Dead History, Live Art?: Spectacle, Subjectivity and Subversion in Visual Culture Since the 1960s

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While scholars and critics generally agree that the 1960s signaled the end of high modernism, what is less clear is how to characterize contemporary art since the 1960s. Acclaimed art scholar Jonathan Harris here tackles this question by assembling a rich body of essays, along with an extended interview with renowned feminist art scholar Amelia Jones, that tracks the movements in and issues central to contemporary art practice since this pivotal decade. The contributors to Dead History, Live Art? argue that visual art since ...

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