[PDF] Green Cities of Europe: Global Lessons on Green Urbanism by Timothy Beatley at Arts-Photography

Description

Is late modern art lsquo;anti-aestheticrsquo;? What does it mean to label a piece of art lsquo;affectlessrsquo;? These traditional characterisations of 1960s and 1970s art are radically challenged in this subversive art history. By introducing feeling to the analysis of this period; Susan Best acknowledges the radical and exploratory nature of art in late modernism. Her book focuses on four highly influential female artists - Eva Hesse; Lygia Clark; Ana Mendieta and Theresa Hak Kyung Cha - and it explores how their art transformed established avant-garde protocols by introducing an affective dimension. This aspect of their work; while often noted; has never before been analysed in detail. Visualizing Feeling also addresses a methodological blind spot in art history: the interpretation of feeling; emotion and affect. It demonstrates that the affective dimension; alongside other materials and methods of art; is part of the artistic means of production and innovation. This is the first thorough re-appraisal of aesthetic engagement with affect in post-1960s art.The book also extends and enlarges the applications of psychoanalytic theory to art history. Susan Best draws on a rich array of psychologists and psychoanalytic thinkers such as: Andreacute; Green; Sarah Kofman; Melanie Klein; Donald Winnicott; Ignacio Matte-Blanco; Silvan Tomkins and Daniel Stern. In addition; key aesthetic ideas and concepts are interrogated; including expressive theories of art; beauty and the sublime; and embodied responses to art.By creatively re-evaluating late modern art; Susan Best offers a new way of thinking about subjectivity and feeling which acknowledges and celebrates the achievements of the feminine avant-garde.