TY - BOOK ID - 1470034 TI - Art and objecthood : essays and reviews PY - 1998 SN - 0226263185 9780226263199 0226263193 PB - Chicago : University of Chicago Press, DB - UniCat KW - Olitski, Jules KW - Poons, Larry KW - Noland, Kenneth KW - Stella, Frank KW - Bolus, Michael KW - Davis, Ron KW - Pollock, Jackson KW - Caro, Anthony KW - Louis, Morris KW - kunsttheorie KW - kunstkritiek KW - schilderkunst KW - beeldhouwkunst KW - twintigste eeuw KW - Stella Frank KW - Morris Louis KW - Olitski Jules KW - Caro Anthony KW - Davis Ronald KW - Noland Kenneth KW - Bolus Michael KW - Poon Larry KW - Judd Donald KW - Oldenburg Claes KW - Twombly Cy KW - De Kooning Willem KW - 7.01 KW - 7.038 KW - Art, Modern KW - Art. KW - Art KW - Affichistes (Group of artists) KW - Fluxus (Group of artists) KW - Modernism (Art) KW - Schule der Neuen Prächtigkeit (Group of artists) KW - Zero (Group of artists) KW - Art, Occidental KW - Art, Visual KW - Art, Western (Western countries) KW - Arts, Fine KW - Arts, Visual KW - Fine arts KW - Iconography KW - Occidental art KW - Visual arts KW - Western art (Western countries) KW - Arts KW - Aesthetics KW - Art, Primitive UR - https://www.unicat.be/uniCat?func=search&query=sysid:1470034 AB - Much acclaimed and highly controversial, Michael Fried's art criticism defines the contours of late modernism in the visual arts. This volume contains twenty-seven pieces, including the influential introduction to the catalog for 'Three American Painters,' the text of his book 'Morris Louis,' and the renowned "Art and Objecthood." Originally published between 1962 and 1977, they continue to generate debate today. These are 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. Ranging from brief reviews to extended essays, and including major critiques of Jackson Pollock, Morris Louis, Kenneth Noland, Jules Olitski, Frank Stella, and Anthony Caro, these writings establish a set of basic terms for understanding key issues in high modernism: the viability of Clement Greenberg's account of the infralogic of modernism, the status of figuration after Pollock, the centrality of the problem of shape, the nature of pictorial and sculptural abstraction, and the relationship between work and beholder. In a number of essays Fried contrasts the modernist enterprise with minimalist or literalist art, and, taking a position that remains provocative to this day, he argues that minimalism is essentially a genre of theater, hence artistically self-defeating. For this volume Fried has also provided an extensive introductory essay in which he discusses how he became an art critic, clarifies his intentions in his art criticism, and draws crucial distinctions between his art criticism and the art history he went on to write. The result is a book that is simply indispensable for anyone concerned with modernist painting and sculpture and the task of art criticism in our time. ER -