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Author:   Natalie Adamson ,  Steven Harris
Publisher:   John Wiley and Sons Ltd
Imprint:   Wiley-Blackwell
Dimensions:   Width: 21.10cm , Height: 1.80cm , Length: 27.40cm
Weight:   0.758kg
ISBN:  

9781119328575

ISBN 10:   1119328578
Pages:   224
Publication Date:   28 July 2017
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Available To Order  
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Table of Contents

Notes on Contributors 6 Chapter 1 Material Imagination: Art in Europe, 1946–72 8 Natalie Adamson and Steven Harris Chapter 2 Black Flowers Blossom: Bachelard, Soulages and the Material Imaginary of Abstract Painting 22 Natalie Adamson Chapter 3 Materialism and Intersubjectivity in Cobra 44 Karen Kurczynski Chapter 4 Makeshift Wholes: Interiority and Texture in Postwar British Design 66 Alex Kitnick Chapter 5 Materializing Modernism in Postwar Italy: Fausto Melotti, Gio Ponti, and the 1961 88 Esposizione Internazionale del Lavoro Marin R. Sullivan Chapter 6 L’Optique Moderne: Daniel Spoerri’s ‘Optical Readymades’ 112 Jill Carrick Chapter 7 Terrain vague: Ben Vautier and the Ecole de Nice 140 Anna Dezeuze Chapter 8 ‘Not Yet’ Materialized: Carlfriedrich Claus’s ‘Talking Papers’ 164 Sarah E. James Chapter 9 The Longevity of Roman Opałka 188 Alistair Rider Index 209

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Author Information

Natalie Adamson is Senior Lecturer in Art History at the University of St Andrews, and was Deputy Editor of Art History from 2012 to 2017. She is the author of Academics, Pompiers, Official Artists and the Arrière-Garde: Defining Modern and Traditional in France, 1900-1960 (2009) and Painting, Politics, and the Struggle for the École de Paris, 1944-1964 (2009). She currently holds a two-year Major Research Fellowship from the Leverhulme Trust for a book project provisionally entitled Pierre Soulages: Radical Abstraction. Steven Harris is Associate Professor in History of Art, Design and Visual Culture at the University of Alberta. He is the author of articles on surrealism, postwar abstraction, and Fluxus, and the book Surrealist Art and Thought in the 1930's: Art, Politics and the Psyche (2004). His current research project, The Poetics of Disenchantment, investigates both the surrealist movement in the postwar period, and how surrealist ideas and values were taken up or challenged by postwar European collectives like Cobra, the College of 'Pataphysics, and the Situationist International.

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