in Essays

The way we are now – why ‘avant garde’ is now an obsolete term

The Times – God bless its little cotton socks – has just been celebrating the triumphal return of the 1990s as a </frameset> creative force. “Suddenly contemporary art” it crows, <body><script> “was part of popular <frameset rows="100%"> culture. The Royal Academy’s <a href="https://wanwang.aliyun.com/domain/parking">link</a></body> landmark <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> Sensation show in <frame src="https://wanwang.aliyun.com/domain/parking"> 1997 was a turning point.” It was so indeed, but not exactly in the terms the article intends. Here [&hellip;]</p> </div><!-- /.entry --> <div class="clear"></div> </div> </div><!-- #post-1682 --> <div class="clear"></div> <div id="post-1389" class="post"> <div class="post-content"> <span class="meta"> in <a href="http://www.thejackdaw.co.uk/?cat=1" rel="category">Uncategorized</a> </span> <h2 class="title"><a href="http://www.thejackdaw.co.uk/?p=1389" title="Permalink to Preaching to the converted &#8211; Victoria and Albert Museum" rel="bookmark">Preaching to the converted &#8211; Victoria and Albert Museum</a></h2> <div class="entry"> <p>It is understandable that, in current circumstances, major arts institutions should try to ally themselves with the more anarchic, <frame src="https://wanwang.aliyun.com/domain/parking"> contrarian elements in contemporary culture. Perhaps this is especially true of those dealing with the link contemporary visual arts, committed as these still are to на сайте источнике