Adam Geczy, Jacqueline Millner
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Owing to digitization, globalization and mass culture, what is deemed 'desirable' and 'of the moment' in art has increasingly followed the patterns of fashion. While in the past artistic styles were always inflected with signs of their modernity, today biennales and art markets are defined by the next big thing, the next sensation, the next new idea. But how do opinions of what is 'good', 'progressive' and 'cutting edge' guide styles? What is it that makes works of art fashionable and commercial?
Fashionable Art critically explores the relationships between art, commerce, taste and cultural value. Each chapter covers a major style or movement, from Chinese and Aboriginal art, Cubism and Pop Art to alternative identity and outsider art, exploring how contemporary art has been shaped since the 1970s. Drawing upon a variety of theoretical frameworks, from Adorno and Bourdieu to Simmel and Zizek, expert visual cultural scholars Geczy and Millner engage with both historical and contemporary debates on this lively topic.
Taking a complex view of the meaning of fashion as it relates to art, while also offering critiques of 'art as fashion', Fashionable Art is an original, key text that will be essential reading for students and scholars of art history, fashion studies and material culture.
A Critique of Postcolonial Reason: Toward a History of the Vanishing Present, Cambridge, MA: Harvard University Press, 1999, 355. 5 Norman Davies, Vanished Kingdoms, London: Viking, 2011. 4 42 FASHIONABLE ART continue to be subjugated while contemporary art is filled with examples of difference. It is now a prerequisite of any international Biennale to have a proportion of races and sexes that is commensurate with the pie chart mentality of commercial galleries. In short, in the international
Armanious’ shitty offerings, Kathy Temin’s Electra Complex or Mikala Dwyer’s suburban neurosis as anything but arch aesthetic references. The paternal benevolence of art criticism blesses these museum refugees, while their wicked aunties and step-sisters remain in purgatory for sullying conceptualism with the grubby fingers of social realism.28 This feminist and social project blind spot is also apparent in an influential exhibition that sought to upend conventional understandings of modernist
both the last modernist style and a crucial step towards the loosening of conventions and myths such as originality and authorship, the watershed to postmodernism. Minimalist works’ apparent dumbness begged the spectator to speak; as monumental steel jutted into their stomachs or Richard Serra, ‘Donald Judd’ , in James Meyer (ed.), Minimalism, London: Phaidon, 2000, 289. 1 threatened to crush them from overhead, these works made viewers acutely aware of their incarnated presence.
according to Foster, modernism with its investment in the autonomy of aesthetics had failed in its attempt to subvert existing power regimes, instead eventually becoming the official culture; postmodern art must therefore do the opposite, abandon autonomy, thereby abandon aesthetics and engage directly with the vernacular. The distinction Foster seeks to assert proved to be hardly clear-cut, however. Early postmodern anti-aesthetic works, with their critique of representation, traditional modes
Calcutta: Seagull Books, 2010. Stallabrass, Julian, High Art Lite, London and New York: Verso, 1999. Stiles, Kristine, ‘I/eye/oculus’, in Gill Perry and Paul Wood (eds), Themes in Contemporary Art, New Haven and London: Yale University Press with The Open University, 2004, 183–229. Stimson, Blake and Gregory Sholette (eds), Collectivism after Modernism: The Art of Social Imagination after 1945, Minneapolis and London: University of Minnesota Press, 2007. Sullivan, Eve, ‘Hany Armanious’, Agenda,