In the years betwixt 1945 and 1960, the mental of a whole visual conversation was advocated by artists, designers, and critics who believed that a modernist name was a media of achieving that motive. At the identical occasion, as we’ve seen, artists were expected to finish that wholeity through the look of their trustworthy selves.
How did issues of particular identity—that is sex, course or
sexual orientation—impact artists’ power to thrust that motive? Was the ‘universality’ of modernism implicitly defined in gendered
or racial conditions?
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