Chronophobia: On Time in the Art of the 1960s Pamela M. Lee

ISBN: 9780262122603

Published:

Hardcover

368 pages


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Chronophobia: On Time in the Art of the 1960s  by  Pamela M. Lee

Chronophobia: On Time in the Art of the 1960s by Pamela M. Lee
| Hardcover | PDF, EPUB, FB2, DjVu, AUDIO, mp3, RTF | 368 pages | ISBN: 9780262122603 | 5.22 Mb

In the 1960s art fell out of time- both artists and critics lost their temporal bearings in response to what E. M. Cioran called not being entitled to time. This anxiety and uneasiness about time, which Pamela Lee calls chronophobia, cut acrossMoreIn the 1960s art fell out of time- both artists and critics lost their temporal bearings in response to what E. M. Cioran called not being entitled to time. This anxiety and uneasiness about time, which Pamela Lee calls chronophobia, cut across movements, media and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films.

Despite its pervasiveness, the subject of time and 1960s art has gone largely unexamined in historical accounts of the period. Chronophobia is the first critical attempt to define this obsession and analyse it in relation to art and technology. Lee discusses the chronophobia of art relative to the emergence of the Information Age in post-war culture. The accompanying rapid technological transformations, including the advent of computers and automation processes, produced for many an acute sense of historical unknowing- the seemingly accelerated pace of life began to outstrip any attempts to make sense of the present.

current fixation on time and speed within digital culture. Reflecting upon the 1960s cultural anxiety about temporality, she argues, helps us historicise our current relation to technology and time. After an introductory framing of terms, Lee discusses such topics as presentness with respect to the interest in systems theory in 1960s art- kinetic sculpture and new forms of global media- the temporality of the body and the spatialisation of the visual image in the paintings of Bridget Riley and the performance art of Carolee Schneemann- Robert Smithsons interest in seriality and futurity, considered in light of his reading of George Kublers important work The Shape of Time: Remarks on the History of Things and Norbert Wieners discussion of cybernetics- and the endless belabouring of the present in sixties art, as seen in Warhols Empire and the work of On Kuwara.



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