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• W2334382658 abstract "Contemporary opinion consigns most of the art produced in the nineteen sixties to a critical limbo. While Pop is understood as a celebration of consumer culture, post painterly abstraction and Minimalism in particular are seen to represent pragmatic and corporate values expressive of dominant American ideologies. Kitaj's work fails to conform to these stereotypes. Significantly he blends an acute historical awareness with a contradictory technical achievement which parallels Post-Modernist pluralism while at the same time pursuing the emancipatory and utopian ideal inherent in Modernism. He carries out a quest for a lost universality which he is unable to resolve within the discourse of the European tradition. This is, perhaps beyond all else, a reflection of his own cultural insecurity. Indeed, it is not until the middle seventies and his discovery of Jewishness that he is finally able to find a resolution to his desire for some kind of authority that might satisfy the need for a redemptive narrative. But in Jewishness there is an exclusivity found in the diversity and plurality of the Post-Modern which shies away from the allembracing and grandiose projects of Modernity. Many of Kitaj's pictures from this period rely for their effect on the multiple discourses of Hollywood, book illustration, European history, criticism, literature and art history in a manner quite different, for example, from either Richard Hamilton's or Andy Warhol's own very individual investigations into contemporary mass media icons. Kitaj creates a bricolage of other discourses and integrates them within the privileged discourse of fine art, suggestive of an implicit awareness of what Frederic Jameson and others have termed the 'decentred subject' who is constructed wholly in the imaginary, without unmediated experience of the world.' In contrast to most Post-Modern cultural production, however, Kitaj makes no concession to the consumer nor does he emulate slick commercial surfaces, but maintains a rough patina more easily associated with High Modernist practice. In the collaboratively and mechanically produced screen prints Kitaj emphasises machine finish through attached photographs and printed 'hand made' marks.2 But none of this has the high gloss typical of so much of the work of such contemporaries as Allen Jones and Peter Phillips.3 Of the painting Trout for Factitious Bait (1965) (Fig. 1), clearly influenced by the abrupt, montage-style construction of the screen prints, Kitaj writes: A lot of old stories are malingering in Trout ... old formalist persuasion, old brief cases and houses, old colours and arrangements ... worn out conjunctions ... baiting a modernist legacy. It can't have much of a future that picture.4" @default.
• W2334382658 created "2016-06-24" @default.
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• W2334382658 date "1987-01-01" @default.
• W2334382658 modified "2023-09-24" @default.
• W2334382658 title "The Difficulty of Living in an Age of Cultural Decline and Spiritual Corruption: R. B. Kitaj 1965 1970" @default.
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• W2334382658 doi "https://doi.org/10.1093/oxartj/10.2.43" @default.
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