Contemporary Artists and their Critics - Böcker

By the middle of the 20th century, abstraction was the accepted language of art as practiced by painters and articulated by critics, who began to investigate its historical and theoretical dimensions. Abstract Art in the Late Twentieth Century includes seminal essays on abstract painting by eleven of its most incisive critics and written over four decades, between 1960 and 2000. Tracing the post-Greenbergian development of such critical issues as hard-edge painting, deductive and serial structure, monochrome abstraction, the psychological analogy, regionalism, and the 'death of painting' in post-modernism, they examine works by Ad Reinhardt, Frank Stella, Brice Marden, Sherrie Levine, and Gerhard Richter, among others. The introduction and commentary by Frances Colpitt situates the essays historically and examines their philosophical sources and influences, from formalism and phenomenology, to structuralism and poststructuralism. What emerges is a coherent and optimistic picture of abstract painting, the definitive contribution of modern art.

In Art versus Nonart, Tsion Avital poses the question: 'Is modern art art at all?' He argues that much, if not all, of the nonrepresentational art produced in the twentieth century was not art, but rather the debris of the visual tradition it replaced. Modern art has thrived on the total confusion between art and pseudo-art and the inability of many to distinguish between them. As Avital demonstrates, modern art has served as a critical intermediate stage between art of the past and the future. This book, first published in 2003, proposes a distinct way to define art, anchoring the nature of art in the nature of the mind, solving a major problem of art and aesthetics for which no solution has yet been provided. The definition of art proposed in this book paves the way for a fresh and promising paradigm for future art.

Building-Art is an anthology of essays by noted critic Joseph Masheck. Considering topics in nineteenth- and twentieth-century architecture, its theory and practice, as well as selected achievements by such great modernists as Le Corbusier, Ludwig Mies van der Rohe and Louis Kahn, Masheck also analyses important monuments and architectural ideas of such artists as Giorgio di Chirico and Tony Smith. Contextualising and culturally speculative, these studies address such issues as the distinction between architecture and 'mere' building, and architecture and engineering, frequently drawing the reader into architectural problems that have persisted for at least two centuries. Demonstrating a concern with on-going modernism, Masheck's essays guide the reader through the anti-modernist polemics of the 1970s and 1980s, which are particularly relevant in the light of postmodernism's demise.

This selection of essays, first published in 1998 by a prominent art historian, critic, and curator of modern art, examines the art and artists of the twentieth century who have operated outside the established art world. In lucid and accessible prose, Peter Selz explores modern art as it reflects, and has had an impact on, the tremendous transformation of politics and culture, both in the United States and Europe. An authoritative overview of a neglected phenomenon, his essays explore the complex relationship between art at the periphery and art at the putative centre, and how marginal art has affected that of the mainstream.

In this collection of critical essays, Barry Schwabsky re-examines the art produced since the 1960s, demonstrating how the achievements of 'high modernism' remain consequential to it, through tensions between representation, abstraction, and pictorial language. Offering close readings of works produced by several generations of European and American artists, he begins with an analysis of the late period of two Abstract Expressionists, Philip Guston and Mark Rothko, who saw their own success as a failure of reception and who came to question radically their own work. With the core of the book focused on Michelangelo Pistoletto and Mel Bochner, major figures of arte povera and conceptual art whose works in a variety of media demonstrate a continuing critical engagement with modernism, Schwabsky also studies the work of artists, such as L. C. Armstrong and Rainer Ganahl, who also continued to examine modernism's legacies.

This book, first published in 1999, studies the work of a generation of 'respondents' to the New York School, including Robert Rauschenberg, Jasper Johns and Cy Twombly, who reintroduced pictorialism and verbal content in their paintings and assemblages. Their work, Marjorie Welish argues, often alludes to the history of art and culture. Also examined are the work of Minimal and Conceptual artists, particularly Donald Judd and Sol Le Witt, who sought to make objective and theoretical artefacts in response to the subjectivity that Abstract Expressionism had promoted. By interpreting the work of these artists in the light of contemporary issues, Welish offers a fresh re-evaluation of some of the major trends and production of post-war American painting.

This book, first published in 1999, studies the work of a generation of 'respondents' to the New York School, including Robert Rauschenberg, Jasper Johns and Cy Twombly, who reintroduced pictorialism and verbal content in their paintings and assemblages. Their work, Marjorie Welish argues, often alludes to the history of art and culture. Also examined are the work of Minimal and Conceptual artists, particularly Donald Judd and Sol Le Witt, who sought to make objective and theoretical artefacts in response to the subjectivity that Abstract Expressionism had promoted. By interpreting the work of these artists in the light of contemporary issues, Welish offers a fresh re-evaluation of some of the major trends and production of post-war American painting.

Surrealist Art and Writing offers a fresh analysis of Surrealism, the avant-garde movement that, in its search for contemporary lyricism and imagery, united literature and art to politics and psychology. Examining Surrealism's main phases from a variety of perspectives, Jack Spector emphasises the rebellion of the protagonists against their middle-class education. In Manifestos and Manifestations the Surrealists promoted Marxist over liberal politics; Freudian psychoanalysis over French psychiatry; Hegelian dialectics over Cartesian logic; and the outmoded, psychotic, or childish over modernist art. This study offers a coherent overview of the exciting and important interwar period in Europe. In particular it places avant-garde ideas and imagery within the historical and political contexts of the 1920s and 30s, integrating them into contemporary artistic and ideological currents.

This volume brings together a selection of essays by one of the leading scholars of American art. Matthew Baigell examines the work of a variety of artists, including Edward Hopper, Thomas Hart Benton, Ben Shahn, and Frank Stella, relating their art works closely to the social and cultural contexts in which they were created. Identifying important and recurring themes in this body of art, such as the persistence of Emersonian values, the search for national and regional identity, aspects of alienation, and the loss of individuality, he also explores the personal and religious identities of artists as revealed in their works. Collectively, Baigell's work demonstrates the importance of America as the defining element in American art.

In Art versus Nonart, Tsion Avital poses the question: 'Is modern art art at all?' He argues that much, if not all, of the nonrepresentational art produced in the twentieth century was not art, but rather the debris of the visual tradition it replaced. Modern art has thrived on the total confusion between art and pseudo-art and the inability of many to distinguish between them. As Avital demonstrates, modern art has served as a critical intermediate stage between art of the past and the future. This book, first published in 2003, proposes a distinct way to define art, anchoring the nature of art in the nature of the mind, solving a major problem of art and aesthetics for which no solution has yet been provided. The definition of art proposed in this book paves the way for a fresh and promising paradigm for future art.