One of the most significant developments in the art world of the 1980s and 1990s has been the rise to prominence of minority cultures. In this provocative volume, an art historian looks at how the different minority groups came to prominence, and how they revolutionized the kinds of art currently featured in museums and galleries. 115 illustrations, including 100 in full color.
Book Description
Editorial Reviews
From Library Journal
This book does not treat the themes cited in the title but instead considers the groups that define themselves in terms of racial identity, sexual orientation, and gender politics. It explores how, and by whom, these minority groups have become a central force in contemporary art. Transgression is the essence of avant-garde art, but these groups seem to seek validity within the structures they set out to challenge. Lucie-Smith is much troubled by what he sees as the judgment of art based on the artist's sex, race, or sexual preference rather than its aesthetic quality. Is morality really a substitute for merit? An interesting look at an issue of current interest and concern to us all.
Paula Frosch, Metropolitan Museum of Art Lib., New York
Copyright 1994 Reed Business Information, Inc.
Paula Frosch, Metropolitan Museum of Art Lib., New York
Copyright 1994 Reed Business Information, Inc.
From Booklist
Historians have been playing catch-up over the past decade in an attempt to recognize and document the heretofore ignored yet essential roles of women and minorities. This worthwhile effort has brought us both the blessing of a more accurate and enlightening perspective and the curse of superficial forms of political correctness. Prolific and candid art historian Lucie-Smith is not afraid to elucidate the many subtle ways this muddle of good intentions with genuine scholarship and aesthetic appreciation can skew our perceptions of the art of African Americans, Chicanos, feminist women, gay men, Australian Aboriginal and Maori artists, and modern African and Asian artists. For one thing, there is great artistic diversity within each of these groups, since not every member of a racial, ethnic, or sexual group creates overtly political or group-oriented art. Lucie-Smith discusses a number of artists from each group in terms of how their work relates to their minority status, their uniquely personal viewpoint, and the aesthetics and expectations of the majority. Of particular interest is the section on "minority sexuality" in which Lucie-Smith focuses on the art of gay men and the use of sexual imagery as a "weapon of the avant garde." Donna Seaman
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4.0 out of 5 stars
exploring subjective intensities,
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This review is from: Race, Sex, and Gender (Hardcover)
I have far more interest in literary life than in art. I have been reading The Conspiracy of Art and expected to find an element of art biting back in the chapter of this book on Transgressive Art and the Modern Shaman. With modern society much more interested in who is doing what to whom on a regular basis than on how law was a vain attempt to control aspects of human behavior that could become personal addictions like a sexual identity, the basic curiosity about matters in Race, Sex, and Gender In Contemporary Art (1994) by Edward Lurie-Smith actually likes art which "manipulated the museum culture with unique adroitness, making it a means of empowerment for the artist himself, rather than for his salaried, bureaucratic interpreters." (p. 59).
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