Interplay: Neo-Geo Neoconceptual Art of the 1980s (Mit Press), Brandt, Amy L., E

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“LIKE NEW/UNREAD!!! Text is Clean and Unmarked! Has a small black line or red dot on the ...
ISBN
9780262027533

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Product Identifiers

Publisher
MIT Press
ISBN-10
0262027534
ISBN-13
9780262027533
eBay Product ID (ePID)
201598881

Product Key Features

Book Title
Interplay : NeoGeo Neoconceptual Art of the 1980s
Number of Pages
240 Pages
Language
English
Publication Year
2014
Topic
History / Contemporary (1945-), Criticism & Theory, American / General
Illustrator
Yes
Genre
Art
Author
Amy L. Brandt
Format
Hardcover

Dimensions

Item Height
0.8 in
Item Weight
31.6 Oz
Item Length
9.3 in
Item Width
8.4 in

Additional Product Features

Intended Audience
Trade
LCCN
2013-046627
Reviews
Brandt...provides a critical reevaluation (and renaming) of neoconceptual artists, typically called neo-geo, in New York City during the 1980s. By closely examining the work of Jeff Koons, Peter Halley, Philip Taafe, Haim Steinbach, Sherrie Levine, Ashley Bickerton, and many others, Brandt demolishes the Neo Geo pejorative (think bright colors and geometric forms) and arrives at a much more convincing and meaningful analysis based on the artists' theoretical underpinnings.
Dewey Edition
23
Grade From
College Graduate Student
Dewey Decimal
709.04/075
Synopsis
The first in-depth study of a group of artists known for their irony, their theoretical impulses, and their market success in the 1980s. Emerging from New York's East Village art scene of the 1980s, the so-called neo-geo artists were a loosely associated group that included the painters Ashley Bickerton, Peter Halley, Sherrie Levine, Allan McCollum, Philip Taaffe, and Meyer Vaisman and the sculptors Jeff Koons and Haim Steinbach. Labeled neo-geo for the abstract geometric motifs that characterized only some of their work, the movement was also known variously as simulationism, neoconceptualism, neo-pop, neominimalism, and postabstraction. In this, the first in-depth study of the group, Amy Brandt argues that neoconceptualism is the most precise name for their work. Brandt sees it as an art about art history, characterized by ironic adaptations of past artistic movements and styles, a tendency toward visual interplay, and a theoretical impulse driven by postmodern concerns with intertextuality, deconstruction, and poststructuralism. Brandt investigates the East Village art scene of the 1980s and argues that the neoconceptualists' theoretical orientation distinguished them from other artists of the era. She traces the divergence in art critics' responses to the group's work and charts their market success. Brandt examines in detail the references to art history found in the work; she explores the group's formal connections to pop, minimalism, and conceptualism; and she investigates the relationships between the neoconceptual artists and another loosely connected group of artists, the Pictures generation.
LC Classification Number
N6512.5.N35B73 2014

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