DOCSLIB.ORG

January 2002 CAA News

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
January 2002 CAA News s CUNY's Graduate Center. From 1969 to gela's Last Paintings (Oxford University CONFERENCE 1971, he was a CAA Board member, and Press, 1975); Borromini's Sari Carlo aIle was appo:inted Benjamin Frankl~ Quattro Fontane: A Study in Multiple Form SESSION Professor of the History of Art at the and Architectural Symbolism (Garland, University of Pennsylvania in Philadel­ 1977); The Sexuality of Christ in Renais­ HONORS phia in 1975. He retired in 1991, after sance Art and in Modern Oblivion (Univer­ teaching a semester as the Meyer sity of Chicago Press, 1983; the second Schapiro Chair at Columbia University :in edition:in 1996 was revised and doubled LEO New York. :in size by a "Retrospect" that responds to Steinberg has published and lectured critics); Ei1counters with Rauschenberg STEINBERG widely on Renaissance, Baroque, and (University of Chicago Press, 1999); and, most recently, Leonardo's Incessant Last he CAA Distinguished Scholar's Supper (Zone, 2001). Other writings Session was inaugurated in 2001 include studies of Filippo Lippi, T to engage senior scholars in the Mantegna, Michelangelo, Pontormo, Annual Conference and celebrate their Guercino, Rembrandt, Steen, VeHtzquez, contributions to art history. But its aim is and Picasso. Nonprofit Organization greater: At a time of great methodologi­ In addition to a prolific writing u.s. Postage cal shifts in the field, this session will career, Steinberg'S academic life has also foster dialogue within and among the been a full one. In 1982, he delivered the Paid different generations of art historians. s A. W. Mellon Lectures in the Fine Arts at NewYork,N.Y. Like last year's honoree, James the National Gallery of Art in Washing­ Permit No. 4683 Ackerman, Leo Steinberg stands out:in January 2002 ton, DC. In 1985, he gave the Gauss the field of art history for his eloquent Lectures at Princeton University in New College Art Association capacity to engage other scholars, artists, Jersey. He is a fellow of the American 275 Seventh Avenue and critics of all ages and approaches. Academy of Arts and Sciences and New York, New York 10001 The Distinguished Scholar's Session will University College, London. He has take place Thursday, February 21, 2:30~ received honorary doctorates from the 5:00p.M. Massachusetts College of Art in Boston; Board of Directors Born in Moscow :in 1920, Ste:inberg the Philadelphia College of Art in Ellen T. Baird, President spent his childhood :in Berlin before Pennsylvania; Parsons School of Design Michael Aurbach, Vice President, Committees moving to London, where he studied art Vanalyne Green, Vice President, External Affairs :in New York; and Bowdo:in College in Bruce Robertson, Vice President, Annual Conference at the Slade School, University of Brunswick, ME. Steinberg has been a Joe Deal, Secretary London, from 1936 to 1940. After World resident scholar at the American Acad­ John W. Hyland, Jr., Treasurer War II, he settled in New York, working emy in Rome and the Getty Center for Jeffrey P. Cunard, Counsel as a freelance writer and translator, and the History of Art and the Humanities in Susan Ball, Executive Director as a li£e-draw:ing instructor at Parsons Leo Steinberg, CAA's Distinguished Los Angeles. School of Design. He studied art history Scholar's Session 2002 Honoree In 1983, Steinberg became the first Catherine Asher John W. Hyland, Jr. at the Institute of F:ine Arts, New York PHOTO CREDIT: PAMELA BLACKWELL Michael Aurbach Dorothy Johnson art historian to receive an Award :in Ellen T. Baird Ellen K. Levy University, taking his doctorate:in 1960; Literature from the American Academy Holly Block Virgffiia M. Mecklenburg his dissertation examined the Roman and institute of Arts and Letters. The Josely Carvalho Valerie Mercer Baroque architect Francesco Borromini. twentieth-century art. His writings on following year he won the College Art Irina D. Costache Nicholas Mirzoeff From 1962 to 1975, Steinberg taught modern art were published as Other Association's Frank Jewett Mather Nicola Courtright Andrea S. Norris at Hunter College, City University of Criteria: Confrontations with Twentieth­ Award for Distinction in Criticism. In Jeffrey P. Cunard Ferris Olin New York (CUNY), and in 1972 was co­ Century Art (Oxford University Press, Joe Deal Thomas F. Reese 1986, he became a MacArthur Founda- founder of the art history department of 1972). Subsequent books are Michelan- Nancy Friese Bruce Robertson CONTINUED ON PAGE 2 Joanna Frueh Gregory G. Sholette Vanalyne Green Joyce Hill Stoner Alison Hilton Edward Sullivan Michael Ann Holly Tran T. Kim-Trang Conference Session Honors Leo Steinberg of Venice (1988-89), both at the National twentieth-century art, she has been Believing that the history of modern Other publications include "Liberal CONTENTS CONTINUED FROM PAGE 1 Gallery of Art in Washington, DC. active as a writer, editor, educator, and art could not be pursued apart from its Art and Reformist Critique: Competing Samuel Edgerton began his career, curator. Her many publications include theory and criticism, Krauss joined the Discourses of the Gift in Early Modem tion Fellow. During 1995-96, he deliv­ like Steinberg, as an artist and private Terminal Iron Works: The Sculpture of editorial board of Artforum in the 1960s. Painting," in Negotiating the Gift (forth­ Volume 27, Number 1 ered the Charles Eliot Norton Lectures at lamlal}' 2002 high-school teacher. He served for David Smith (MIT Press, 1971), Passages In 1975, she left the magazine to coming, 2002) and "Christ in Ecstasy: Harvard University in Cambridge, MA. several years as an art instructor and in Modern Sculpture (Viking, 1977), David participate in the launch of October, a The Passion According to Michelan­ More recently, he has spoken on Monet wrestling coach, participating in a Smith: A Catalogue Raisonne (Garland, new journal about art, film, and critical gelo," in Coming About: Festschrift for at the Musemn of Fine Arts, Boston; on Conference Session Honors Fulbright exchange teachership in a 1977), The Originality of the Avant-Garde theory. She understood that the task of John Sheannan (Cambridge University Matisse and Picasso at the Kimbell Art 1 Leo Steinberg German high school shortly after World and Other Modernist Myths (MIT Press, writing and publishing forges a relation­ Press, 2001), one of his many distin­ Museum in Fort Worth, TX; and on War II. After a stint as a studio artist, he 1985), Le Photographique (Editions ship among contemporary politics, guished studies on Michelangelo contemporary art from Jasper Johns to pursued a postgraduate degree in art Macula, 1990), Cindy Sherman (Rizzoli, thought, and scholarship. Since its published in the last decade. Nagel also Follow-a-Fellow: Art's Power for Jeff Koons at the Los Angeles County Social Change history and obtained his Ph.D. from the 1993), The Optical Unconscious (MIT inception, October has conceived of wrote the entry II Altarpiece (Definition 4 Museum of Art. Task Force on Publications Convenes University of Pennsylvania in 1965. Press, 1993), Formless: A User's Guide criticism as the act of opening the and History)" in The Dictionary of Art Steinberg will be joined on the dais Drawing on a side interest:in the history (Zone, 1997), The Picasso Papers (Farrar, history of modernism to theory-that is, (MacMillan, 1996), and an article on by a distinguished panel, some of whom From the Executive Director: The of science, particularly ancient and Straus, and Giroux, 1998), and Bachelors subjecting it to an examination of its "Leonardo and Sfumato" in the journal are deeply engaged in contemporary art Active Member: A Key Part of medieval optics, he wrote his disserta­ (MIT Press, 1999). fundamental premises. RES: Anthropology and Aesthetics in 1993. 5 Professional Service theory, criticism, and practice, but who tion on the inception of geometric linear Krauss helped organize the Alexander Nagel is Associate Nagel has received an award from also have a primary specialty in Renais­ perspective during the early Italian exhibitions Joan Mir6: Magnetic Fields Professor at the University of Toronto in the Social Sciences and Humanities sance and Baroque art. VRA and ARLIS/NA Celebrate Renaissance. His thesis became ills first (1971) at the Guggenheim Museum in Ontario, Canada. He was educated at Research Council of Canada. He was The chair of this year's Distin­ Anniversaries book, The Renaissance Rediscovery of New York; L'Amour jou: Surrealism and the Universite de Montpellier in also a research fellow at the Max Planck 6 guished Scholar's Session, David Amtrak Provides Conference Travel Linear Perspective (Harper & Row, 1975). Photography (1985) at the Corcoran Montpellier, France, received his B.A. Institut fUr Geschichte in Gottingen, Grants Rosand, is the Meyer Schapiro Professor A Guggenheim fellowship helped Gallery of Art in Washington, DC; from the University of California, Germany, a Getty postdoctoral fellow, of Art History at Columbia University. Edgerton publish The Heritage ofGiotto's Richard Serra: Sculpture (1986) at the Berkeley, and his M.A. and Ph.D. from and a Mellon Foundation grant recipi­ Annual Conference Update He has made his university career at the 7 Geometry: Art and Science on the Eve of the Museum of Modern Art in New York; Harvard University. His primary areas ent. school, earnillg his B.A., M.A., and Ph.D. Scientic Revolution (Cornell University and Robert Morris: The Mind/Body of teaching are Renaissance and contem­ CAA is grateful for the generous degrees there. Rosand received his doc­ Advocacy Update Press, 1991), an elaboration of his idea Problem (1994), also at the Guggenheim. porary art, and his recent research on art support of the Distinguished Scholar's 10 torate in 1965 (his dissertation examined that linear perspective in Renaissance art With Yve-Alain Bois she organized and reform in sixteenth-century Italy is Session provided by the Samuel H.
Load more

Recommended publications
  • Fall 201720172017
    2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs.
    [Show full text]
  • The Modernist Iconography of Sleep. Leo Steinberg, Picasso and the Representation of States of Consciousness
    60 (1/2021), pp. 53–73 The Polish Journal DOI: 10.19205/60.21.3 of Aesthetics Marcello Sessa* The Modernist Iconography of Sleep. Leo Steinberg, Picasso and The Representation of States of Consciousness Abstract In the present study, I will consider Leo Steinberg’s interpretation of Picasso’s work in its theoretical framework, and I will focus on a particular topic: Steinberg’s account of “Picas- so’s Sleepwatchers.” I will suggest that the Steinbergian argument on Picasso’s depictorial modalities of sleep and the state of being awake advances the hypothesis of a new way of representing affectivity in images, by subsuming emotions into a “peinture conceptuelle.” This operation corresponds to a shift from modernism to further characterizing the post- modernist image as a “flatbed picture plane.” For such a passage, I will also provide an overall view of Cubism’s main phenomenological lectures. Keywords Leo Steinberg, Pablo Picasso, Cubism, Phenomenology, Modernism 1. Leo Steinberg and Picasso: The Iconography of Sleep The American art historian and critic Leo Steinberg devoted relevant stages of his career to the interpretation of Picasso’s work. Steinberg wrote several Picassian essays, that appear not so much as disjecta membra but as an ac- tual corpus. In the present study, I will consider them in their theoretical framework, and I will focus on a particular topic: Steinberg’s account of “Pi- casso’s Sleepwatchers” (Steinberg 2007a). I will suggest that the Steinber- gian argument on Picasso’s depictorial modalities of sleep and the
    [Show full text]
  • Robert Morris, Minimalism, and the 1960S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Early 20Th Century Continued
    Early 20th Century- Chapter 21 Artist: Henri Matisse Title: The Joy of Life Movement: Fauvism Period: Early 20th Century Description: Fauvism (les fauves=wild beasts)- pure hues, lines freed from descriptive roles, and simplified shapes all together create a lively rhythm in the composition Artist: Matisse Title: Harmony in Red (The Red Room) Movement: Fauvism Period: Early 20th Century Artist: André Derain Title: London Bridge Movement: Fauvism Period: Early 20th Century Artist: Ernst Ludwig Kirchner Title: Street, Berlin Movement: German Expressionism- The Bridge group Period: Early 20th Century Artist: Kandinsky Title: Blue Mountain Movement: German Expressionism- The Blue Rider group Period: Early 20th Century Artist: Kandinsky Title: Composition IV Movement: German Expressionism Period: Early 20th Century Description- his painting evolved toward a an absence of representational subject matter in order to concentrate on the expressive potential of pure form comparable to the free language of music Artist: Picasso Title: Les Demoiselles D’Avignon Movement: Early Cubism Period: Early 20th Century Description: Cubism’s influences- African masks and African reliquary figures Kota Reliquary figure, Africa Picasso, Les Demoiselles D’Avignon, 1907, oil on canvas, beginning of Dan mask, Cubism; Picasso is interested only in the forms of African art, not the Africa meanings of uses of African art Artist: Braque Title: Houses at L’Estaque Movement: Early Cubism Period: Early 20th Century Description: Cubism’s influences- the Post-Modernist painter
    [Show full text]
  • UNSEEN WORKS of the EUROPEAN AVANT-GARDE An
    Press Release July 2020 Mitzi Mina | [email protected] | Melica Khansari | [email protected] | Matthew Floris | [email protected] | +44 (0) 207 293 6000 UNSEEN WORKS OF THE EUROPEAN AVANT-GARDE An Outstanding Family Collection Assembled with Dedication Over Four Decades To Be Offered at Sotheby’s London this July Over 40 Paintings, Sculpture & Works on Paper Led by a Rare Cubist Work by Léger & an Intimate Picasso Portrait of his Secret Lover Marie-Thérèse Pablo Picasso | Fernand Léger | Alberto Giacometti | Wassily Kandinsky | Lyonel Feininger | August Macke | Alexej von Jawlensky | Jacques Lipchitz | Marc Chagall | Henry Moore | Henri Laurens | Jean Arp | Albert Gleizes Helena Newman, Worldwide Head of Sotheby’s Impressionist & Modern Art Department, said: “Put together with passion and enjoyed over many years, this private collection encapsulates exactly what collectors long for – quality and rarity in works that can be, and have been, lived with and loved. Unified by the breadth and depth of art from across Europe, it offers seldom seen works from the pinnacle of the Avant-Garde, from the figurative to the abstract. At its core is an exceptionally beautiful 1931 portrait of Picasso’s lover, Marie-Thérèse, an intimate glimpse into their early days together when the love between the artist and his most important muse was still a secret from the world.” The first decades of the twentieth century would change the course of art history for ever. This treasure-trove from a private collection – little known and rarely seen – spans the remarkable period, telling its story through the leading protagonists, from Fernand Léger, Pablo Picasso and Alberto Giacometti to Wassily Kandinsky, Lyonel Feininger and Alexej von Jawlensky.
    [Show full text]
  • Modern Art Collection
    MODERN ART COLLECTION Alexander Archipenko Reclining 1922 Bronze 17½ × 11 × 11¼ in. (44.5 × 27.9 × 28.6 cm) Bequest of Ruth P. Phillips 2005.23.5 Widely acknowledged as the first cubist sculptor, Alexander Archipenko held a lifelong fascination with the human figure in the round. Archipenko began studies at the School of Art in Kiev in 1902 but was forced to leave in 1905 after criticizing the academicism of his instructors. He lived briefly in Moscow before settling in 1909 in Paris, where he enrolled at the École des Beaux- Arts. Yet he left after just two weeks of formal studies, believing that he could teach himself through the direct study of sculpture in the Musée du Louvre. The decade following Archipenko’s arrival in Paris proved to be his most inventive. By 1910 Archipenko began exhibiting with the cubists at the Salon des Indépendants and the Salon d’Automne, earning international renown for his nearly abstract sculptures. He was represented in many international cubist exhibitions and also exhibited in the landmark Armory Show of 1913 in New York. Following his marriage in 1921 to Angelica Schmitz, a German sculptor, Archipenko moved to Berlin, where he opened an art school. They left Berlin for New York in 1923, and Archipenko became a United States citizen in 1929. As a young artist in Paris, Archipenko began to adapt cubist techniques to sculpture. Influenced by the cubist notion of integrating the figure with surrounding space, Archipenko interchanged solids and voids so that protruding elements seemed to recede and internal features to advance.
    [Show full text]
  • The Painted Word a Bantam Book / Published by Arrangement with Farrar, Straus & Giroux
    This edition contains the complete text of the original hardcover edition. NOT ONE WORD HAS BEEN OMITTED. The Painted Word A Bantam Book / published by arrangement with Farrar, Straus & Giroux PUBLISHING HISTORY Farrar, Straus & Giroux hardcover edition published in June 1975 Published entirely by Harper’s Magazine in April 1975 Excerpts appeared in the Washington Star News in June 1975 The Painted Word and in the Booh Digest in September 1975 Bantam mass market edition / June 1976 Bantam trade paperback edition / October 1999 All rights reserved. Copyright © 1975 by Tom Wolfe. Cover design copyright © 1999 by Belina Huey and Susan Mitchell. Book design by Glen Edelstein. Library of Congress Catalog Card Number: 75-8978. No part o f this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. For information address: Farrar, Straus & Giroux, 19 Union Square West, New York, New York 10003. ISBN 0-553-38065-6 Published simultaneously in the United States and Canada Bantam Books are published by Bantam Books, a division of Random House, Inc. Its trademark, consisting of the words “Bantam Books” and the portrayal of a rooster, is Registered in U.S. Patent and Trademark Office and in other countries. Marca Registrada. Bantam Books, New York, New York. PRINTED IN THE UNITED STATES OF AMERICA BVG 10 9 I The Painted Word PEOPLE DON’T READ THE MORNING NEWSPAPER, MAR- shall McLuhan once said, they slip into it like a warm bath.
    [Show full text]
  • WE the Moderns' Teachers' Pack Kettle's Yard, 2007 WE the Moderns: Gaudier and the Birth of Modern Sculpture
    'WE the Moderns' Teachers' Pack Kettle's Yard, 2007 WE the moderns: Gaudier and the birth of modern sculpture 20 January - 18 March 2007 Information for teachers • What is the exhibition about? 2 • Key themes 3 • Who was Gaudier? 4 • Gaudier quotes 5 • Points of discussion 6 • Activity sheets 7-11 • Brief biography of the artists 12-18 1 'WE the Moderns' Teachers' Pack Kettle's Yard, 2007 What is the exhibition about? "WE the moderns: Gaudier-Brzeska and the birth of modern sculpture", explores the work of the French sculptor in relation to the wider continental context against which it matured. In 1911, aged 19, Gaudier moved to London. There he was to spend the rest of his remarkably concentrated career, which was tragically cut short by his death in the trenches four years later. These circumstances have granted the sculptor a rather ambiguous position in the history of art, with the emphasis generally falling on his bohemian lifestyle and tragic fate rather than on his artistic achievements, and then on his British context. The exhibition offers a fresh insight into Gaudier's art by mapping its development through a selection of works (ranging from sculptures and preparatory sketches to paintings, drawings from life, posters and archival material) aimed at highlighting not only the influences that shaped it but also striking affinities with contemporary and later work which reveal the artist's modernity. At the core of the exhibition is a strong representation of Gaudier's own work, which is shown alongside that of his contemporaries to explore themes such as primitivism, artists' engagement with the philosophy of Bergson, the rendition of movement and dynamism in sculpture, the investigation into a new use of space through relief and construction by planes, and direct carving.
    [Show full text]
  • Redefining the Art Experience : from Static to Temporal Art Forms
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1998 Redefining The Art Experience : From Static To Temporal Art Forms Justine McKnight Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation McKnight, J. (1998). Redefining The Art Experience : From Static To Temporal Art Forms. https://ro.ecu.edu.au/theses/1450 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1450 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • The Flatbed Picture Plane
    Excerpt from Other Criteria: The Flatbed Picture Plane LEO STEINBERG (1920-) I borrow the term from the flatbed printing press—‘a horizontal bed on which a horizontal printing surface rests’ (Webster). And I propose to use the word to describe the characteristic picture plane of the 1960s—a pictorial surface whose angulation with respect to the human posture is the precondition of its changed content. It was suggested earlier that the Old Masters had three ways of conceiving the picture plane. But one axiom was shared by all three interpretations, and it remained operative in the succeeding centuries, even through Cubism and Abstract Expressionism: the conception of the picture as representing a world, some sort of worldspace which reads on the picture plane in correspondence with the erect human posture. The top of the picture corresponds to where we hold our heads aloft; while its lower edge gravitates to where we place our feet. Even in Picasso’s Cubist collages, where the Renaissance worldspace concept almost breaks down, there is still a harking back to implied acts of vision, to something that was once actually seen. A picture that harks back to the natural world evokes sense data which are experienced in the normal erect posture. Therefore the Renaissance picture plane affirms verticality as its essential condition. And the concept of the picture plane as an upright surface survives the most drastic changes of style. Pictures by Rothko, Still, Newman, de Kooning, and Kline are still addressed to us head to foot—as are those of Matisse and Miró. They are revelations to which we relate visually as from the top of a columnar body; and this applies no less to Pollock’s drip paintings and the poured and Unfurls of Morris Louis.
    [Show full text]
  • Harold Rosenberg's Critique of Artforum
    Moonie S. Historians of the Future: Harold Rosenberg's Critique of Artforum. Visual Resources 2015, 31(1-2), 103-115. Copyright: This is an Accepted Manuscript of an article published by Taylor & Francis in Visual Resources on 08/04/2015, available online: http://www.tandfonline.com/10.1080/01973762.2015.1004784 DOI link to article: http://dx.doi.org/10.1080/01973762.2015.1004784 Date deposited: 06/05/2016 Embargo release date: 08 October 2016 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence Newcastle University ePrints - eprint.ncl.ac.uk 1 Historians of the Future: Harold Rosenberg’s critique of Artforum Stephen Moonie This paper discusses Harold Rosenberg (1906-1978) and his critique of Artforum. It focuses particularly on the journal’s landmark issue on the New York School in September 1965. Rosenberg criticized Artforum for blurring the boundaries between art history and art criticism: an entwinement which is now widely accepted by many commentators, not least because some of Artforum’s major critics went on to pursue academic careers, shaping the discipline of contemporary art history. However, this acceptance has resulted in some confusion with regard to the current role of art criticism. In this regard, Rosenberg’s opposition to Artforum merits consideration. Although Rosenberg was not disinterested, this paper claims that his remarks open up the historical roots of our current confusion. What was at stake in the debates amongst Artforum’s major figures was nothing less than the “history of the future.” Keywords: modernism; art criticism; Harold Rosenberg (1906-1978); Clement Greenberg (1909-1994); Michael Fried (b.1939); Frank Stella (b.1936).
    [Show full text]
  • I Think I See
    THE FRONT COVER of this volume makes reference to the during most of the time that the Meyerhoffs were collect- I think I see . Meyerhoff eye. It is, quite appropriately, a hidden reference, ing. The critical landscape was divided, to put it only a little requiring visual discovery. (Take a moment to find it.) too simply, between the formalism of Clement Greenberg, HARRY COOPER On the back cover, the absent protagonist in a drawing by the existentialism of Harold Rosenberg, and the pluralism Roy Lichtenstein stammers, “I . I’ll think about it!”— as of Leo Steinberg. The leader into the 1970s was Greenberg, if that personal cry had to fight to be heard through the whose later writings, perhaps taking Emerson’s fantasy impersonal media of the Ben-day Dot and the 1950s comic of a transparent eyeball too literally, made opticality the strip. The repeated “I” in the word balloon, taken together sine qua non of aesthetic quality. In the work of abstract with the trick on the front cover, suggests a pun: I = eye. expressionists Clyfford Still, Barnett Newman, and Mark That pun has a famous lineage. “I become a transparent Rothko, Greenberg discovered a pictorial space so devoid eyeball; I am nothing; I see all,” wrote Ralph Waldo Emer- of normal cues about depth that only a disembodied eye son in “Nature” (1836) about being alone in the woods. could imagine entering it. Almost every up-and-coming In a fantasy of pure (in)visibility, the eye, that regal organ artist defined himself or herself in relation to this orthodoxy, for Emerson, replaces the I.
    [Show full text]