Art and objecthood
type: CreativeWork
about: DefinedTerm
  alternate name: Art, Modern--20th century
about: DefinedTerm
  alternate name: Art criticism--History--20th century
about: DefinedTerm
  alternate name: Art
about: DefinedTerm
  alternate name: Art, Modern
about: https://id.rijksmuseum.nl/31038119
about: https://id.rijksmuseum.nl/320126537
about: https://id.rijksmuseum.nl/320129850
about: https://id.rijksmuseum.nl/320130456
about: https://id.rijksmuseum.nl/320152174
abstract: 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.
creator: https://id.rijksmuseum.nl/31038119
language: eng
subject of: Statement
  additional type: http://vocab.getty.edu/aat/300195187
  text: Part One: 1966-77 -- Shape as form: Frank Stella's irregular polygons -- Morris Louis -- Jules Olitski -- Art and objecthood -- New work by Anthony Caro -- Ronald Davis: surface and illusion -- Two sculptures by Anthony Caro -- Recent work by Kenneth Noland -- Caro's abstractness -- Problems of polychromy: new sculptures by Michael Bolus -- Larry Poon's new paintings -- Anthony Caro's table sculptures, 1966-77 -- Part Two: 1965 -- Three American painters: Kenneth Noland, Jules Olitski, Frank Stella -- Part Three: 1962-64 -- -- Anthony Caro -- Frank Stella -- New York letter: Oldenburg, Chamberlain -- New York letter: Louis, Chamberlain and Stella, Indiana -- New York letter: Warhol.
subject of: Statement
  additional type: http://vocab.getty.edu/aat/300195187
  text: New York letter: Johns -- New York letter: Hofmann -- New York letter: Noland, Thiebaud -- New York letter: Hofmann, Davis -- New York letter: Kelly, Poons -- New York letter: Judd -- New York letter: De Kooning drawings -- New York letter: Olitski, Jenkins, Thiebaud, Twombly -- New York letter: Brach, Chamberlain, Irwin.
work example: https://id.rijksmuseum.nl/301321022

PropertyValue
property ID: NL-AmRIJ
value: 321022