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003 MiTN
005 20190729103329.0
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040 _cMiTN
049 _aNMC MEDIA
099 _a14-2-31
100 1 _a14-2-31
245 _aCULTURE AS NATURE/THE FUTURE THAT WAS
260 _a1979; BBC/AMBROSE VIDEO
300 _aDVD; Two programs on this disc; 52 MIN. each program
440 _aSHOCK OF THE NEW: VOL. 7-8
520 _aVOL.7 - CULTURE AS NATURE: Culture replaced nature as the subject-matter for many artists in the 20th century. Modern art has had to survive against an overwhelming flood of other messages from print, radio, advertising, photography and television. Pop art exploded onto the scene. Artists had long been fascinated with ads, posters, dime novels and signs-the emblems of mass produced consciousness, of speedy transmission of blatant meaning. The cubists inserted pop material into their paintings, as did the Dadaists and the Surrealists. Stuart Davis was inspired by jazz, the bright lights of Broadway and the brash signage of the American cityscape in the '30s. The flood gates really opened in the 1950s with the advent of Jasper Johns and Robert Rauschenberg. Media provided new material and subjects for Warhol, Lichtenstein, Rosenquist and Oldenburg. VOL. 8 - THE FUTURE THAT WAS: The old tension between the Academy and the new has vanished. Modernism is our institutional culture today. The consequences: neutralization of art by high market prices; the incestuous interlocking structures of museum and dealer; the attempts at a flight from this highly-organized system into conceptual art, earthworks, body art, art as not salable and not open to discussion; gradual but now complete fragmentation of the avant-garde; doubts about the future of painting; assimilation of self-expression to blatant narcissism, of contest to mere promotion, and finally, the death of the idea of the art movement as such.
650 _aArt
650 _aArt History
650 _aModern Art
596 _a2
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903 _a12532
999 _c12532
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