9780691192529-0691192529-The New Monuments and the End of Man: U.S. Sculpture between War and Peace, 1945–1975

The New Monuments and the End of Man: U.S. Sculpture between War and Peace, 1945–1975

ISBN-13: 9780691192529
ISBN-10: 0691192529
Edition: Illustrated
Author: Slifkin, Robert
Publication date: 2019
Publisher: Princeton University Press
Format: Hardcover 248 pages
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Book details

ISBN-13: 9780691192529
ISBN-10: 0691192529
Edition: Illustrated
Author: Slifkin, Robert
Publication date: 2019
Publisher: Princeton University Press
Format: Hardcover 248 pages

Summary

Acknowledged authors Slifkin, Robert wrote The New Monuments and the End of Man: U.S. Sculpture between War and Peace, 1945–1975 comprising 248 pages back in 2019. Textbook and eTextbook are published under ISBN 0691192529 and 9780691192529. Since then The New Monuments and the End of Man: U.S. Sculpture between War and Peace, 1945–1975 textbook was available to sell back to BooksRun online for the top buyback price or rent at the marketplace.

Description

How leading American artists reflected on the fate of humanity in the nuclear era through monumental sculpture

In the wake of the atomic bombings of Japan in 1945, artists in the United States began to question what it meant to create a work of art in a world where humanity could be rendered extinct by its own hand. The New Monuments and the End of Man examines how some of the most important artists of postwar America revived the neglected tradition of the sculptural monument as a way to grapple with the cultural and existential anxieties surrounding the threat of nuclear annihilation.

Robert Slifkin looks at such iconic works as the industrially evocative welded steel sculptures of David Smith, the austere structures of Donald Judd, and the desolate yet picturesque earthworks of Robert Smithson. Transforming how we understand this crucial moment in American art, he traces the intersections of postwar sculptural practice with cybernetic theory, science-fiction cinema and literature, and the political debates surrounding nuclear warfare. Slifkin identifies previously unrecognized affinities of the sculpture of the 1940s and 1950s with the minimalism and land art of the 1960s and 1970s, and acknowledges the important contributions of postwar artists who have been marginalized until now, such as Raoul Hague, Peter Grippe, and Robert Mallary.

Strikingly illustrated throughout, The New Monuments and the End of Man spans the decades from Hiroshima to the Fall of Saigon, when the atomic bomb cast its shadow over American art.

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