What Nerve!: Alternative Figures in American Art, 1960 to the Present, Cozzolino
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What Nerve!: Alternative Figures in American Art, 1960 to the Present, Cozzolino
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Standort: Harrisburg, Pennsylvania, USA
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- ISBN
- 9781938922466
Über dieses Produkt
Product Identifiers
Publisher
D.A.P./Distributed Art Publishers
ISBN-10
1938922468
ISBN-13
9781938922466
eBay Product ID (ePID)
202509738
Product Key Features
Book Title
What Nerve! : Alternative Figures in American Art, 1960 to the Present
Number of Pages
368 Pages
Language
English
Topic
Collections, Catalogs, Exhibitions / Group Shows, History / Contemporary (1945-), Folk & Outsider Art, Graffiti & Street Art, American / General, History / General
Publication Year
2014
Illustrator
Yes
Genre
Art
Format
Trade Paperback
Dimensions
Item Height
1 in
Item Weight
48.1 Oz
Item Length
9.9 in
Item Width
8.3 in
Additional Product Features
Intended Audience
Trade
LCCN
2014-019503
Dewey Edition
23
Reviews
The wonderful exhibition 'What Nerve! Alternative Figures in American Art, 1960 to the Present' proposed a possible counter history to textbook accounts of how the major postwar avant-garde movement in the US evolved. The show functioned as both a necessary educational corrective and a demonstration of how widly diverse the range of sub-cultural artistry has always been outside of the dominant New York art world., A demonstration of how widly diverse the range of sub-cultural artistry has always been outside of the dominant New York art world., I found "What Nerve!" hugely stimulating. Not only because it's filled with brilliant and original work, but because it's also sprinkled liberally with clunkers - truly groan-inducing, deeply ordinary art. As a result, the show gives your critical criteria a really good workout. Better yet, it raises such interesting questions. Does art thrive in collectivist settings? Is the energy of groups more productive - or just more viable in the worldly sense - than the heat given off by solitary creators? Is the collective, as an expression of youthful idealism, an end in itself? Or is it, at best, a kind of shell protecting creative individuals in their embryonic stages, best broken out of?, An informative catalgoue, published in conjunction with the exhibition, is Nadel's attempt to tell the story of this artistic lineage in full. While many of the artists in "What Nerve!" have colourful biographies,. Nadel says that he is wary of overemphasising this aspect. 'The work defies any easy one-liners. The story is the work.', This focus on early works catches the artists when they were young, feeding off the creative energies of their comrades and responding most nakedly to their historical times., What Nerve!, the latest exhibit from the RISD Museum, uncovers four underground art movements. These contemporary American scenes span the United States, with moments in Chicago, San Francisco, Ann Arbor, and Providence. Remaining separate from major art-historical movements mostly centered in New York-including Pop art, Minimalism, and Conceptual art-the works in What Nerve! bring the artists' subversive messages to light., What Nerve!, the latest exhibit from the RISD Museum, uncovers four underground art movements. These contemporary American scenes span the United States, with moments in Chicago, San Francisco, Ann Arbor, and Providence. Remaining separate from major art-historical movements mostly centered in New York--including Pop art, Minimalism, and Conceptual art--the works in What Nerve! bring the artists' subversive messages to light., I found "What Nerve!" hugely stimulating. Not only because it's filled with brilliant and original work, but because it's also sprinkled liberally with clunkers -- truly groan-inducing, deeply ordinary art. As a result, the show gives your critical criteria a really good workout. Better yet, it raises such interesting questions. Does art thrive in collectivist settings? Is the energy of groups more productive -- or just more viable in the worldly sense -- than the heat given off by solitary creators? Is the collective, as an expression of youthful idealism, an end in itself? Or is it, at best, a kind of shell protecting creative individuals in their embryonic stages, best broken out of?, 'What Nerve! Alternative Figures in American Art, 1960 to the Present' gives pride of place to misfit artistic subcultures that mainstream institutions have long ignored., It's wonderful how authentic, vital, and even inspiring their whippersnapper principles feel, fifty years later., What Nerve! is a book-length survey of four unconventional American art scenes, spanning from the 1960s to present day./p>The unifying factor behind all of these artists is their distance from New York's art scene, which may have hurt their visibility at times, but certainly not their wildly eccentric creative output. It's enough to make you want to move to Dayton or Milwaukee and start getting weird., "What Nerve! Alternative Figures in American Art, from 1960 to the Present." Instead of rendering a crisp guide from Art Then to Art Now, RISD presents a manic smorgasbord of artists, collectives and influences from creative hubs across the country. It's messy, aggressively so, and we suspect the artists on view wouldn't prefer it any other way.It rambles on and squishes things together and mixes and matches disparate parts, as untamable and exaggerated as the works on view. "What Nerve!" opens up the narrow trajectory of art history into a dizzying knot of possible interconnections and influences, suggesting the shapes and lines formed by art history are works of art in themselves., A provocative title like What If ? (Metropolis Books, $45) is a lot for a book to live up to. Fortunately, the work featured in architect David Rockwell's new monograph more than delivers. Each chapter surprises with a spectacular range of projects, from restaurants and hotels to stage sets and playgrounds., I walked away from the show sensing that these artists were not experimenting but refining fully formed aesthetics...What they produced wasn't high or low imagery, but publics and taste that were wholly their own., 'This exhibition proposes an alternate history of figurative painting, sculpture, and vernacular image-making from the 1960 to the present that has been largely over-looked and undervalued,' Nadel writes in the accompanying catalogue, published by D.A.P., Generally speaking, the art is grotesque, garish and exuberant, cranky, sometimes menacing, often hilarious and, in the case of the Hairy Who and Destroy All Monsters, particularly fresh., "What Nerve!" opens up the narrow trajectory of art history into a dizzying knot of possible interconnections and influences, suggesting the shapes and lines formed by art history are works of art in themselves., This published companion to an exhibition of the same title at the Rhode Island School of Design's museum of Art in Providence connects some widely spaced dots. Starting with the figurative artists of the "Hairy Who" in Chicago and West Coast Funk artists and their assorted allies, it recontextualizes painters as various as William N. Copley, Elizabeth Murray and Gary Panter; encompasses the rogue artist/musicians of Destroy All Monsters; and concludes with the erstwhile Providence collective Forcefield. It may not make total sense, but it greatly broadens the view beyond the usual academic and market suspects.
Dewey Decimal
709.73/0747452
Synopsis
What Nerve! reveals a hidden history of American figurative painting, sculpture and popular imagery. It documents and/or restages four installations, spaces or happenings, in Chicago, San Francisco, Detroit and Providence, which were crucial to the development of figurative art in the United States. Several of the better-known artists in What Nerve! have been the subject of significant exhibitions or publications, but this is the first major volume to focus on the broader impact of figurative art to connect artists and collectives from different generations and regions of the country. These are: from Chicago, the Hairy Who (James Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, Karl Wirsum); from California, Funk artists (Jeremy Anderson, Robert Arneson, Roy De Forest, Robert Hudson, Ken Price, Peter Saul, Peter Voulkos, William T. Wiley); from Detroit, Destroy All Monsters (Mike Kelley, Cary Loren, Niagara, Jim Shaw); and from Providence, Forcefield (Mat Brinkman, Jim Drain, Leif Goldberg, Ara Peterson). Created in collaboration with artists from these groups, the historical moments at the core of What Nerve! are linked by work from six artists who profoundly influenced or were influenced by the groups: William Copley, Jack Kirby, Elizabeth Murray, Gary Panter, Christina Ramberg and H.C. Westermann. Featuring paintings, sculptures, drawings, prints, photographs and videos, as well as ephemera, wallpaper and other materials used in the reconstructed installations, the book and exhibition will broaden public exposure to the scope of this influential history. The exuberance, humor and politics of these artworks remain powerfully resonant. Much of the work in this book, including installation photos, exhibition ephemera and correspondence, is published for the first time. What Nerve! represents the first historical examination of the circumstances, relationships and works of an increasingly important lineage of American artists., What Nerve reveals a hidden history of American figurative painting, sculpture and popular imagery. It documents and/or restages four installations, spaces or happenings, in Chicago, San Francisco, Detroit and Providence, which were crucial to the development of figurative art in the United States. Several of the better-known artists in What Nerve have been the subject of significant exhibitions or publications, but this is the first major volume to focus on the broader impact of figurative art to connect artists and collectives from different generations and regions of the country. These are: from Chicago, the Hairy Who (James Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, Karl Wirsum); from California, Funk artists (Jeremy Anderson, Robert Arneson, Roy De Forest, Robert Hudson, Ken Price, Peter Saul, Peter Voulkos, William T. Wiley); from Detroit, Destroy All Monsters (Mike Kelley, Cary Loren, Niagara, Jim Shaw); and from Providence, Forcefield (Mat Brinkman, Jim Drain, Leif Goldberg, Ara Peterson). Created in collaboration with artists from these groups, the historical moments at the core of What Nerve are linked by work from six artists who profoundly influenced or were influenced by the groups: William Copley, Jack Kirby, Elizabeth Murray, Gary Panter, Christina Ramberg and H.C. Westermann. Featuring paintings, sculptures, drawings, prints, photographs and videos, as well as ephemera, wallpaper and other materials used in the reconstructed installations, the book and exhibition will broaden public exposure to the scope of this influential history. The exuberance, humor and politics of these artworks remain powerfully resonant. Much of the work in this book, including installation photos, exhibition ephemera and correspondence, is published for the first time. What Nerve represents the first historical examination of the circumstances, relationships and works of an increasingly important lineage of American artists.
LC Classification Number
N6512.5.F5W49 2014
Text by
Cozzolino, Robert, Smith, John, Brown, Roger, Molon, Dominic
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