Francis Frascina – författare

Modern Art and Modernism offers firsthand material for the study of issues central to the development of modern art, its theory, and criticism. The history of modern art is not simply a history of works of art, it is also a history of ideas interpretations. The works of critics and theorists have not merely been influential in deciding how modern art is to be seen and understood, they have also influenced the course it has taken. The nature of modern art cannot be understood without some analysis of the concept of Modernism itself.Modern Art and Modernism presents a selection of texts by the major contributors to debate on this subject, from Baudelaire and Zola in the nineteenth century to Greenberg and T. J. Clark in our own times. It offers a balanced section of essays by contributors to the mainstream of Modernist criticism, representative examples of writing on the themes of abstraction and expression in modern art, and a number of important contributions to the discussion of aesthetics and the social role of the artist. Several of these are made available in English translation for the first time, and others are brought together from a wide range of periodicals and specialized collections.This book will provide an invaluable resource for teachers and students of modern art, art history, and aesthetics, as well as for general readers interested in the place of modern art in culture and history.

Modern Art and Modernism offers firsthand material for the study of issues central to the development of modern art, its theory, and criticism. The history of modern art is not simply a history of works of art, it is also a history of ideas interpretations. The works of critics and theorists have not merely been influential in deciding how modern art is to be seen and understood, they have also influenced the course it has taken. The nature of modern art cannot be understood without some analysis of the concept of Modernism itself.Modern Art and Modernism presents a selection of texts by the major contributors to debate on this subject, from Baudelaire and Zola in the nineteenth century to Greenberg and T. J. Clark in our own times. It offers a balanced section of essays by contributors to the mainstream of Modernist criticism, representative examples of writing on the themes of abstraction and expression in modern art, and a number of important contributions to the discussion of aesthetics and the social role of the artist. Several of these are made available in English translation for the first time, and others are brought together from a wide range of periodicals and specialized collections.This book will provide an invaluable resource for teachers and students of modern art, art history, and aesthetics, as well as for general readers interested in the place of modern art in culture and history.

Pollock and After: The Critical Debate brings together key writings on debates about Abstract Expressionism and Modernist art history. It is an essential resource for understanding post-war American art and culture. The second edition has been fully revised and updated in response to new critical approaches to post-war American art. It includes nine new articles and a substantial overview essay by Francis Frascina.Articles are grouped into three parts, each with an introduction by Francis Frascina. Part One includes two foundational articles by the influential Modernist critic, Clement Greenberg, and represents the debate about Greenberg's work, with contributions by T.J. Clark and Michael Fried. Part Two focuses on revisionist writers, who questioned established ideas about Modernist art history, examining the relationship between Abstract Expressionism and the politics of McCarthyism and the Cold War.The third part, which is new to the volume, is devoted to recent developments of revisionist critiques. Contributors explore the work of Greenberg's contemporaries, the relationship between critical and commercial responses to Abstract Expressionism, and perceptions of cultural value in the 1940s and 1950s, and challenge assumptions about ethnicity, gender and sexuality in the construction of the 'post-war American artist'.

Pollock and After: The Critical Debate brings together key writings on debates about Abstract Expressionism and Modernist art history. It is an essential resource for understanding post-war American art and culture. The second edition has been fully revised and updated in response to new critical approaches to post-war American art. It includes nine new articles and a substantial overview essay by Francis Frascina.Articles are grouped into three parts, each with an introduction by Francis Frascina. Part One includes two foundational articles by the influential Modernist critic, Clement Greenberg, and represents the debate about Greenberg's work, with contributions by T.J. Clark and Michael Fried. Part Two focuses on revisionist writers, who questioned established ideas about Modernist art history, examining the relationship between Abstract Expressionism and the politics of McCarthyism and the Cold War.The third part, which is new to the volume, is devoted to recent developments of revisionist critiques. Contributors explore the work of Greenberg's contemporaries, the relationship between critical and commercial responses to Abstract Expressionism, and perceptions of cultural value in the 1940s and 1950s, and challenge assumptions about ethnicity, gender and sexuality in the construction of the 'post-war American artist'.

Modern Art Culture: A Reader provides an essential resource for understanding the culture of modern art since the 1960s. In recent years, media theorists and historians have asked whether works of imaginative art can have any impact in our image-saturated culture. Given the power of institutions, how do radical artists produce effective cultural interventions? In the aftermath of September 11th, 2001, many argue that pressing questions about works of art and their meanings are inseparable not only from contemporary social and political issues but also from major debates and developments in the last four decades. To explore such questions and issues, the Reader is divided into six related parts with articles from journals, magazines and exhibition catalogues that exemplify important interventions from the 1960s onwards: Histories, Representations and Remembrance; Art and Visual/Mass/Popular Culture; Institutions; Inclusions/Exclusions; Bodies and Identities; Power and Permissibility. Texts range from artists’ engagement with the veil and veiling as metaphors for post-colonialist understandings of representation and contemporary art to early debates about, for example, ‘activist art’, discourses of the ‘body’, civil rights, ethnicity, and cultural power. Importantly these selected texts offer examples of analysis that can enable readers to examine, critically, their own selection of representations produced in a variety of contexts.

Modern Art Culture: A Reader provides an essential resource for understanding the culture of modern art since the 1960s. In recent years, media theorists and historians have asked whether works of imaginative art can have any impact in our image-saturated culture. Given the power of institutions, how do radical artists produce effective cultural interventions? In the aftermath of September 11th, 2001, many argue that pressing questions about works of art and their meanings are inseparable not only from contemporary social and political issues but also from major debates and developments in the last four decades. To explore such questions and issues, the Reader is divided into six related parts with articles from journals, magazines and exhibition catalogues that exemplify important interventions from the 1960s onwards: Histories, Representations and Remembrance; Art and Visual/Mass/Popular Culture; Institutions; Inclusions/Exclusions; Bodies and Identities; Power and Permissibility. Texts range from artists’ engagement with the veil and veiling as metaphors for post-colonialist understandings of representation and contemporary art to early debates about, for example, ‘activist art’, discourses of the ‘body’, civil rights, ethnicity, and cultural power. Importantly these selected texts offer examples of analysis that can enable readers to examine, critically, their own selection of representations produced in a variety of contexts.

Art, politics and dissent provides a counter history to conventional accounts of American art.. Close historical examinations of particular events in Los Angeles and New York in the 1960s are interwoven with discussion of the location of these events, normally marginalised or overlooked, in the history of cultural politics in the United States during the postwar period.. This book is based on detailed and new research from a range of sources including the alternative press, such as the Los Angeles Free Press; public and private archives; interviews and oral histories.. Interdisciplinary in approach, it adds substantially to recent innovative research and teaching approaches in art history and other related disciplines.. Provides essential case studies for taught courses; scholarly debate and general cross-disciplinary readership.