Copyright ( Polity Press, 2003 Chapter 7 /") Dominic Head, 2003 First published in 2... more Copyright ( Polity Press, 2003 Chapter 7 /") Dominic Head, 2003 First published in 2003 by Polity Press in association with Blackwell Publishers Ltd, a Blackwell Publishing Company. Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: ...
A documentary style of realism was sponsored during the Second World War by magazines such as Pen... more A documentary style of realism was sponsored during the Second World War by magazines such as Penguin New Writing , where it was deployed in short stories that captured the unpredictable, interrupted, fragmented temporalities of the home front during aerial bombardment. The shrinking number of novels published during the war was owing partly to the suspension of cultural continuity and of an imaginable future (see Mengham 2001). When the post-war settlement allowed for the projection of a way of life that might integrate past, present and future, the novel responded by replacing the experimental temporalities of modernism with a restoration of the linear conventions associated with realism. But the realism that observed the socialist years of the late 1940s was also in place for the dramatic social changes of the conservative1950s, with their redistribution of employment opportunities and expansion of consumer choice. The meritocratic eclipse of class privileges seemed like a spectacular reassertion of class structure to the majority who could not benefit from it. The emergence of social realism was coincident with the disillusionment of a populist culture that had both won the war and lost the peace. The social realist novels of the late 1950s and early 1960s documented new forms of alienation as a result of growing income inequality and the effects of mass culture on class, regional and gender identities. The anthropological dimension of these fictional studies of the condition of post-war Britain echoed the founding principles of Mass Observation and authoritative methods of the British documentary film movement, although the proleptic assertiveness of both was replaced with an elegiac inquest into the kinds of loss experienced in an era of affluence. In the terms proposed by Nigel Balchin’s factory novel, Sundry Creditors (1953), social realist fiction was in large measure an account of what was still owed to those whose needs were not comprehended by the materialistic criteria of never having had it so good.
Local History From '12 Minutes in a Firing Squad' From 'Dear Balzac & all the lit... more Local History From '12 Minutes in a Firing Squad' From 'Dear Balzac & all the little Balzacs' A Luminous Band or Track Beds & Scrapings The Big Wind Polyalbum From Polyalbum (uncollected) Glossy Matter Poem Glow-Worms Year Zero Marsyas Stolen Fires Unsung Neutrinos Nomenclature Dogs on Sticks Down in the Mouth Kobro 31/12/92 No Resolve The Dog Star Take a Bite The Boeotarchs Shall Hear of This From an Alley The Snake on the Road by the Canning Bridge Wish-Bones This Is A Warning Letter Prolegomena to the Echo Names in the Bark Prepare to Meet Your Date To the Soviet Embalmers 7/8/97 Two Continents as a Medium for Poetry Smitten The Stoa Another Name for the Cassiterides Allegory of Good Government I Couldn't Eat a Whole One Nostratic Lament Allegory of Bad Government Friend on the Rocks of the Shore of the Night Marriage to the Sea Concession to Perpetuity No. 166
This work includes essays by Martin Clark, Rod Mengham. It also features an interview with the ar... more This work includes essays by Martin Clark, Rod Mengham. It also features an interview with the artist by Andrea Tarsia. Albert Oehlen's work focuses on the process of painting itself rather than any subjective expressionism or formal representation. Oehlen once said, 'I want an art where you see how it's made, not what the artist means but the traces of production'. He describes his works as 'post-non-representational', subverting traditional ideas of abstraction and figuration by collapsing together often chaotically eclectic imagery, techniques, subjects and styles. He builds his works up, layer by layer, employing digital print, screen print, collage, oil, acrylic and spraypaint, often all on the same canvas. Albert Oehlen was born in Krefeld, Germany, in 1954. A contemporary and collaborator of Martin Kippenberger, he became involved in the Cologne scene of the 1980s, championing, alongside Werner Buttner and Georg Herold, both 'Bad' painting and ...
Copyright ( Polity Press, 2003 Chapter 7 /") Dominic Head, 2003 First published in 2... more Copyright ( Polity Press, 2003 Chapter 7 /") Dominic Head, 2003 First published in 2003 by Polity Press in association with Blackwell Publishers Ltd, a Blackwell Publishing Company. Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: ...
A documentary style of realism was sponsored during the Second World War by magazines such as Pen... more A documentary style of realism was sponsored during the Second World War by magazines such as Penguin New Writing , where it was deployed in short stories that captured the unpredictable, interrupted, fragmented temporalities of the home front during aerial bombardment. The shrinking number of novels published during the war was owing partly to the suspension of cultural continuity and of an imaginable future (see Mengham 2001). When the post-war settlement allowed for the projection of a way of life that might integrate past, present and future, the novel responded by replacing the experimental temporalities of modernism with a restoration of the linear conventions associated with realism. But the realism that observed the socialist years of the late 1940s was also in place for the dramatic social changes of the conservative1950s, with their redistribution of employment opportunities and expansion of consumer choice. The meritocratic eclipse of class privileges seemed like a spectacular reassertion of class structure to the majority who could not benefit from it. The emergence of social realism was coincident with the disillusionment of a populist culture that had both won the war and lost the peace. The social realist novels of the late 1950s and early 1960s documented new forms of alienation as a result of growing income inequality and the effects of mass culture on class, regional and gender identities. The anthropological dimension of these fictional studies of the condition of post-war Britain echoed the founding principles of Mass Observation and authoritative methods of the British documentary film movement, although the proleptic assertiveness of both was replaced with an elegiac inquest into the kinds of loss experienced in an era of affluence. In the terms proposed by Nigel Balchin’s factory novel, Sundry Creditors (1953), social realist fiction was in large measure an account of what was still owed to those whose needs were not comprehended by the materialistic criteria of never having had it so good.
Local History From '12 Minutes in a Firing Squad' From 'Dear Balzac & all the lit... more Local History From '12 Minutes in a Firing Squad' From 'Dear Balzac & all the little Balzacs' A Luminous Band or Track Beds & Scrapings The Big Wind Polyalbum From Polyalbum (uncollected) Glossy Matter Poem Glow-Worms Year Zero Marsyas Stolen Fires Unsung Neutrinos Nomenclature Dogs on Sticks Down in the Mouth Kobro 31/12/92 No Resolve The Dog Star Take a Bite The Boeotarchs Shall Hear of This From an Alley The Snake on the Road by the Canning Bridge Wish-Bones This Is A Warning Letter Prolegomena to the Echo Names in the Bark Prepare to Meet Your Date To the Soviet Embalmers 7/8/97 Two Continents as a Medium for Poetry Smitten The Stoa Another Name for the Cassiterides Allegory of Good Government I Couldn't Eat a Whole One Nostratic Lament Allegory of Bad Government Friend on the Rocks of the Shore of the Night Marriage to the Sea Concession to Perpetuity No. 166
This work includes essays by Martin Clark, Rod Mengham. It also features an interview with the ar... more This work includes essays by Martin Clark, Rod Mengham. It also features an interview with the artist by Andrea Tarsia. Albert Oehlen's work focuses on the process of painting itself rather than any subjective expressionism or formal representation. Oehlen once said, 'I want an art where you see how it's made, not what the artist means but the traces of production'. He describes his works as 'post-non-representational', subverting traditional ideas of abstraction and figuration by collapsing together often chaotically eclectic imagery, techniques, subjects and styles. He builds his works up, layer by layer, employing digital print, screen print, collage, oil, acrylic and spraypaint, often all on the same canvas. Albert Oehlen was born in Krefeld, Germany, in 1954. A contemporary and collaborator of Martin Kippenberger, he became involved in the Cologne scene of the 1980s, championing, alongside Werner Buttner and Georg Herold, both 'Bad' painting and ...
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