Coverart for item
The Resource Art and pluralism : Lawrence Alloway's cultural criticism, Nigel Whiteley

Art and pluralism : Lawrence Alloway's cultural criticism, Nigel Whiteley

Label
Art and pluralism : Lawrence Alloway's cultural criticism
Title
Art and pluralism
Title remainder
Lawrence Alloway's cultural criticism
Statement of responsibility
Nigel Whiteley
Creator
Author
Subject
Genre
Language
eng
Summary
This book examines the writings of Lawrence Alloway (1926-1990), one of the most influential and widely-respected art writers of the post-War years. Art and Pluralism provides a close and critical reading of Alloway's writings, and sets his work in the cultural and political context of the London and New York art worlds of the 1950s to the early 1980s. A invaluable work for all twentieth-century artists and art historians
Member of
Cataloging source
MHW
http://library.link/vocab/creatorName
Whiteley, Nigel
Illustrations
  • illustrations
  • portraits
  • plates
Index
index present
Literary form
non fiction
Nature of contents
  • dictionaries
  • bibliography
Series statement
Value, art, politics
http://library.link/vocab/subjectName
  • Alloway, Lawrence
  • Alloway, Lawrence
  • Art
  • Art, Modern
  • Pluralism
  • ART
  • ART
  • Art, Modern
  • Art
  • Pluralism
Label
Art and pluralism : Lawrence Alloway's cultural criticism, Nigel Whiteley
Instantiates
Publication
Bibliography note
Includes bibliographical references (pages 473-489) and index
Carrier category
online resource
Carrier category code
  • cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • British art scene
  • Abstraction and iconography
  • 11.
  • communications network
  • 12.
  • Departure from the Guggenheim
  • 13.
  • Exile in Carbondale
  • 14.
  • Arts Magazine
  • 15.
  • 4.
  • Venice Biennale
  • 16.
  • Return to New York: SVA, SUNY, and The Nation
  • 17.
  • Options
  • 18.
  • Expanding and disappearing works of art
  • 19.
  • Alloway's Nation criticism
  • 20.
  • Early career
  • Newness and the avant-garde
  • 21.
  • Post-Minimal radicalism
  • 22.
  • Historical revisions: Abstract Expressionism and Picasso
  • 23.
  • Mass communications
  • 24.
  • Film criticism
  • 25.
  • Section B
  • Violent America
  • 26.
  • Pluralism as a "unifying theory"
  • Section D
  • Alternatives, 1971-1988
  • 1.
  • Disorientation and dissent in the art world
  • 2.
  • Alloway and the politicization of art, 1968-1970
  • 3.
  • Continuum, 1952 -- 1961
  • Changing values, 1971-1972
  • 4.
  • Art/brunt and the art world as a system
  • 5.
  • 1973 and a new pluralism
  • 6.
  • uses and limits of art criticism
  • 7.
  • Criticism and women's art, 1972-1974
  • 8.
  • 1.
  • Women's art and criticism, 1975
  • 9.
  • realist "renewal"
  • 10.
  • Photo-Realism
  • 11.
  • realist "revival"
  • 12.
  • Realist revisionism
  • 13.
  • Art criticism, 1951-1952
  • decline of the avant-garde
  • 14.
  • "Legitimate variables"
  • 15.
  • Earth art
  • 16.
  • Public art
  • 17.
  • In praise of plenty
  • 18.
  • 2.
  • Crises in the art world: criticism
  • 19.
  • Crises in the art world: feminism
  • 20.
  • Crises in the art world: curatorship
  • 21.
  • co-ops and "alternative" spaces
  • 22.
  • Turn of the decade decline
  • 23.
  • ICA in the early 1950s
  • Mainstream
  • 24.
  • and "alternative"
  • 25.
  • last years
  • 26.
  • complex present
  • Section E
  • Summary and Conclusion
  • 1.
  • 3.
  • Pluralism
  • 2.
  • "Post-Modernism"
  • 3.
  • Art history
  • 4.
  • Art criticism
  • 5.
  • Alloway's reputation
  • 6.
  • Machine generated contents note:
  • Independent Group: aesthetic problems
  • Art
  • 7.
  • legacy of pluralism
  • 4.
  • Independent Group: popular culture
  • 5.
  • Art criticism, 1953 -- 1955
  • 6.
  • Alloway and abstraction
  • 7.
  • Alloway and figurative art
  • 8.
  • Section
  • This Is Tomorrow, 1956
  • 9.
  • Information Theory
  • 10.
  • Group 12 and Information Theory
  • 11.
  • Science fiction
  • 12.
  • cultural continuum model
  • 13.
  • A Introduction
  • Writings about the movies
  • 14.
  • Graphics and advertising
  • 15.
  • Design
  • 16.
  • Architecture and the city
  • 17.
  • Channel flows
  • 18.
  • 1.
  • Art autre
  • 19.
  • human image
  • 20.
  • Modern Art in the United States, 1956
  • 21.
  • Action Painting
  • 22.
  • First trip to the USA
  • 23.
  • Alloway and pluralism
  • New American Painting, 1958
  • 24.
  • Alloway and Greenberg
  • 25.
  • Cold wars
  • 26.
  • British art and the USA: The Middle Generation
  • 27.
  • younger generation and the avant-garde
  • 28.
  • 2.
  • Hard Edge
  • 29.
  • Place and the avant-garde, 1959
  • 30.
  • Situation and its legacy
  • 31.
  • emergence of Pop art
  • 32.
  • Alloway's departure
  • Section C
  • Background
  • Abundance, 1961 -- 1971
  • 1.
  • Arrival in the USA and "Clemsville"
  • 2.
  • Junk art
  • 3.
  • American Pop
  • 4.
  • Curator at the Guggenheim
  • 5.
  • 3.
  • Six Painters and the Object and Six More, 1963
  • 6.
  • Other writings on Pop
  • 7.
  • Art as human evidence
  • 8.
  • Alexander Liberman and Paul Feeley
  • 9.
  • Systemic Painting, 1966
  • 10.
Control code
ocn811488562
Dimensions
unknown
Extent
1 online resource (xiv, 510 pages, 16 unnumbered pages of plates)
Form of item
online
Isbn
9781846316708
Media category
computer
Media MARC source
rdamedia
Media type code
  • c
Note
JSTOR
Other physical details
illustrations (some color), portraits
http://library.link/vocab/ext/overdrive/overdriveId
22573/ctt5p54dw
Specific material designation
remote
System control number
(OCoLC)811488562
Label
Art and pluralism : Lawrence Alloway's cultural criticism, Nigel Whiteley
Publication
Bibliography note
Includes bibliographical references (pages 473-489) and index
Carrier category
online resource
Carrier category code
  • cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • British art scene
  • Abstraction and iconography
  • 11.
  • communications network
  • 12.
  • Departure from the Guggenheim
  • 13.
  • Exile in Carbondale
  • 14.
  • Arts Magazine
  • 15.
  • 4.
  • Venice Biennale
  • 16.
  • Return to New York: SVA, SUNY, and The Nation
  • 17.
  • Options
  • 18.
  • Expanding and disappearing works of art
  • 19.
  • Alloway's Nation criticism
  • 20.
  • Early career
  • Newness and the avant-garde
  • 21.
  • Post-Minimal radicalism
  • 22.
  • Historical revisions: Abstract Expressionism and Picasso
  • 23.
  • Mass communications
  • 24.
  • Film criticism
  • 25.
  • Section B
  • Violent America
  • 26.
  • Pluralism as a "unifying theory"
  • Section D
  • Alternatives, 1971-1988
  • 1.
  • Disorientation and dissent in the art world
  • 2.
  • Alloway and the politicization of art, 1968-1970
  • 3.
  • Continuum, 1952 -- 1961
  • Changing values, 1971-1972
  • 4.
  • Art/brunt and the art world as a system
  • 5.
  • 1973 and a new pluralism
  • 6.
  • uses and limits of art criticism
  • 7.
  • Criticism and women's art, 1972-1974
  • 8.
  • 1.
  • Women's art and criticism, 1975
  • 9.
  • realist "renewal"
  • 10.
  • Photo-Realism
  • 11.
  • realist "revival"
  • 12.
  • Realist revisionism
  • 13.
  • Art criticism, 1951-1952
  • decline of the avant-garde
  • 14.
  • "Legitimate variables"
  • 15.
  • Earth art
  • 16.
  • Public art
  • 17.
  • In praise of plenty
  • 18.
  • 2.
  • Crises in the art world: criticism
  • 19.
  • Crises in the art world: feminism
  • 20.
  • Crises in the art world: curatorship
  • 21.
  • co-ops and "alternative" spaces
  • 22.
  • Turn of the decade decline
  • 23.
  • ICA in the early 1950s
  • Mainstream
  • 24.
  • and "alternative"
  • 25.
  • last years
  • 26.
  • complex present
  • Section E
  • Summary and Conclusion
  • 1.
  • 3.
  • Pluralism
  • 2.
  • "Post-Modernism"
  • 3.
  • Art history
  • 4.
  • Art criticism
  • 5.
  • Alloway's reputation
  • 6.
  • Machine generated contents note:
  • Independent Group: aesthetic problems
  • Art
  • 7.
  • legacy of pluralism
  • 4.
  • Independent Group: popular culture
  • 5.
  • Art criticism, 1953 -- 1955
  • 6.
  • Alloway and abstraction
  • 7.
  • Alloway and figurative art
  • 8.
  • Section
  • This Is Tomorrow, 1956
  • 9.
  • Information Theory
  • 10.
  • Group 12 and Information Theory
  • 11.
  • Science fiction
  • 12.
  • cultural continuum model
  • 13.
  • A Introduction
  • Writings about the movies
  • 14.
  • Graphics and advertising
  • 15.
  • Design
  • 16.
  • Architecture and the city
  • 17.
  • Channel flows
  • 18.
  • 1.
  • Art autre
  • 19.
  • human image
  • 20.
  • Modern Art in the United States, 1956
  • 21.
  • Action Painting
  • 22.
  • First trip to the USA
  • 23.
  • Alloway and pluralism
  • New American Painting, 1958
  • 24.
  • Alloway and Greenberg
  • 25.
  • Cold wars
  • 26.
  • British art and the USA: The Middle Generation
  • 27.
  • younger generation and the avant-garde
  • 28.
  • 2.
  • Hard Edge
  • 29.
  • Place and the avant-garde, 1959
  • 30.
  • Situation and its legacy
  • 31.
  • emergence of Pop art
  • 32.
  • Alloway's departure
  • Section C
  • Background
  • Abundance, 1961 -- 1971
  • 1.
  • Arrival in the USA and "Clemsville"
  • 2.
  • Junk art
  • 3.
  • American Pop
  • 4.
  • Curator at the Guggenheim
  • 5.
  • 3.
  • Six Painters and the Object and Six More, 1963
  • 6.
  • Other writings on Pop
  • 7.
  • Art as human evidence
  • 8.
  • Alexander Liberman and Paul Feeley
  • 9.
  • Systemic Painting, 1966
  • 10.
Control code
ocn811488562
Dimensions
unknown
Extent
1 online resource (xiv, 510 pages, 16 unnumbered pages of plates)
Form of item
online
Isbn
9781846316708
Media category
computer
Media MARC source
rdamedia
Media type code
  • c
Note
JSTOR
Other physical details
illustrations (some color), portraits
http://library.link/vocab/ext/overdrive/overdriveId
22573/ctt5p54dw
Specific material designation
remote
System control number
(OCoLC)811488562

Library Locations

    • Copley LibraryBorrow it
      5998 Alcalá Park, San Diego, CA, 92110-2492, US
      32.771354 -117.193327
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