By Philip Ursprung, Fiona Elliott
This leading edge examine of 2 of crucial artists of the 20 th century hyperlinks the artwork practices of Allan Kaprow and Robert Smithson of their makes an attempt to check the boundaries of art--both what it's and the place it's. Ursprung offers a cosmopolitan but available research, putting the 2 artists firmly within the artwork international of the Nineteen Sixties in addition to within the artwork ancient discourse of the next a long time. even supposing their practices have been rather various, they either prolonged the studio and gallery into wilderness landscapes, deserted warehouses, business websites, educate stations, and different areas. Ursprung bolsters his argument with large archival learn and sociological and financial versions of enlargement and bounds.
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Extra info for Allan Kaprow, Robert Smithson, and the Limits to Art
Photo: The Bridgeman Art Library. Image Reference: MAN62987 Plate 8. 2 cm. Gallery Oldham, UK. Photo © Gallery Oldham, UK / The Bridgeman Art Library. Image reference: OLD36956 Plate 9. 1900) by John William Waterhouse, oil on canvas, 81 × 53 cm. Private collection. Photo: The Bridgeman Art Library. Image reference: NUL121285 Plate 10. Sappho and Alcaeus (1881) by Lawrence Alma-Tadema, oil on canvas, 66 × 122 cm. The Walters Art Museum, Baltimore, MD Plate 11. 5 cm. The George W. Elkins Collection, 1924, Philadelphia Museum of Art, Philadelphia.
12 Two strands of response are worth emphasizing. ”13 The beauty of “helplessness” ﬁts more easily into the 30 CHAPTER 1 Victorian erotics of femininity than into the rhetoric of the triumphs of martyrdom—we can expect such an aesthetic bias in the Magazine of Art, aligning Eulalia with other naked, pitiful maidens in the period’s art (as well as with the ideals of classical aesthetics as mediated by Winckelmann, high priest of serenity). But the adjective “pure” marks a different potential. There is no term more charged in Victorian religious thinking on sexuality.
43 Despite the long tradition of representing the human form, in the English-speaking world in the mid1880s the display of the painting of a nude body could always ﬂare into controversy. The nude form also entered religious debate in an overheated manner. In 1891, Calderon’s painting St Elizabeth of Hungary’s Great Act of Renunciation caused debate up to the Prime Minister himself. Elizabeth, wife of the king of Hungary, who died while on the Crusades, chose under the guidance of her confessor Conrad of Marburg to follow a life of charity, seclusion, and prayer (plate 5).