By David Joselit
No different introductory ebook offers the range and complexity of postwar American artwork from summary Expressionism to the current as sincerely and succinctly as this groundbreaking survey. David Joselit lines and analyzes the contradictory formal, ideological, and political stipulations in this interval that made American artwork fundamental during the international. Social and cultural modifications rooted in mass media technologies—photography, tv, video, and the Internet—elevated customer commodities to the prestige of valid artwork matters, as in pop and install artwork, and in addition caused a mechanization of the inventive act. Canonical activities and figures are mentioned at length—Pollock, Rothko, Krasner, Oldenburg, Johns, Warhol, Paik, Ruscha, Sherman, Schnabel, Koons, Barney, and others—in juxtaposition with lesser recognized modern artists and practices. 183 illustrations, eighty in colour.
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His praise of Heine), his wishful relationship to Goethe, from whom he had as much as I have from Hercules. Also the mythical element, his deliberate journey to the cross. 65 Here Mann loyally rose to the defense of his old friend, now disgraced and ostracized, and who had borne the brunt of Kaufmann’s censure. “Bertram is criticized too harshly,” Mann told Kaufmann. ”66 Perhaps that, in the end, is how Bertram’s book should be understood, and its resurrection almost ninety years later justified: as nothing more, but also as nothing less, than a work of art.
16 The eternal store of great deeds and immortal words is gradually lavished on fewer and fewer. Humanity’s memory is ungrateful, but where it does give thanks, it gives profusely, and robs all smaller altars of the past in order to decorate its greatest monuments. Plato and Alexander, St. Francis and Dante, Leonardo, Rembrandt, and Goethe have in this way been transformed from powerful individuals into independent worlds. All of the lesser kings achieved their victories only for the renown of the greatest ones; and it was only for the glory of the greatest poets that the minor ones toiled.
He spent the remainder of his days writing poetry and entertaining the few guests that made their way to his apartment in CologneMarienburg. When he died in 1957, the once celebrated professor, whose name would forever be associated with the philosopher most people in Germany then wanted simply to forget, was quietly laid to rest. In one of the few obituaries that were published, it was noted with a mixture of relief and satisfaction that Bertram “will appear to many as the last German,”62 or at any rate as the last of a particular German type.