This book maps key moments in the history of postwar art from a global perspective.
The reader is introduced to a new globally oriented approach to art, artists, museums and movements of the postwar era (1945–70). Specifically, this book bridges the gap between historical artistic centers, such as Paris and New York, and peripheral loci. Through case studies, previously unknown networks, circulations, divides and controversies are brought to light. From the development of Ethiopian modernism, to the showcase of Brazilian modernity, this book provides readers with a new set of coordinates and a reassessment of well-trodden art historical narratives around modernism.
This book will be of interest to scholars in art historiography, art history, exhibition and curatorial studies, modern art and globalization.
Table of Contents
Introduction. Towards a New Understanding of Globalism in Postwar Art
Flavia Frigeri and Kristian Handberg
1. Prologue: Art History’s Work-in Pro(re)gress: Reflections on the Multiple Modernities Project
PART 1 Crossings and Encounters: Retracing Artists’ Itineraries
2. Expression for All: Ferlov, Mancoba, Tajiri and the Art of Cobra
3. Origins and Brinks: Multiple Modernisms in Postwar London
4. Multiple Resistances to the Concept of Modernism: The Emergence of Artistic-Poetic Networks between Eastern Europe and Latin America in the late 1960s and 1970s.
5. Urban Folklore: Marta Minujín's Postwar Assemblage and the Modern City
6. Yayoi Kusama as a Migrant Artist: An Artistic Trajectory as a Model for the Understanding of Postwar Art
7. The Overworked Ground: Franz Erhard Walther in New York
PART 2 Against the Norm: Decentering and Resisting the Canon
8. Blinded by Mao: The Challenge of Seeing Modernism in Art of the People’s Republic
9. "Iranian Modernism" and the Idea of Indigenous Art: Translations, Adoptions and (mis)interpretations
10. Camouflaged Dissent – A Plastic Umbrella and Transparent Balloons: "Happenings" in South Korea, 1967–1968
11. A Postcard from Addis: Ethiopian Modernism(s) in the World
12. The Cultural Politics of Négritude and the Debates around the Brazilian Participation in the First World Festival of Negro Arts (Dakar, 1966)
13. An Index of Modernity: Feminist Furniture by Teresa Burga and Beatriz González
PART 3 Collecting Modernisms – Exhibiting Modernisms
14. Traveler’s Tales: Alfred Barr, the Soviet Union and International Modernism in the Postwar Period
15. Displaying Whose Modernity? The Bardis and the Museum of Modern Art of São Paulo
16. Cosmonaut Paintings as Contemporary Art: The Soviet Union at the Venice Biennale, 1956–1968
17. All that Jazz: Rome’s Galleria Nazionale d’Arte Moderna and the Rise of Abstraction in Postwar Italy
Flavia Frigeri is an Art Historian and Curator. She is currently Curator for Missing Narratives on Women at the National Portrait Gallery in London.
Kristian Handberg is an Art Historian. He is currently Assistant Professor in the Department of Arts and Cultural Studies at the University of Copenhagen.