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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.
Olitski, Jules --- Poons, Larry --- Noland, Kenneth --- Stella, Frank --- Bolus, Michael --- Davis, Ron --- Pollock, Jackson --- Caro, Anthony --- Louis, Morris --- kunsttheorie --- kunstkritiek --- schilderkunst --- beeldhouwkunst --- twintigste eeuw --- Stella Frank --- Morris Louis --- Olitski Jules --- Caro Anthony --- Davis Ronald --- Noland Kenneth --- Bolus Michael --- Poon Larry --- Judd Donald --- Oldenburg Claes --- Twombly Cy --- De Kooning Willem --- 7.01 --- 7.038 --- Art, Modern --- Art. --- Art --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Modernism (Art) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art, Primitive
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Le public français connaît Michael Fried pour ses travaux d'historien de l'art. Grâce à lui, la grande tradition de la peinture française depuis Greuze a été mise à jour: contre la théâtralité, c-à-d la "convention primordiale" qu'un tableau est fait pour être regardé, il s'agissait de décrire des personnages absorbés dans ce qu'ils font au point d'oublier la présence du spectateur. Manet renonça définitivement à cette forme d'antithéâtralité devenue elle-même une convention, en inventant le portrait-tableau moderniste qui soutient le regard, jugé désormais inéluctable, du spectateur. (Extrait du quatrième de couverture)
Art, Modern --- Minimal art --- Reader-response criticism --- Art --- Art minimal --- Esthétique de la réception --- Analyse de l'art --- Art contemporain --- Critique d'art --- Critique de la représentation --- Histoire de l'art --- Peinture --- Photographie --- Rapport du créateur à l'objet créé --- Rapport du spectateur à l'objet créé --- Sculpture --- Caro, Anthony --- Davis, Ronald --- Greenberg, Clément --- Louis, Morris --- Olitski, Jules --- Stella, Frank --- Wall, Jeff --- Histoire et critique --- 77.01 --- Fotografie--Semiotiek van de fotografie. Theorie --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- Esthétique de la réception --- Histoire et critique. --- Esthétique de la réception.
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Social change --- Art --- kunst --- sociologie --- kunst en politiek --- kunst en sociologie --- feminisme --- gender studies --- Courbet Gustave --- Morris William --- Bax E. Belfort --- socialisme --- Reed John --- Huelsenbeck Richard --- dadaïsme --- surrealisme --- Komfut --- Stepanova Varvara --- constructivisme --- propaganda --- kunst en propaganda --- De Andrade Oswald --- Tucholsky Kurt --- Bauhaus --- KOSTUFRA --- Meyer Hannes --- Browne Felicia --- Moholy-Nagy Laszlo --- situationisme --- Black Mask --- psychedelische kunst --- Johannesson Sture --- Hunt Albert --- happenings --- Davis Ronald G. --- The San Francisco Diggers --- Experience 68 --- The Avant-Garde Artists Group --- Atelier Populaire --- mei 68 --- Douglas Emory --- Haacke Hans --- Guerrilla Art --- Guerilla Art Action Group --- Meireles Cildo --- Gershuny Phyllis --- Korot Beryl --- Youngblood Gene --- Ryan Paul --- De Kabouters --- film --- film en politiek --- theater --- theater en politiek --- Solvognen --- Boal Augusto --- Popovic Zoran --- Sherk Bonnie --- Jaudon Valerie --- Kozloff Joyce --- Piper Adrian --- Dunn Peter --- Leeson Lorraine --- Kennard Peter --- Orange Alternative --- Navarro Desiderio --- Gran Fury --- Schäfer Christoph --- Skene Cathy --- Hafenrandverein --- RevArte --- Collictive Ip Gim --- Tiqqun --- Colectivo Situaciones --- Dominguez Ricardo --- Steyerl Hito --- Raqs Media Collective --- Holmes Brian --- Yongseok Jeon --- Dillemuth Stephan --- Davies Anthony --- Jakobsen Jakob --- Iran --- Teheran --- Art and society --- Artists --- Social change in art --- Davis Ronald G --- Art and politics --- Politics and art --- Persons --- History --- Political activity --- Political aspects --- departement Beeldende Kunst 08 --- hedendaagse kunst --- geschiedenis --- sociale kunst --- Morris, William --- kunstkritiek
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