By Alice Cooney Frelinghuysen
Коллекция американского фарфора из Метрополитен-музея. Книга содержит 221иллюстрацию, из них 169 в цвете.
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Additional resources for American Porcelain. 1770-1920
What might such an art look like? In June 1990 there was a commission to make a video with the residents of an embattled estate in Runcorn, part of the Barrett homes and roundabout zone of the Warrington New Town area in Cheshire, England. Simon Robertshaw was brought in as animator by Halton Borough Council and Movio1a, a local arts trust. The Southgate estate dates from the 1970s it was designed by James Stirling, and was a prize winner. It is concrete (soaks up the rain) with round windows (collect condensation) built on 'decks' (space for vandals) on the architectural metaphor of a ship, and is popularly known as Legoland.
If modernism is a reaction against Romanticism, and prizes the anonymity of the artist within the work, it does so with regard to the artefacts of colonised peoples by rejoicing in the removal of the work from the culture in which it has meaning. 'Homme, the Smithsonian and so on - what artists and critics found was an art already uprooted and alienated from its home culture (by force, in this case), and which therefore seemed to share their sense of autonomy. But of course, this kind of autonomy of colonial art could only be purchased at the price of colonisation.
TV always seems to be a window: this is a self-conscious screen. This isn't television: this is art. Once upon a time, there was no such thing as 'art'. Though we are accustomed to describe cave-paintings, ritual sculpture and mediaeval cathedrals as art, it is not a term the makers of such things would recognise. For the mediaeval cathedral builders, when the word 'art' arose, it was used in the way that has been preserved in the word 'artisan'. A maker's 'art' was that which could be acquired in a guild, or through an apprenticeship.
American Porcelain. 1770-1920 by Alice Cooney Frelinghuysen