Author: Ad Reinhardt
Publisher: Richter Verlag
ISBN:
Category : Art
Languages : en
Pages : 200

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Book Description
The paintings of the American artist, Ad Reinhardt were from the start defined by their clear geometrical forms. Reinhardt, who before his training as a painter had received a degree in art history, rejected any kind of fusion between art and life or any mystification of painting. Around 1953 he did his first black paintings in which every tendency to colour seemed to fade. From 1960 his paintings were all only black, which he himself described as the 'last paintings that anyone can paint. 'The encounter between Ad Reinhardt and Josef Albers in 1952 - 1953 and their ensuing dialogues on the meaning of colour within the painting process were For The young Reinhardt an important impulse on his path towards his black paintings. Presented in this book is his oeuvre from the end of the 1930s To The late works; their special relevance can be recognised in juxtaposition with the works of Josef Albers.

Author: Yve-Alain Bois
Publisher:
ISBN: 9780870701870
Category :
Languages : en
Pages : 144

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Book Description

Author: Michael Corris
Publisher: Reaktion Books
ISBN: 9781861893567
Category : Art
Languages : en
Pages : 248

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Book Description
Michael Corris examines Ad Reinhardt’s life and work, charting the development of his entire oeuvre - from abstract paintings, to graphic artwork, to illustrations and cartoons.

Author: Bruce A. Barber
Publisher: Common Ground Research Networks
ISBN: 1863352171
Category : Art
Languages : en
Pages : 327

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Book Description
Popular Modernisms examines a process that has occurred throughout the history of art; one that accelerated with the social effects of the industrial revolution, the development of capitalism and the inception of modern social relations. It argues that the shocks of modernist art encouraged the production of visual satires, parodies, ironies and pastiches; and that, in the company of other forms of text or performance-based criticism, these were the means by which those in marginal, or subordinate social positions could exercise their displeasure and opposition to the ruling ideas and dominant classes of the day. Expressing feelings ranging from mild discomfort to pure rage, this criticism enabled social subordinates to contest or resist the dominance of high culture over low; in terms eloquently described by Antonio Gramsci, as the hegemony of the dominant centre culture over its margins. The focus upon graphic satires (cartoons and comics) of modern art attempts to provide some practical explication of the symbolic contest of power as this process represents the struggle to achieve and maintain, cultural hegemony. A further aim in this book is to investigate the symbolic contestation of cultural meanings in social terms and thereby enrich our understanding of classed society. There are, I believe, many social and political confluences that intersect within the symbolic construction and interpretation of culture. This contest of power can be read as ideological conflict between various dominant, and subordinate groups, classes and class.

Author: New York Public Library. Art and Architecture Division
Publisher:
ISBN:
Category : Architecture
Languages : en
Pages : 520

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Book Description

Author: Mark Lawrence Rosenthal
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 276

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Book Description
"Art from the post-World War 11 period, primarily in America"--Blurb.

Author: John Roberts
Publisher:
ISBN:
Category : Antiques & Collectibles
Languages : en
Pages : 336

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Book Description
In this stimulating collection of essays, John Roberts draws together a wide range of work on some of the most important artists of the post-war period. Written by leading art historians and artist-writers, the essays take a sharply critical look at the construction of modern art history. The artists discussed include Francis Picabia, Robert Smithson, Ad Reinhardt, Andy Warhol, Gerhard Richter, Mary Kelly, Cindy Sherman, Victor Burgin and Laurie Anderson. The extensive influence of post-structuralism on all schools of art history has brought about a widespread derogation of questions around intentionality and social agency. Free-ranging textual interpretation has come to outweigh causal analysis. Art Has No History! reverses this bias. Putting the artist back into art history, the essays reinstate the claims for historical materialism as a theory of the conflictual socialization of individuals. Acknowledging the dissemblances involved in the representations of artistic invention, the book challenges the self-image of traditional art history and the radical New Art History alike. In his introduction, John Roberts gives a fascinating account of the vicissitudes of Marxist writing on art, from Max Raphael and Arnold Hauser to T.J. Clark and Griselda Pollock. Placing the debates on intention and agency in their wider political context, he refers to what he calls "the continuing influence of historical materialism on the best Anglophone art writing today." Art Has No History! is a lively and iconoclastic contribution to that tradition.

Author: Museum of Modern Art (New York, N.Y.). Library
Publisher:
ISBN:
Category : Art, Modern
Languages : en
Pages : 504

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Book Description

Author: David Frankel
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 120

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Book Description

Author: National Gallery of Art (U.S.)
Publisher:
ISBN:
Category :
Languages : en
Pages : 150

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Book Description