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The State of Art Criticism
Page 1 The State of Art Criticism Art criticism is spurned by universities, but widely produced and read. It is seldom theorized, and its history has hardly been investigated. The State of Art Criticism presents an international conversation among art historians and critics that considers the relation between criticism and art history, and poses the question of whether criticism may become a university subject. Participants include Dave Hickey, James Panero, Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis, Irit Rogoff, Guy Brett, and Boris Groys. James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the University of London. His publications include the books Richard Prince: Untitled (couple) and Jeff Wall, and he is co-editor with Jon Bird of Rewriting Conceptual Art. 08:52:27:10:07 Page 1 Page 2 The Art Seminar Volume 1 Art History versus Aesthetics Volume 2 Photography Theory Volume 3 Is Art History Global? Volume 4 The State of Art Criticism Volume 5 The Renaissance Volume 6 Landscape Theory Volume 7 Re-Enchantment Sponsored by the University College Cork, Ireland; the Burren College of Art, Ballyvaughan, Ireland; and the School of the Art Institute, Chicago. 08:52:27:10:07 Page 2 Page 3 The State of Art Criticism EDITED BY JAMES ELKINS AND MICHAEL NEWMAN 08:52:27:10:07 Page 3 Page 4 First published 2008 by Routledge 270 Madison Ave, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2007. -
The Painted Word
The Painted Word copyright © 1975 by Tom Wolfe PEOPLE DON’T READ THE MORNING NEWSPAPER, Marshall McLuhan once said, they slip into it like a warm bath. Too true, Marshall! Imagine being in New York City on the morning of Sunday, April 28, 1974, like I was, slipping into that great public bath, that vat, that spa, that, regional physiotherapy tank, that White Sulphur Springs, that Marienbad, that Ganges, that River Jordan for a million souls which is the Sunday New York Times. Soon I was submerged, weightless, suspended in the tepid depths of the thing, in Arts & Leisure, Section 2, page 19, in a state of perfect sensory deprivation, when all at once an extraordinary thing happened: I noticed something! Yet another clam-broth-colored current had begun to roll over me, as warm and predictable as the Gulf Stream ... a review, it was, by the Time’s dean of the arts, Hilton Kramer, of an exhibition at Yale University of “Seven Realists,” seven realistic painters . when I was jerked alert by the following: “Realism does not lack its partisans, but it does rather conspicuously lack a persuasive theory. And given the nature of our intellectual commerce with works of art, to lack a persuasive theory is to lack something crucial—the 1 means by which our experience of individual works is joined to our understanding of the values they signify.” Now, you may say, My God, man! You woke up over that? You forsook your blissful coma over a mere swell in the sea of words? But I knew what I was looking at. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
Naturalism, the New Journalism, and the Tradition of the Modern American Fact-Based Homicide Novel
INFORMATION TO USERS This manuscript has been reproduced 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. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml48106-1346 USA 3131761-4700 800!521-0600 Order Number 9406702 Naturalism, the new journalism, and the tradition of the modern American fact-based homicide novel Whited, Lana Ann, Ph.D. -
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. -
Firing Line (Television Program) Broadcast Records
http://oac.cdlib.org/findaid/ark:/13030/kt6m3nc88c Online items available Register of the Firing Line (Television Program) broadcast records Finding aid prepared by Natasha Porfirenko, revised by Hoover Institution Archives Staff, Max Siekierski, Alexandria Mullings, Stephanie Stewart, and Rachel Bauer Hoover Institution Archives 434 Galvez Mall Stanford University Stanford, CA, 94305-6010 (650) 723-3563 [email protected] © 2003, 2009, 2014, 2015 Register of the Firing Line 80040 1 (Television Program) broadcast records Title: Firing Line (Television program) broadcast records Date (inclusive): 1966-1999 Collection Number: 80040 Contributing Institution: Hoover Institution Archives Language of Material: English Physical Description: 190 manuscript boxes, 218 oversize boxes, 3 card file boxes, 1 motion picture film, 352 linear feet of videotapes(948.3 linear feet) Abstract: The Firing Line broadcast records include videotapes from the Firing Line television show, as well as sound recordings, administrative and speaker files, program research files, photographs, transcripts, and other materials from the show. The types of program research materials available for each program are listed in the Episode Guide. The Episode Guide also includes a summary and guest list for each episode, as well as a link to the episode details page on Hoover's digital collections website. When applicable, links for purchasing full-length episodes and the availability of special order DVDs are also included. Digital copies of select records also available at https://digitalcollections.hoover.org. Physical Location: Hoover Institution Archives Contributor: Buckley, William F., Jr., 1925-2008. Contributor: Southern Educational Communications Association Access Collection is open for research. Digital copies of select records also available at https://digitalcollections.hoover.org. -
The Painted Word Free
FREE THE PAINTED WORD PDF Tom Wolfe | 106 pages | 01 Nov 2008 | St Martin's Press | 9780312427580 | English | New York, United States The Painted Word by Tom Wolfe, Paperback | Barnes & Noble® He addresses the scope of Modern Art, from its founding days as Abstract Expressionism through its transformations to Pop, Op, Minimal, and Conceptual. This is Tom Wolfe "at. Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See The Painted Word Problem? Details if other :. The Painted Word for telling us about the problem. Return to Book Page. The Painted Word by Tom Wolfe. Get A Copy. Paperbackpages. Published October 5th by Bantam first published More Details Original Title. Clement GreenbergAndy Warhol. Friend Reviews. The Painted Word see what your friends thought of this book, please sign up. To ask other readers questions about The Painted Wordplease sign up. What are some recent opinions if this book See 1 question about The Painted The Painted Word. Lists with This Book. Community Reviews. Showing Average rating 3. Rating details. More filters. Sort order. Start your review of The Painted Word. Aug 30, Glenn Russell rated it it was amazing. Oh, rats, Tom fumed, all my hours squinting and starring at unintelligible paintings and I never comprehended those massive cutting-edge, avant- garde canvases were based on ideas and philosophies outlined by hyper-perceptive, authoritative art theorists. For the Abstract Expressionists, Clement Greenberg was the first to expound the theory. -
Maarten Doorman
artinprogress2.def 20-10-2003 11:58 Pagina 1 Maarten Doorman Art is supposed to be of our time or rather to be part of Art in Progress the future. This perspective has reigned the arts and art criticism for more than a century. The author of this challenging and erudite essay shows how the idea of progress in the arts came up A Philosophical Response to the End of the Avant-Garde and he describes the enormous retorical impact of progressive concepts. After the end of the avant-garde the idea of progress in the arts collapsed and soon philosophers like Arthur Danto Doorman Maarten proclaimed the end of art. Doorman investigates the crippling effects of postmodernism on the arts and proposes a new form of progress to understand contemporary art. Its history can still be seen as a process of accumulation: works of art comment on each other, enriching each other’s meanings. These complex interrelationships lead to progress in both the sensibility of the observer and the significance of the works of art. Art in Progress Maarten Doorman is an In the nineteenth century, the history of painting associate professor of was regarded as the paradigm of a progressive under- philosophy at the taking, and evidence that historical progress is a University of Maastricht possible ideal everywhere else. In post-modernist and a professor of literary times, however, progress seems to have all but lost criticism at the University meaning against prevailing philosophies of the end of Amsterdam. The Dutch of art. But the end of art does not entail that there has edition of this title was not been genuine progress in the philosophy of art. -
A History of Art Criticism
1 ▪ ▪ ▪ ▪ ▪ A History of Art Criticism It is conventional to explain the origins of criticism as following the establishment of regular art exhibitions by the Académie in the Louvre in 1737. Yet the various ingredients that came together to form Salon criticism pre-existed the instigation of annual exhibitions. —RICHARD WRIGLEY, IN THE ORIGINS OF FRENCH ART CRITICISM, 1993 In his immortal Salons, Diderot . founded the criticism of painting. 1 —THÉOPHILE GAUTIER, 1854 THE BIRTH OF A GENRE Defined broadly, art criticism clearly has a lengthy history. Men and women have been talking and writing about buildings, sculptures, and paintings with discernment—and so practicing art criticism, in one sense of the word— for thousands of years. As early as the first century BCE, for instance, the ancient Greek geographer Strabo pondered the effect of an ancient temple of Artemis that, “insofar as the size of the temple and the number of votives is concerned, falls short of the one in Ephesus; but, in its well-designed appearance and in the artistry visible in the fitting out of its sacred enclosure, is much superior.”2 And in the fifth century CE, a Byzantine scholar named Procopius recorded his reaction to the vast dome of Constantinople’s Hagia Sofia. “From the lightness of the building,” he argued, “it does not appear to rest upon a solid foundation, but to cover the place beneath as though it were suspended from heaven by the fabled golden chain.”3 1Quoted in Snell, Théophile Gautier, 206. 2Pollitt, The Ancient View of Greek Art, 171. 3Quoted in Lethaby and Swainson, The Church of Sancta Sophia Constantinople, 26. -
Jean Berger (1909–2002): a Biographical Chronology
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 18 2010 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado at Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009 –2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro - posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado at Boulder, 301 UCB, Boulder, CO 80309-0301. -
Tom Wolfe and the Rise of Donald Trump: a Review of Wolfe's Writings
Acad. Quest. (2018) 31:476–488 DOI 10.1007/s12129-018-9735-z IN MEMORIAM Tom Wolfe and the Rise of Donald Trump: A Review of Wolfe’s Writings Wight Martindale, Jr. Published online: 18 October 2018 # Springer Science+Business Media, LLC, part of Springer Nature 2018 I confess that my title is a bit deceptive. If you want rants—pro or con—about President Trump, you will be disappointed. I am most concerned with the writing of Tom Wolfe, whom I first read in the 1960s as an admiring fellow journalist. I love his essays, which appeared regularly in Clay Felker’s exciting New York magazine—a Sunday supplement to the Herald Tribune.In1987 Wolfe wrote the first of four substantial novels, Bonfire of the Vanities (655 pages), and in 2016 he completed his last book, The Kingdom of Speech. I believe that intellectually and, in some personal habits as well, Wolfe and Trump are similar. But they lived in separate worlds. Perhaps someday a doctoral student will show us that all along Wolfe was commenting on Trump. For sure, they were both dedicated New Yorkers, loving the city’senergyand glamour. And both are great self-promoters. Trump had a TV show and sold himself along with his hotels and clubs as a brand. Wolfe got attention by wearing white suits, often with a white vest—winter or summer. When he was on the cover of Time in 1998 he added a white homburg, while holding a pair of white kid gloves and a white walking stick. Most importantly, they both recognized themselves as natural drainers of the swamp, born iconoclasts. -
A Review of the Painted Word 38 Years Late
return to updates A Review of The Painted Word 38 Years Late by Miles Mathis Caveat and disclaimer: this is an opinion piece, based on my own personal research. In it I follow what looks to me like a logical line of reasoning, but—as with all things of this nature—the truth is hard to find. It has been made hard to find on purpose, and I am not claiming I know everything or anything. My conclusions are based only on the evidence I give to you here. You may come to different conclusions, either more or less standard than mine. It only took me about 20 years to figure it out, but I think I have finally penetrated what Tom Wolfe was up to in writing The Painted Word in 1975. Like most other Modern literature, poetry, art, reportage, criticism, and history, you cannot unlock The Painted Word without studying closely the career of the writer, his bio, and his milieu. I will be told that is true of everything, but you will soon see what I mean. I will show it is far truer now than it was in the past, and why. I loved The Painted Word when I first read it, and that is not surprising since it was written for people like me. It expressed perfectly what we were already feeling, while giving our feelings a sort of scientific basis. Wolfe didn't just express a feeling: he did some research and presented a fairly well argued thesis, one that made some sense. The realists and other anti-Moderns of the time rallied round the book, using it as support for their own agendas, and we realists were still rallying round the book and its argument 30 years later.