Convergences and crossovers
Lawrence Alloway’s incorporative criticism and the “end” of formalism
Bibliographic Data
| ID | 12919722 |
|---|---|
| Authors | Martin Patrick (0000-0001-9936-5154, Massey University, corresponding author) |
| Year | 2011 |
| Volume | 4 |
| Issue | 2 |
| Pages | 151-169 |
| Publication date | 2011-12-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | The Sixties (JOURNAL) |
| Journal identifiers | ISSN: 1754-1336 • E-ISSN: 1754-1328 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/17541328.2011.628835 |
| OpenAlex | W1979407582 |
| Language | EN |
| References cited | 6 |
This article examines the art criticism of the British-born critic, curator, and educator Lawrence Alloway (1926–90). It emphasizes the ways in which Alloway’s approach to criticism both in the Sixties and afterwards was more aesthetically incorporative and politically progressive than that of his more formalist colleague Clement Greenberg. Alloway proposed a less hierarchical notion of a “fine art–Pop Art continuum” and brought reference to the surrounding social and political contexts of artworks into his aesthetic considerations. Alloway’s wide-ranging commentary addressing film, literature, politics, popular culture, and the visual arts laid significant and now under-acknowledged groundwork for many ideas taken for granted in contemporary art and art criticism
Aesthetics · Art · Art criticism · Art history · Criticism · Formalism (music · Literature · Performance art · Political science · Politics · Sociology · The arts · Visual arts · Art, Politics, and Modernism · Artistic and Creative Research · Law · Visual Culture and Art Theory
| Highly cited | No |
|---|