Floor: Anthony Caro, Capital, 1960. Both display a certain nerve and ambition. Yet, the due attention to female artists nonwithstanding, this section nonetheless adheres very closely to the existing Western art-historical canon. These two grants were strengthened by two more from the Art Mentor Foundation, Lucerne, supporting the exhibition and our educational programs. This changing of stakes in the language, material, and form of art led artists to develop new and alternative modernities to mirror the changed terms of geopolitical dialogue across the world. Register a Free 1 month Trial Account.
The catalogue illuminates how these epochal social changes manifested worldwide across the practices of painting, sculpture, installation, performance, cinema, and music, through eight thematic sections: Aftermath: Zero Hour and the Atomic Era; Form Matters; New Images of Man; Realisms; Concrete Visions; Cosmopolitan Modernisms; Nations Seeking Form; and Networks, Media, and Communication. Courtesy: Museum of Modern Art, Doha For art historians and curators working on the 20th century, these are exhilarating times — or, perhaps, agonizing ones. Through the vital relationship between artworks and artists, produced and understood from the point of view of local and specific contexts, Postwar aims to project a broad global understanding of the historical forces that attended the shaping of art after 1945. They have often ended up challenging and expanding previous discourses of modernity that were grounded in Western practices of exclusion. To what extent did the political exert pressure on the aesthetic, or the cultural on the artistic? The art is primarily painting and sculptural, from a monumental scale to small works on paper. The remaining two sections have a powerful dialectical relationship: mobility, openness, and hybridity versus the celebration of roots and the rehabilitation of traditions. African American artists feature extensively in Postwar, so why are Native American artists absent? Here the body is not experiencing pain or expressing pathos.
A project of this globe-spanning dimension requires not only delicate diplomacy but also a shared common horizon among participants and collaborators. But the white-anting of this stump is the real aim of Postwar. Strangely enough for such an ambitious and audacious show, the impression is one of prudence. She even made a mushroom cloud sculpture inspired by a piece of fused earth from nuclear tests that her husband a physicist who worked on the Manhattan Project possessed. Atsuko Tanaka, Electric Dress, 1956 Reconstruction 1986 , enamel paint on light bulbs, electric cords, and control console.
Lygia Clark, Contra Releva Counter Relief , 1959, industrial paint on wood. Each of these tours can also be booked in English at the time of your choice. Since its form first appeared on the walls of Ice Age caves and in ancient myths, the stag has symbolised regeneration, the cycle of life. Eight of the original 15 were on display, transported to Munich from their permanent home in Saitama, Japan. The exhibition, however, fails to elaborate on this fact.
We ask copyright holders with justified claims to contact Haus der Kunst. These years delineate the decisive defeat of Germany in Europe and of Japan in Asia, marking a turning point in global history. Hopefully, the next installments in this colossal curatorial enterprise will continue to provoke revisions of history and rethinkings of conventional periodizations and temporalities, while, at the same time, providing a more legible map of the vast territories under consideration. This immediately positions you as a participant not a viewer. The remaining two sections have a powerful dialectical relationship: mobility, openness, and hybridity versus the celebration of roots and the rehabilitation of traditions. Robert Indiana, The Confederacy, Alabama, 1965, oil on canvas, Miami University Art Museum Either way, you are quickly disorientated by an impressive array of angled walls that cut into the large central gallery of the exhibition.
Artists biographies, a comprehensive bibliography, and chronologies of the postwar period further supplement what will become an indispensable resource for future research. In this context, the cruciform scoring of Frank Stella's Arbeit Macht Frei, 1958, suggests an architecture of totalitarian control, while Isamu Noguchi's Memorial to Man wallpaper, 1947--an embossed face in a vast expanse of whiteness--seems almost uncannily eerie, ghostly, deathly. So, too, is the viewer: you either sink or swim. Australia can count itself lucky to be represented by three works. In recent years, scholarship around the world has begun to shed light on the many alternative histories of contemporary art from this period, and these inquiries have created opportunities to interrogate former conclusions and the general history of the postwar period. The exhibition is already astonishing by numbers: less for its 350 works by 218 artists than for their origin from 65 countries.
For many who survived the war—especially those who witnessed the concentration camps or the destruction wrought by the atom bombs, saw the images of destroyed lives and cities that these disasters produced, and lived through the social conditions of the period—to refuse to become disillusioned required extraordinary vigilance. Charles Hossein Zenderoudi, Sun and Lion, 1960. Some might think Postwar is long overdue, which it surely is, but it will be remembered as an exhibition for our time — not definitive but the best mud map we have for a new myth of late modernism that better explains our current heading. At stake in this reappraisal of late modernism are big and urgent questions about ancestors, inheritances, investments, agency, fields of struggle, geographies of power and modes of temporality. These changes unleashed an incredible energy visible in the art of the time. The painters Malangatana Valente Ngwenya from Mozambique, born in 1936, and Hervé Télémaque, born in Haiti in 1937, both devised vivid images replete with pop-cultural and folk iconography.
Splitting to the left and right, they create diagonal sight lines, some of which deliver short but exhilarating aesthetic narratives in which art from the centre and periphery cross, before dissipating into a few small rooms towards the back of the hall. Presented in this way, artists from Iran, South Korea, Lebanon, Pakistan and South Africa all appear to submit to the dictates of this abstract universalism — a submission contrary to the postcolonial aims of the exhibition statement that is not subjected to even the most glancing postcolonial criticism. What is crucial is that it is the art itself, and the systematic conceptual and aesthetic approaches undertaken by the artists of the period, that have been the real revelation. Jean Fautrier, La Juive The Jewess , 1943, oil on paper mounted on canvas. Highlighting heterochrony, excavating subaltern and peripheral histories, and espousing a materialism that retains little if any association with Marxism, the catalogue texts there are dozens have an irreproachable quality.
What is also dissolving, of course, is the teleology of capital- M Modernism, with its disembodiments and covert naturalizations of privilege. The sheer exhaustiveness of the exhibition might in fact preclude the possibility of more definitive claims. We wish to thank our principal collaborating institution, the Brooklyn Museum, New York, and especially Anne Pasternak, president and director; Nancy Spector, deputy director and chief curator; and Sharon Matt Atkins, vice director, exhibitions and collections management, for their enthusiastic endorsement of the exhibition and for making it possible to present it in New York, a city where an important body of postwar art was created and historicized. Courtesy: Grey Art Gallery and New York University Art Collection. If we are to refigure the cartographies of postwar modernism, what sort of methodologies might we deploy? But while inundated with art and documents, shelter is found in its many side alleys. One is left feeling nostalgic for exhibitions that stake out positions and that accept the limitations of their inevitably arbitrary purviews. Public tours in English take place every Friday at 6:30 pm alternating with the other exhibitions at Haus der Kunst.