Konstfacks bibliotek

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*1001 $aNochlin, Linda$4aut
*24510$aMaking it modern :$bessays on the art of the now /$cLinda Nochlin ; edited by Aruna D'Souza.
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*504  $aIncludes bibliographical references (pages 438-440) and index.
*520  $aThis illustrated, edited collection of essays brings together for the first time some of the pioneering art historian Linda Nochlin's most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal tract on feminism in art, 'Why Have There Been No Great Women Artists?', Nochlin had already firmly established herself as a major practitioner of a politically sophisticated and class-conscious social art history, with her writings on modernism being transformative to the discipline. Nochlin embraced Charles Baudelaire's conviction that modernity meant to be of one's time - and that the role of an art historian was to understand the art of the past not only in its own historical context, but according to the urgencies of the contemporary world. From academic debates about the nude in the 18th century to the work of Robert Gober in the 21st, whatever she turned her analytic eye to was very much conceived as the art of the now - the art we need to look at to navigate the complexities and contradictions of the present.
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*650 0$aArt, Modern$y20th century.
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^

A selection of key essays by one of the most influential voices in art history, including seven previously unpublished pieces.

This illustrated, edited collection of essays brings together for the first time some of the pioneering art historian Linda Nochlin's most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal tract on feminism in art, 'Why Have There Been No Great Women Artists?', Nochlin had already firmly established herself as a major practitioner of a politically sophisticated and class-conscious social art history, with her writings on modernism being transformative to the discipline.

Nochlin embraced Charles Baudelaire's conviction that modernity meant to be of one's time - and that the role of an art historian was to understand the art of the past not only in its own historical context, but according to the urgencies of the contemporary world. From academic debates about the nude in the 18th century to the work of Robert Gober in the 21st, whatever she turned her analytic eye to was very much conceived as the art of the now - the art we need to look at to navigate the complexities and contradictions of the present.

• Acknowledgmentsp. 7
• How Linda Nochlin Made it Modernp. 8
• Revolutions in Art and History
• 1848: The Revolution in Art Historyp. 18
• Meyer Schapiro's Modernismp. 29
• Courbet, David, and the Imaginative Afterlife of the French Revolutionp. 36
• Bodies of Modernity
• Pissarro, Cézanne, and the Eternal Femininep. 47
• Renoir's Men: Constructing the Myth of the Naturalp. 60
• Body Politics: Seurat's Poseusesp. 67
• Camille Corot: The Nude without Qualitiesp. 81
• Abstracting the Body
• Bonnard's Bathersp. 90
• The World According to Goberp. 103
• "Sex is so Abstract": The Nudes of Andy Warholp. 115
• Othering Art History
• Sex and the "Sepoy Mutiny": The Intersection of Race and Gender in the Colonial Imaginaryp. 125
• Learning from Black Malep. 134
• The Imaginary Orientp. 140
• Abstraction and Realism
• Kelly: Making Abstraction Anewp. 160
• The Realist Criminal and the Abstract Lawp. 175
• The New Realistsp. 199
• Picasso's Color: Schemes and Gambitsp. 207
• Museums and Vision
• Museums and Radicals: A History of Emergenciesp. 239
• The Museum as Bildungsroman: My Life in Art, Trash, and Fashionp. 261
• Matisse and its Otherp. 273
• The Naked and the Dread: Reviewing the Modern Nudep. 286
• Genre and Form
• Impressionist Portraits and the Construction of Modern Identityp. 296
• Francis Bacon and the Fear of Narrativep. 325
• Academic Art and the Death of Narrativep. 332
• Camille Pissarro: The Unassuming Eyep. 346
• Death and Gender in Manet's Still Lifesp. 357
• Art as/and Work
• The Paterson Strike Pageant of 1913p. 368
• Van Gogh, Renouard, and the Weavers' Crisis in Lyonsp. 377
• Seurat's Grande Jatte: An Anti-Utopian Allegoryp. 396
• The Cribleuses de He: Courbet, Millet, Breton, Kollwitz, and the Image of the Working Womanp. 415
• Further Readingp. 438
• Picture Creditsp. 440
• Text Sources and Creditsp. 442
• Indexp. 444