The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953
| dc.contributor.author | Younge, James Gavin Forrest | en_ZA |
| dc.date.accessioned | 2016-01-12T11:26:11Z | |
| dc.date.available | 2016-01-12T11:26:11Z | |
| dc.date.issued | 1987 | en_ZA |
| dc.description | Bibliography: pages 232-240. | en_ZA |
| dc.description.abstract | This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America. | en_ZA |
| dc.identifier.apacitation | Younge, J. G. F. (1987). <i>The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art. Retrieved from http://hdl.handle.net/11427/16370 | en_ZA |
| dc.identifier.chicagocitation | Younge, James Gavin Forrest. <i>"The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 1987. http://hdl.handle.net/11427/16370 | en_ZA |
| dc.identifier.citation | Younge, J. 1987. The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953. University of Cape Town. | en_ZA |
| dc.identifier.ris | TY - Thesis / Dissertation AU - Younge, James Gavin Forrest AB - This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America. DA - 1987 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 1987 T1 - The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953 TI - The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953 UR - http://hdl.handle.net/11427/16370 ER - | en_ZA |
| dc.identifier.uri | http://hdl.handle.net/11427/16370 | |
| dc.identifier.vancouvercitation | Younge JGF. The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953. [Thesis]. University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 1987 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/16370 | en_ZA |
| dc.language.iso | eng | en_ZA |
| dc.publisher.department | Michaelis School of Fine Art | en_ZA |
| dc.publisher.faculty | Faculty of Humanities | en_ZA |
| dc.publisher.institution | University of Cape Town | |
| dc.subject.other | Art - Political aspects | en_ZA |
| dc.subject.other | Art, Modern - 20th century - Political aspects | en_ZA |
| dc.subject.other | Abstract expressionism - United States - Political aspects | en_ZA |
| dc.title | The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953 | en_ZA |
| dc.type | Master Thesis | |
| dc.type.qualificationlevel | Masters | |
| dc.type.qualificationname | MFA | en_ZA |
| uct.type.filetype | Text | |
| uct.type.filetype | Image | |
| uct.type.publication | Research | en_ZA |
| uct.type.resource | Thesis | en_ZA |
Files
Original bundle
1 - 1 of 1
Loading...
- Name:
- thesis_hum_1987_younge_james_gavin_forrest (2).pdf
- Size:
- 7.98 MB
- Format:
- Adobe Portable Document Format
- Description: