Much acclaimed and highly controversial, Michael Fried's art criticism defines the contours of late modernism in the visual arts. This volume contains 27 pieces--uncompromising, exciting, and impassioned writings, aware of their transformative power during a time of intense controversy about the nature of modernism and the aims and essence of advanced painting and sculpture. 16 color plates. 72 halftones.
Invoking Fried's stance, this book invites viewers to consider the debate on art and objecthood as a lens through which to consider Basquiat's uses of objects.
In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form—and artistic medium.
With this widely acclaimed work, Fried revised the way in which eighteenth-century French painting and criticism were viewed and understood.
Here I'd like to acknowledge the work of Carrie Lambert and her research on Yvonne Rainer and the thematics of attention and sixties media culture . Carrie Lambert , Yvonne Rainer's Media , Ph.D. dissertation , Stanford University ...
Bref , railleur a Tortoni , élégant ; en 1'atelier , la furie qui le ruait sur la toile vide , confusément , comme si jamais il n'avait peint — un don precoce a jadis inquiéter ici résumé avec la trouvaille et 1'acquit subit ...
This volume brings philosophers, art historians, intellectual historians, and literary scholars together to argue for the philosophical significance of Michael Fried’s art history and criticism.
This is a collection of writings by and about the work of the 1960s minimalists, illustrated with photographs of paintings, sculptures and performance.
Studying the art writing and critique of the three leading art writers of the latter 20th century with focus on canonical modern artists, Harris brings us this study which assesses the development of modern art writing.
Many contemporary artworks evoke the human figure: consider the omnipresence of the mannequin in current installations of artists like John Miller, Thomas Hirschhorn, Heimo Zobernig, or David Lieske. Or consider...
"Tracing a dynamic genealogy of performance from the nineteenth century to the twenty-first, McMillian contends that black women artists practiced a purposeful self-objectification, transforming themselves into art objects.