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How leading American artists reflected on the fate of humanity in the nuclear era through monumental sculpture. In the wake of the atomic bombings of Japan in 1945, artists in the United States began to question what it meant to create a work of art in a world where humanity could be rendered extinct by its own hand. The New Monuments and the End of Man examines how some of the most important artists of postwar America revived the neglected tradition of the sculptural monument as a way to grapple with the cultural and existential anxieties surrounding the threat of nuclear annihilation. Robert Slifkin looks at such iconic works as the industrially evocative welded steel sculptures of David Smith, the austere structures of Donald Judd, and the desolate yet picturesque earthworks of Robert Smithson. Transforming how we understand this crucial moment in American art, he traces the intersections of postwar sculptural practice with cybernetic theory, science-fiction cinema and literature, and the political debates surrounding nuclear warfare. Slifkin identifies previously unrecognized affinities of the sculpture of the 1940s and 1950s with the minimalism and land art of the 1960s and 1970s, and acknowledges the important contributions of postwar artists who have been marginalized until now, such as Raoul Hague, Peter Grippe, and Robert Mallary. Strikingly illustrated throughout, The New Monuments and the End of Man spans the decades from Hiroshima to the Fall of Saigon, when the atomic bomb cast its shadow over American art.

Plastik. --- Geschichte 1945-1975. --- USA. --- Sculpture, American --- Public sculpture, American --- Monuments --- Art and nuclear warfare. --- End of the world --- Monuments. --- Public sculpture, American. --- History --- Art. --- 1900-1999. --- United States. --- Sculpture --- sculpture [visual works] --- nuclear wars --- monuments --- anno 1940-1949 --- anno 1950-1959 --- anno 1960-1969 --- anno 1970-1979 --- United States --- United States of America

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Imbued with the collective memories of Romanian culture, Andra Ursuţa's body of work uses her grim past to tackle the harshness of our present reality. With a sensibility that is both humorous and gloomy, the artist culls images from her childhood and homeland and confronts early experiences of fear and death; these personal and cultural histories shape her sculptures, paintings, and installations. Whether vulgar or domestic, her examinations create an alternate universe where the aftermath of trauma is sometimes as funny as it is tragic. Part of the '2000 Words' series, conceived and commissioned by Massimiliano Gioni and published by the DESTE Foundation for Contemporary Art, 2000 Words: Andra Ursuţa includes an essay by Ali Subotnick that examines Ursuţa's stark re-creations of cultural and historical turmoil.

Art --- sculpture [visual works] --- installations [visual works] --- humor --- Ursuţa, Andra --- Sculpture, American --- 73.07 --- Ursuţa, Andra °1979 (°Salonta, Roemenië) --- Vrouwelijke kunstenaars --- Beeldhouwkunst ; installaties ; 2013-2017 ; Andra Ursuţa --- American sculpture --- Beeldhouwkunst ; beeldhouwers A - Z