Difference between revisions of "The Other Tradition"
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| − | Organized by New York art critic [[Gene Swenson]], the exhibition was accompanied by a modest catalogue whose passionate, forty-page essay dismantles Cubism’s claims to formalist innovation. Surrealism is shown to be much cooler (making dreams concrete) and Pop much hotter (making feelings into things) than typically held—and also much more effective. Art’s job is, Swenson wrote, “to turn feelings into things so we that can deal with them.” With an emphasis on action, difference, and desublimation ''The Other Tradition'' was urgently contemporary and potently queer. | + | Organized by New York art critic [[Gene Swenson]], the exhibition was accompanied by a modest catalogue whose passionate, forty-page essay dismantles Cubism’s claims to formalist innovation. Surrealism is shown to be much cooler (making dreams concrete) and Pop much hotter (making feelings into things) than typically held—and also much more effective. Art’s job is, Swenson wrote, “to turn feelings into things so we that can deal with them.” With an emphasis on action, difference, and desublimation ''The Other Tradition'' was urgently contemporary and potently queer. [http://scribd.com/doc/210795520/ (Source)] |
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Revision as of 20:34, 20 December 2015
Organized by New York art critic Gene Swenson, the exhibition was accompanied by a modest catalogue whose passionate, forty-page essay dismantles Cubism’s claims to formalist innovation. Surrealism is shown to be much cooler (making dreams concrete) and Pop much hotter (making feelings into things) than typically held—and also much more effective. Art’s job is, Swenson wrote, “to turn feelings into things so we that can deal with them.” With an emphasis on action, difference, and desublimation The Other Tradition was urgently contemporary and potently queer. (Source)
- Publication
- Links
- Reconstruction, Institute of Contemporary Art, U Pennsylvania, 2014.
