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Author: Linda Nochlin
Publisher: Thames & Hudson
ISBN: 0500777160
Category : Art
Languages : en
Pages : 830
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Book Description
A selection of key essays on art from the nineteenth century to the present day by one of the most influential voices in art history. This illustrated collection of essays brings together some of art historian Linda Nochlin’s most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal essay on feminism in art, “Why Have There Been No Great Women Artists?,” she had already firmly established herself as a major practitioner of a politically sophisticated and class-conscious social art history. Nochlin was part of an important cohort of scholars writing on modernity, determined to rethink the narratives of the subject under the pressure of contemporary events such as student uprisings, the women’s liberation movement, and the Vietnam War, with the help of politically engaged literary criticism that was emerging at the same time. Nochlin embraced Charles Baudelaire’s conviction that modernity is meant to be of one’s time—and that the role of an art historian was to understand the art of the past not only in its own historical context but according to the urgencies of the contemporary world. From academic debates about the nude in the eighteenth century to the work of Robert Gober in the twenty-first, whatever she turned her analytic eye to was conceived as the art of the now. Including seven previously unpublished pieces, this collection highlights the breadth and diversity of Nochlin’s output across the decades, including discussions on colonialism, fashion, and sex.
Author: Linda Nochlin
Publisher: Thames & Hudson
ISBN: 0500777160
Category : Art
Languages : en
Pages : 830
Get Book Here
Book Description
A selection of key essays on art from the nineteenth century to the present day by one of the most influential voices in art history. This illustrated collection of essays brings together some of art historian Linda Nochlin’s most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal essay on feminism in art, “Why Have There Been No Great Women Artists?,” she had already firmly established herself as a major practitioner of a politically sophisticated and class-conscious social art history. Nochlin was part of an important cohort of scholars writing on modernity, determined to rethink the narratives of the subject under the pressure of contemporary events such as student uprisings, the women’s liberation movement, and the Vietnam War, with the help of politically engaged literary criticism that was emerging at the same time. Nochlin embraced Charles Baudelaire’s conviction that modernity is meant to be of one’s time—and that the role of an art historian was to understand the art of the past not only in its own historical context but according to the urgencies of the contemporary world. From academic debates about the nude in the eighteenth century to the work of Robert Gober in the twenty-first, whatever she turned her analytic eye to was conceived as the art of the now. Including seven previously unpublished pieces, this collection highlights the breadth and diversity of Nochlin’s output across the decades, including discussions on colonialism, fashion, and sex.
Author: Linda Nochlin
Publisher: National Geographic Books
ISBN: 0500293708
Category : Art
Languages : en
Pages : 0
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Book Description
A selection of key essays on art from the nineteenth century to the present day by one of the most influential voices in art history. This illustrated collection of essays brings together some of art historian Linda Nochlin’s most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal essay on feminism in art, “Why Have There Been No Great Women Artists?,” she had already firmly established herself as a major practitioner of a politically sophisticated and class-conscious social art history. Nochlin was part of an important cohort of scholars writing on modernity, determined to rethink the narratives of the subject under the pressure of contemporary events such as student uprisings, the women’s liberation movement, and the Vietnam War, with the help of politically engaged literary criticism that was emerging at the same time. Nochlin embraced Charles Baudelaire’s conviction that modernity is meant to be of one’s time—and that the role of an art historian was to understand the art of the past not only in its own historical context but according to the urgencies of the contemporary world. From academic debates about the nude in the eighteenth century to the work of Robert Gober in the twenty-first, whatever she turned her analytic eye to was conceived as the art of the now. Including seven previously unpublished pieces, this collection highlights the breadth and diversity of Nochlin’s output across the decades, including discussions on colonialism, fashion, and sex.
Author: W. S. Di Piero
Publisher: Univ of California Press
ISBN: 9780520070653
Category : Literary Collections
Languages : en
Pages : 288
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Book Description
"The writing is superb, the insights come with astonishing and rich rapidity, and the moral and intellectual intelligence behind them strikes me as unflinchingly honest and scrupulous."--Reginald Gibbons, Editor, TriQuarterly
Author: Linda Nochlin
Publisher: National Geographic Books
ISBN: 0500295557
Category : Art
Languages : en
Pages : 0
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Book Description
A comprehensive compendium of renowned art historian Linda Nochlin's work, including her landmark essays on the position and influence of women artists. Linda Nochlin was one of the most accessible, provocative, and innovative art historians of our time. In 1971, she published “Why Have There Been No Great Women Artists?”—a dramatic feminist call to arms that questioned traditional art historical practices and led to a major revision of the discipline. Now available in paperback, Women Artists brings together twenty-nine essential essays from throughout Nochlin's career. Included are her major thematic texts "Women Artists After the French Revolution" and "Starting from Scratch: The Beginnings of Feminist Art History," as well as her landmark 1971 essay and its rejoinder, " 'Why Have There Been No Great Women Artists?' Thirty Years After." These appear alongside monographic entries focusing on a selection of major women artists, including Mary Cassatt, Louise Bourgeois, Cecily Brown, Kiki Smith, Miwa Yanagi, and Sophie Calle.
Author: Charles Harrison
Publisher: MIT Press
ISBN: 9780262582414
Category : Art
Languages : en
Pages : 350
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Book Description
Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.
Author: Caitlin Freeman
Publisher: Ten Speed Press
ISBN: 1607743906
Category : Cooking
Languages : en
Pages : 226
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Book Description
Taking cues from works by Andy Warhol, Frida Kahlo, and Matisse, pastry chef Caitlin Freeman, of Miette bakery and Blue Bottle Coffee fame, creates a collection of uniquely delicious dessert recipes (with step-by-step assembly guides) that give readers all they need to make their own edible masterpieces. From a fudge pop based on an Ellsworth Kelly sculpture to a pristinely segmented cake fashioned after Mondrian’s well-known composition, this collection of uniquely delicious recipes for cookies, parfait, gelées, ice pops, ice cream, cakes, and inventive drinks has everything you need to astound friends, family, and guests with your own edible masterpieces. Taking cues from modern art’s most revered artists, these twenty-seven showstopping desserts exhibit the charm and sophistication of works by Andy Warhol, Cindy Sherman, Henri Matisse, Jeff Koons, Roy Lichtenstein, Richard Avedon, Wayne Thiebaud, and more. Featuring an image of the original artwork alongside a museum curator’s perspective on the original piece and detailed, easy-to-follow directions (with step-by-step assembly guides adapted for home bakers), Modern Art Desserts will inspire a kitchen gallery of stunning treats.
Author: Kim Grant
Publisher: Penn State Press
ISBN: 0271079495
Category : Art
Languages : en
Pages : 295
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Book Description
In recent years, many prominent and successful artists have claimed that their primary concern is not the artwork they produce but the artistic process itself. In this volume, Kim Grant analyzes this idea and traces its historical roots, showing how changing concepts of artistic process have played a dominant role in the development of modern and contemporary art. This astute account of the ways in which process has been understood and addressed examines canonical artists such as Monet, Cézanne, Matisse, and De Kooning, as well as philosophers and art theorists such as Henri Focillon, R. G. Collingwood, and John Dewey. Placing “process art” within a larger historical context, Grant looks at the changing relations of the artist’s labor to traditional craftsmanship and industrial production, the status of art as a commodity, the increasing importance of the body and materiality in art making, and the nature and significance of the artist’s role in modern society. In doing so, she shows how process is an intrinsic part of aesthetic theory that connects to important contemporary debates about work, craft, and labor. Comprehensive and insightful, this synthetic study of process in modern and contemporary art reveals how artists’ explicit engagement with the concept fits into a broader narrative of the significance of art in the industrial and postindustrial world.
Author: Janet Malcolm
Publisher: Farrar, Straus and Giroux
ISBN: 0374709726
Category : Literary Collections
Languages : en
Pages : 318
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Book Description
A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013
Author: Grant D. Taylor
Publisher: Bloomsbury Publishing USA
ISBN: 1623565618
Category : Social Science
Languages : en
Pages : 353
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Book Description
Considering how culturally indispensable digital technology is today, it is ironic that computer-generated art was attacked when it burst onto the scene in the early 1960s. In fact, no other twentieth-century art form has elicited such a negative and hostile response. When the Machine Made Art examines the cultural and critical response to computer art, or what we refer to today as digital art. Tracing the heated debates between art and science, the societal anxiety over nascent computer technology, and the myths and philosophies surrounding digital computation, Taylor is able to identify the destabilizing forces that shape and eventually fragment the computer art movement.
Author: George Orwell
Publisher: Renard Press Ltd
ISBN: 1913724263
Category : Literary Collections
Languages : en
Pages : 15
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Book Description
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
