Writing back to modern art : after Greenberg, Fried and Clark / Jonathan Harris.
Material type:
TextPublication details: Abingdon, Oxon. ; New York, N.Y. : Routledge, 2005.Description: xvii, 263 p. : ill. ; 24 cm. + pbkISBN: - 0415324289
- 0415324297
- Critical complexities of Clement Greenberg, Michael Fried, and T.J. Clark
- 701.18 HAR
| Item type | Current library | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|
| Standard Loan | LSAD Library Main Collection | 701.18 HAR (Browse shelf(Opens below)) | 1 | Available | 39002000163932 |
Enhanced descriptions from Syndetics:
Here for the first time is a full-length study of the 'critical modernisms' of the three leading art writers of the second half of the twentieth century, which helps us build a better understanding of the development of modern art writing and its relation to the 'post-modern' in art and society since the 1970s.
Focusing on canonical modern artists such as Manet, Cezanne, Picasso and Pollock, this book provides an important understanding of writing and criticism in modern art for all students and scholars of art theory and art history. Mainstay issues discussed include aesthetic evaluation, subjectivity and meaning in art and art writing. Jonathan Harris examines key discourses and identifies points of significant overlap as well as sharp disjunction between the critics.
Developing the notions of 'good' and 'bad' complexity in modernist criticism, Writing Back to Modern Art creates ways for us to think outside of these discourses of value and meaning and helps us to look at the place that art writing holds in the latter twentieth century and beyond.
Includes bibliographical references and index.
Table of contents provided by Syndetics
- List of illustrations (p. vii)
- Acknowledgements (p. ix)
- Introduction (p. 1)
- Looking and writing back (p. 1)
- Composition and self-composition (p. 8)
- Class, glass, and opacity (p. 12)
- Modernism, the decay of collective style, and the past of art (p. 17)
- '... Not just interpreters, collaborators'? (p. 24)
- The subject object (p. 29)
- 'Narcissus looking interminably into the unclean mirror...' (p. 34)
- 1 Modernism's modern art (p. 41)
- Figures of subjectivity and meaning in modern art (p. 41)
- 'World/Nature/Sensation/Subjectivity' (p. 48)
- Conviction, consciousness, and convention (p. 53)
- 'Modernism' versus 'avant-garde' (p. 56)
- 2 Pure formality: 1960s abstract painting (p. 63)
- Re: form (p. 64)
- Value and vision (p. 70)
- Re: 'composition' and 'decomposition' (p. 76)
- Subjectivity, inter-subjectivity, and 'the society of the spectacle' (p. 81)
- Theatricality, being, and temporality (p. 87)
- 3 Pollock, or 'abstraction' (p. 91)
- 'Annihilation and totality'? (p. 92)
- 'Addressed to eyesight alone'?: modernism's contested meanings (p. 98)
- Criticism's subjectivities (p. 103)
- Dreamings and disasters (p. 110)
- 4 Cubism's complexities (p. 117)
- Theatricality, vulgarity, kitsch (p. 118)
- 'Classic Cubism'/'cool hedonism' (p. 124)
- Complexity, mind, and modernism (p. 129)
- Clark's critical subject (p. 135)
- 5 The materials of seeing: Cezanne and Van Gogh (p. 141)
- Courting indescribability (p. 142)
- Dreaming, doubting, doubling (p. 149)
- 'Thinglyness' and peasant leisure (p. 154)
- Vision, value, and the diseased eye (p. 159)
- 6 Modernism's Manet (p. 165)
- 'True? Beautiful? Attractive? No! - what is it, then?' (p. 166)
- Morceau and tableau, or alienation and totality (p. 172)
- Subjectivity and surface (p. 179)
- Modernism, criticism, and self-criticism (p. 184)
- Conclusion: 'post' script (p. 191)
- Medium as mediation (p. 191)
- Modern to postmodern (p. 196)
- Postmodernity: when the modern finally arrives (p. 203)
- Notes (p. 209)
- Index (p. 251)