Winner of the Art Historians of Australia and New Zealand Best Book Award 2012.

'Is late modern art "anti-aesthetic"? What does it mean to label a piece of art "affectless"? These traditional characterisations of 1960s and 1970s art are radically challenged in this subversive art history. By introducing feeling to the analysis of this period, Susan Best acknowledges the radical and exploratory nature of art in late modernism. Her book focuses on four highly influential female artists—Eva Hesse, Lygia Clark, Ana Mendieta and Theresa Hak Kyung Cha—and it explores how their art transformed established avant-garde protocols by introducing an affective dimension. This aspect of their work, while often noted, has never before been analyzed in detail. Visualizing Feeling also addresses a methodological blind spot in art history: the interpretation of feeling, emotion and affect. It demonstrates that the affective dimension, alongside other materials and methods of art, is part of the artistic means of production and innovation. This is the first thorough re-appraisal of aesthetic engagement with affect in post-1960s art.' - from back cover.

Includes illustrations of artists' works and bibliography.

Access level

Onsite

author
Location code
REF.BES
Language

English

Keyword
Publication/Creation date

2014

No of pages

196

ISBN / ISSN

9781780767093

No of copies

1

Content type

monograph

Chapter headings

Introduction

Minimalism and Subjectivity: Aesthetics and the Anti-Aesthetic Tradition

Feeling and Late Modern Art

Participation, Affect and the Body: Lygia Clark

Eva Hesse’s Late Sculptures: Elusive Expression and Unconscious Affect

Ana Mendieta: Affect Miniaturization, Emotional Ties and the Silueta Series

The Dream of the Audience: The Moving Images of Theresa Hak Kyung Cha

Conclusion: Which Anthropomorphism?

Visualizing Feeling: Affect and the Feminine Avant-Garde
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Visualizing Feeling: Affect and the Feminine Avant-Garde