In the years among 1945 and 1960, the conceptional of a whole visual tongue was advocated by artists, designers, and critics who believed that a modernist name was a resources of achieving that view. At the corresponding opportunity, as we’ve seen, artists were expected to finish that wholeity through the countenance of their current selves.
How did issues of indivisible identity—that is sex, career or
sexual orientation—impact artists’ ability to grasp that view? Was the ‘universality’ of modernism implicitly defined in gendered
or racial provisions?
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