Art and pluralism : Lawrence Alloway's cultural criticism / Nigel Whiteley.

Includes bibliographical references (pages 473-489) and index.

Print version record.

This book examines the writings of Lawrence Alloway (1926-1990), one of the most influential and widely-respected art writers of the post-War years. Art and Pluralism provides a close and critical reading of Alloway's writings, and sets his work in the cultural and political context of the London and New York art worlds of the 1950s to the early 1980s. A invaluable work for all twentieth-century artists and art historians.

Machine generated contents note: Section A Introduction -- 1. Alloway and pluralism -- 2. Background -- 3. British art scene -- 4. Early career -- Section B Continuum, 1952 -- 1961 -- 1. Art criticism, 1951-1952 -- 2. ICA in the early 1950s -- 3. Independent Group: aesthetic problems -- 4. Independent Group: popular culture -- 5. Art criticism, 1953 -- 1955 -- 6. Alloway and abstraction -- 7. Alloway and figurative art -- 8. This Is Tomorrow, 1956 -- 9. Information Theory -- 10. Group 12 and Information Theory -- 11. Science fiction -- 12. cultural continuum model -- 13. Writings about the movies -- 14. Graphics and advertising -- 15. Design -- 16. Architecture and the city -- 17. Channel flows -- 18. Art autre -- 19. human image -- 20. Modern Art in the United States, 1956 -- 21. Action Painting -- 22. First trip to the USA -- 23. New American Painting, 1958 -- 24. Alloway and Greenberg -- 25. Cold wars -- 26. British art and the USA: The Middle Generation -- 27. younger generation and the avant-garde -- 28. Hard Edge -- 29. Place and the avant-garde, 1959 -- 30. Situation and its legacy -- 31. emergence of Pop art -- 32. Alloway's departure -- Section C Abundance, 1961 -- 1971 -- 1. Arrival in the USA and "Clemsville" -- 2. Junk art -- 3. American Pop -- 4. Curator at the Guggenheim -- 5. Six Painters and the Object and Six More, 1963 -- 6. Other writings on Pop -- 7. Art as human evidence -- 8. Alexander Liberman and Paul Feeley -- 9. Systemic Painting, 1966 -- 10. Abstraction and iconography -- 11. communications network -- 12. Departure from the Guggenheim -- 13. Exile in Carbondale -- 14. Arts Magazine -- 15. Venice Biennale -- 16. Return to New York: SVA, SUNY, and The Nation -- 17. Options -- 18. Expanding and disappearing works of art -- 19. Alloway's Nation criticism -- 20. Newness and the avant-garde -- 21. Post-Minimal radicalism -- 22. Historical revisions: Abstract Expressionism and Picasso -- 23. Mass communications -- 24. Film criticism -- 25. Violent America -- 26. Pluralism as a "unifying theory" -- Section D Alternatives, 1971-1988 -- 1. Disorientation and dissent in the art world -- 2. Alloway and the politicization of art, 1968-1970 -- 3. Changing values, 1971-1972 -- 4. Art/brunt and the art world as a system -- 5. 1973 and a new pluralism -- 6. uses and limits of art criticism -- 7. Criticism and women's art, 1972-1974 -- 8. Women's art and criticism, 1975 -- 9. realist "renewal" -- 10. Photo-Realism -- 11. realist "revival" -- 12. Realist revisionism -- 13. decline of the avant-garde -- 14. "Legitimate variables" -- 15. Earth art -- 16. Public art -- 17. In praise of plenty -- 18. Crises in the art world: criticism -- 19. Crises in the art world: feminism -- 20. Crises in the art world: curatorship -- 21. co-ops and "alternative" spaces -- 22. Turn of the decade decline -- 23. Mainstream -- 24. and "alternative" -- 25. last years -- 26. complex present -- Section E Summary and Conclusion -- 1. Pluralism -- 2. "Post-Modernism" -- 3. Art history -- 4. Art criticism -- 5. Alloway's reputation -- 6. Art -- 7. legacy of pluralism.

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