Modern Art And Modernism (Icon Editions)

Modern Art and Modernism offers firsthand material for the study of issues central to the development of modern art, its theory, and criticism. The history of modern art is not simply a history of works of art, it is also a history of ideas interpretations. The works of critics and theorists have not merely been influential in deciding how modern art is to be seen and understood, they have also influenced the course it has taken. The nature of modern art cannot be understood without some analysis of the concept of Modernism itself.Modern Art and Modernism presents a selection of texts by the major contributors to debate on this subject, from Baudelaire and Zola in the nineteenth century to Greenberg and T. J. Clark in our own times. It offers a balanced section of essays by contributors to the mainstream of Modernist criticism, representative examples of writing on the themes of abstraction and expression in modern art, and a number of important contributions to the discussion of aesthetics and the social role of the artist. Several of these are made available in English translation for the first time, and others are brought together from a wide range of periodicals and specialized collections.This book will provide an invaluable resource for teachers and students of modern art, art history, and aesthetics, as well as for general readers interested in the place of modern art in culture and history.

Modern Art And Modernism: A Critical Anthology (Icon Editions)

Arts & Photography

Harrison, Charles

Frascina, Francis

History & Criticism

Routledge

Modernism, Criticism, Realism

Literature & Fiction

Harpercollins

Modernism, Criticism, Realism (ICON EDITIONS)

Politics & Social Sciences

Philosophy

Icon.

The picture plane of a painting creates boundaries and perspectives. It governs the relationship of daubs of pigment on a canvas to reality, allowing the viewer to connect with the imagined world of a work of art. Charles Harrison's latest endeavor, Painting the Difference, explores the role of the picture plane in modern painting and the relationships it creates among the artist, the subject, and the spectator. One of the most respected teachers and theorists of modern art, Harrison here offers a bold interpretation of the Modernist canon that uncovers the significance of gender to the functioning of the picture plane. Arguing that the representation of women in art was crucial to the character of modernity, Harrison traces the history of female subjects as they began to gaze out of the picture to confront and engage their viewers. Combining sweeping conceptual history with telling investigations into the details of particular paintings, Painting the Difference deciphers the implications of sexual difference for the development of nineteenth- and twentieth-century art. Harrison shows how artists, reflecting the underlying anxieties of the time about gender, used female subjects' gazes both to create a sexualized relationship between these subjects and their viewers, and to simultaneously question that relationship. In considering works by artists such as Renoir, Manet, Degas, Cézanne, Picasso, and Matisse, as well as Rothko, Warhol, Cindy Sherman, and many more, Harrison incorporates elements of cultural criticism and social history into his arguments, and generous color illustrations permit the reader to test Harrison's claims against the works on which they are based. Rich with detail and compelling analysis, Painting the Difference offers cutting-edge interpretation grounded in the reality of magnificent works of art.

Painting the Difference: Sex and Spectator in Modern Art

University of Chicago Press

Charles Harrison here traces the history of female subjects as they began to gaze out of the picture to confront and engage their viewers. Combining conceptual history with telling investigations into the details of specific works, Painting the Difference deciphers the implications of sexual difference for the development of nineteenth- and twentieth-century art. In considering works by artists such as Renoir, Degas, Picasso, and Matisse, as well as Rothko, Warhol, Cindy Sherman, and others, Harrison incorporates elements of cultural criticism and social history into his arguments. Generous color illustrations permit the reader to test the author’s claims against the works on which they are based. Rich with detail and compelling analysis, Painting the Difference offers cutting-edge interpretation by one of the most respected teachers and theorists of modern art. “Painting the Difference complicates routine assumptions about the sexism of male artists and viewers, and raises useful questions about the history of seeing.”—Patricia Failing, Art News “Taken together these chapters serve to demonstrate how careful looking can provide new insight into the making and meaning of iconic works. Conceptually challenging and rich in detail, this is an attractive volume with a generous number of illustrations, both in color and black and white, that help to support the author's claims and argument.”—Britta C. Dwyer, Women’s Art Journal “To their advantage the book’s arguments are patiently developed from perceptive reading of the treatment of materials and pictorial effect that is rare in art historians. One of the pleasures of reading it is to follow how the book’s many insights about specific representations become based on evidence of the materiality of the paintings.”—Mark Harris, Art Monthly

English Art in the Modern Period, Nineteen Hundred - Nineteen Thirty Nine

Indiana Univ. Pr

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 &amp; 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 &amp; 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.

Essays on Art & Language

Mit Pr

In Conceptual Art and Painting, a companion to his Essays on Art &amp; Language, Charles Harrison reconsiders Conceptual Art in light of renewed interest in the original movement and of the various forms of "neo-Conceptual" art. He discusses developments in the Art &amp; Language movement since 1991, during which time there have been major retrospectives of its work at the Musée du Jeu de Paume in Paris, the Antonio Tapies Foundation in Barcelona, and PS1 in New York. Harrison also addresses larger issues of painting as an art, the representation of the female body, and the relation of art to its audience.

Conceptual Art and Painting: Further Essays on Art & Language

About the Author Charles Harrison is Professor of the History and Theory of Art at the Open University, UK.

Antennas and Waves: A Modern Approach

Engineering & Transportation

King, Ronold W.P.

Engineering

Critical and theoretical essays by a long-time participant in the Art &amp; Language movement.
In Conceptual Art and Painting, a companion to his Essays on Art &amp; Language, Charles Harrison reconsiders Conceptual Art in light of renewed interest in the original movement and of the various forms of "neo-Conceptual" art. He discusses developments in the Art &amp; Language movement since 1991, during which time there have been major retrospectives of its work at the Musee du Jeu de Paume in Paris, the Antonio Tapies Foundation in Barcelona, and PS1 in New York. Harrison also addresses larger issues of painting as an art, the representation of the female body, and the relation of art to its audience.

Conceptual Art and Painting: Further Essays on Art & Language (Writing Art)

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