Art and Objecthood: Essays and Reviews

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9780226263199: Art and Objecthood: Essays and Reviews

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.

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From Library Journal :

Beginning his career as an art critic, Fried, now a noted scholar at Johns Hopkins University, published some of the most important critiques of the emerging art of the 1960s. In this volume, Fried has gathered the bulk of the essays and reviews he published between 1962 and 1977. Fried's criticism focused on key artists Morris Louis, Kenneth Noland, Jules Olitski, and Frank Stella, and most of the essays in this volume concern these artists or the work of Jackson Pollock. Fried has chosen to arrange the works in reverse chronological order, allowing the reader to see not what criticism grew into but the roots from which it sprang. The centerpiece of the collection is the 1967 title piece, "Art and Objecthood," which continues to address many of the current approaches to nonrepresentational art and is enhanced in the larger setting of Fried's work. A prefatory essay provides autobiographical information and contextualizes the collection. Recommended for academic collections with an interest in contemporary art.?Martin R. Kalfatovic, Smithsonian Inst. Libs., Washington, DC
Copyright 1998 Reed Business Information, Inc.

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Michael Fried
Edité par The University of Chicago Press, United States (1998)
ISBN 10 : 0226263193 ISBN 13 : 9780226263199
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Description du livre The University of Chicago Press, United States, 1998. Paperback. État : New. New edition. Language: English . Brand New Book. Michael Fried s often controversial art criticism defines the contours of late modernism in the visual arts. This volume contains 27 pieces, including the introduction to the catalogue for Three American Painters, the text of his book Morris Louis, and Art and Objecthood. Originally published between 1962 and 1977, the essays continue to generate debate today. These are uncompromising 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 theatre, 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 also wrote. N° de réf. du libraire AAU9780226263199

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Description du livre The University of Chicago Press, United States, 1998. Paperback. État : New. New edition. Language: English . Brand New Book. Michael Fried s often controversial art criticism defines the contours of late modernism in the visual arts. This volume contains 27 pieces, including the introduction to the catalogue for Three American Painters, the text of his book Morris Louis, and Art and Objecthood. Originally published between 1962 and 1977, the essays continue to generate debate today. These are uncompromising 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 theatre, 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 also wrote. N° de réf. du libraire AAU9780226263199

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Description du livre The University of Chicago Press, 1998. État : New. Contains 27 essays and reviews defining the contours of late modernism in the visual arts. Ranging from brief reviews to extended essays, the writings establish a set of basic terms for understanding key issues in high modernism. An extended introductory essay by the author clarifies his views. Num Pages: 352 pages, 16 colour plates, 75 halftones. BIC Classification: ABA; AC; DNF. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 230 x 155 x 25. Weight in Grams: 562. . 1998. New ed. Paperback. . . . . . N° de réf. du libraire V9780226263199

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