Konstfacks bibliotek

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*00139145
*00520141021030855.8
*008141003s2013    xxka          001 0 eng c
*020  $a978-1-78076-709-3
*035  $a(SE-LIBR)17024517
*035  $a(Ko)44115
*084  $aIb.55$2kssb/8
*084  $aIbvz Känslor$2kssb/8
*1001 $aBest, Susan
*24510$aVisualizing feeling :$baffect and the feminine avant-garde /$cSusan Best.
*260  $aLondon :$bI. B. Taurus & Co Ltd,$c2014.
*300  $aviii, 196 pages :$billustrations (black and white) ;$c24 cm.
*650 7$aKvinnliga konstnärer$2sao$0https://id.kb.se/term/sao/Kvinnliga%20konstn%C3%A4rer
*650 7$aKänslor i konsten$2sao$0https://id.kb.se/term/sao/K%C3%A4nslor%20i%20konsten
*650 0$aEmotions in art
*650 0$aWomen artists
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*852  $5Ko$bKo$hKONST - Ib.55
*950  $aKonstnärer$wg$uKvinnliga konstnärer
*950  $aKvinnliga grafiker$wh$uKvinnliga konstnärer
*950  $aKvinnliga keramiker$wh$uKvinnliga konstnärer
*950  $aKvinnliga tecknare$wh$uKvinnliga konstnärer
^

Is late modern art 'anti-aesthetic'? What does it mean to label a piece of art 'affectless'? These traditional characterizations of 1960s and 1970s art are radically challenged in this subversive art history. By introducing feeling to the analysis of this period, Susan Best acknowledges the radical and exploratory nature of art in late modernism. The book focuses on four highly influential female artists--Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha--and it explores how their art transformed established avant-garde protocols by introducing an affective dimension. This aspect of their work, while often noted, has never before been analyzed in detail. Visualizing Feeling also addresses a methodological blind spot in art history: the interpretation of feeling, emotion and affect. It demonstrates that the affective dimension, alongside other materials and methods of art, is part of the artistic means of production and innovation. This is the first thorough re-appraisal of aesthetic engagement with affect in post-1960s art.

• List of Illustrationsp. vi
• Acknowledgementsp. vii
• Introductionp. 1
• Minimalism and Subjectivity: Aesthetics and the Anti-Aesthetic Traditionp. 12
• Feeling and Late Modern Artp. 29
• Participation, Affect and the Body: Lygia Clarkp. 47
• Eva Hesse's Late Sculptures: Elusive Expression and Unconscious Affectp. 67
• Ana Mendieta: Affect Miniaturization, Emotional Ties and the Silueta Seriesp. 92
• The Dream of the Audience: The Moving Images of Theresa Hak Kyung Chap. 116
• Conclusion: Which Anthropomorphism?p. 137
• Notesp. 146
• Bibliographyp. 173
• Indexp. 187