纽约怎样窃取现代艺术的观念.ppt

How New York Stole the Idea of Modern Art Urbanisation, division of labour and the autonomisation of the artistic field By the end of the 19th century, the artistic field had developed and the ‘artist’ subdivided into several figures: the academic painter patronised by wealthy families or the state; the bohemian, anti-academy painter trying to gain symbolic recognition within the art world (rather than material reward from the market). The modernist art’s attack on academic ideals and conventions can be situated within a broader context of political and social contest and scientific innovation (new discoveries in physics and geometry radically altered concepts of space, time and matter). Urbanisation, division of labour and the autonomisation of the artistic field The modernist art’s attack on academic ideals and conventions can be situated within a broader context of political and social contest and scientific innovation (new discoveries in physics and geometry radically altered concepts of space, time and matter). Following the lead of the European avant-garde, rebellious American artists attempted to ally their attack against the genteel idealism of Gilded Age art with socialist, working-class politics. Along with new forms of social realism, modernist artists developed experimental, subjective styles that departed from Renaissance illusionism and referentialism and conventional imitations of nature and the human figure. After the depression (1929), federal arts programs in the New Deal supported the continuance of political artistic activism in works that directly or indirectly promoted working class causes and opposed the rise of European fascism. Reflexivity and commercialisation As a field becomes older (and therefore possesses accumulated history) and has acquired some form of autonomy, it tends to evolve towards greater reflexivity: references to its own history, artistic jokes, satire of the artistic pretensions, techniques to call attention to