item Length
- 8.5 in
- Subject
- History / Contemporary (1945-), Criticism & Theory, History / General
- Publication Year
- 2017
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 1 in
- Item Weight
- 16.5 Oz
- Item Width
- 5.4 in
- Number of Pages
- 272 Pages
À propos de ce produit
Product Identifiers
Publisher
Bloomsbury Publishing
ISBN-10
1784533408
ISBN-13
9781784533403
eBay Product ID (ePID)
237878550
Product Key Features
Number of Pages
272 Pages
Publication Name
Destruction Rites : Ephemerality and Demolition in Postwar Visual Culture
Language
English
Subject
History / Contemporary (1945-), Criticism & Theory, History / General
Publication Year
2017
Type
Textbook
Subject Area
Art
Format
Hardcover
Dimensions
Item Height
1 in
Item Weight
16.5 Oz
Item Length
8.5 in
Item Width
5.4 in
Additional Product Features
Intended Audience
College Audience
Dewey Edition
23
Reviews
Hadler demonstrates how destruction, when ritualized in popular culture and fine art, can become enormously productive aesthetically.
Illustrated
Yes
Dewey Decimal
709.04
Table Of Content
List of Illustrations 1. Introduction 2. The Demolition Derby 3. Garage Sales 4. Revell Model Kits- Nuclear Hobbies 5. Atomic Cooking 6. Interview with Vito Acconci: Ephemerality and Destruction in the Public Space Index
Synopsis
In the early sixties, crowds gathered to watch rites of destruction - from the demolition derby where makeshift cars crashed into each other for sport, to concerts where musicians destroyed their instruments, to performances of self-destructing machines staged by contemporary artists. Destruction, in both its playful and fearsome aspects, was ubiquitous in the new Atomic Age. This complicated subjectivity was not just a way for people to find catharsis amid the fears of annihilation and postwar trauma, but also a complex instantiation of ideological crisis in a time with some seriously conflicted political myths. Destruction Rites explores the ephemeral visual culture of destruction in the postwar era and its links to contemporary art. It examines the demolition derby; games and toys based on warfare; playgrounds situated in bomb sites; and the rise of garage sales, where goods designed for obsolescence and destined for the garbage heap are reclaimed and repurposed by local communities. Mona Hadler looks at artists such as Jean Tinguely, Niki de Saint Phalle, Martha Rosler and Vito Acconci to expose how the 1960s saw destruction, construction and the everyday collide as never before. During the Atomic age, whether in the public sphere or art museums, destruction could be transformed into a constructive force and art objects and performances often oscillated between the two., In the early sixties, crowds gathered to watch rites of destruction - from the demolition derby where makeshift cars crashed into each other for sport, to concerts where musicians destroyed their instruments, to performances of self-destructing machines staged by contemporary artists. Destruction, in both its playful and fearsome aspects, was ubiquitous in the new Atomic Age. This complicated subjectivity was not just a way for people to find catharsis amid the fears of annihilation and postwar trauma, but also a complex instantiation of ideological crisis-in a time with some seriously conflicted political myths.Destruction Rites explores the ephemeral visual culture of destruction in the postwar era and its links to contemporary art. It examines the demolition derby; games and toys based on warfare; playgrounds situated in bomb sites; and the rise of garage sales, where goods designed for obsolescence and destined for the garbage heap are reclaimed and repurposed by local communities. Mona Hadler looks at artists such as Jean Tinguely, Niki de Saint Phalle, Martha Rosler and Vito Acconci to expose how the 1960s saw destruction, construction and the everyday collide as never before. During the Atomic age, whether in the public sphere or art museums, destruction could be transformed into a constructive force and art objects and performances often oscillated between the two.
LC Classification Number
N6494
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