Gathers essays about modernism, Marxist criticism art patronage, Wallace Stevens, Picasso, Aaron Copland, Michel Foucault, Barbara Pym, Richard Serra, and Cindy Sherman

New Criterion Reader

KRAMER, Hilton

Arts & Photography

Free Press

Analyzes the works of a variety of modern artists including Edward Hopper, Louise Nevelson, Chuck Close, and Julian Schnabel

The Revenge of the Philistines: Art and Culture, 1972-1984

History & Criticism

Hilton Kramer, well known as perhaps the most perceptive, courageous, and influential art critic in America, is also the founder and co-editor (with Roger Kimball) of The New Criterion. This comprehensive book collects a sizable selection of his early essays and reviews published in Artforum, Commentary, Arts Magazine, The New York Review of Books, and The Times, and thus constituted his first complete statement about art and the art world. The principal focus is on the artists and movements of the last hundred years: the Age of the Avant-Garde that begins in the nineteenth century with Realism and Impressionism. Most of the major artists of this rich period, from Monet and Degas to Jackson Pollock and Claes Oldenburg, are discussed and often drastically revaluated. A brilliant introductory essay traces the rise and fall of the avant-garde as a historical phenomenon, and examines some of the cultural problems which the collapse of the avant-garde poses for the future of art. In addition, there are chapters on art critics, museums, the relation of avant-garde art to radical politics, and on the growth of photography as a fine art. This collection is not intended to be the last word on one of the greatest as well as one of the most complex periods in the history of the artistic imagination. The essays and reviews gathered here were written in response to particular occasions and for specific deadlines--in the conviction that a start in the arduous task of critical revaluation needed to be made, not because a critical theory prescribed it but because our experience compelled it!

The age of the avant-garde;: An art chronicle of 1956-1972

Farrar. Straus and Giroux

The Age of the Avant-Garde: An Art Chronicle of 1956-1972 (Noonday)

Farrar. Straus & Giroux

Hilton Kramer, well known as perhaps the most perceptive, courageous, and influential art critic in America, is also the founder and co-editor (with Roger Kimball) of The New Criterion. This comprehensive book collects a sizable selection of his early essays and reviews published in Artforum, Commentary, Arts Magazine, The New York Review of Books, and The Times, and thus constituted his first complete statement about art and the art world.The principal focus is on the artists and movements of the last hundred years: the Age of the Avant-Garde that begins in the nineteenth century with Realism and Impressionism. Most of the major artists of this rich period, from Monet and Degas to Jackson Pollock and Claes Oldenburg, are discussed and often drastically revaluated. A brilliant introductory essay traces the rise and fall of the avant-garde as a historical phenomenon, and examines some of the cultural problems which the collapse of the avant-garde poses for the future of art. In addition, there are chapters on art critics, museums, the relation of avant-garde art to radical politics, and on the growth of photography as a fine art.This collection is not intended to be the last word on one of the greatest as well as one of the most complex periods in the history of the artistic imagination. The essays and reviews gathered here were written in response to particular occasions and for specific deadlines--in the conviction that a start in the arduous task of critical revaluation needed to be made, not because a critical theory prescribed it but because our experience compelled it!

Secker and Warburg

The Revenge of the Philistines: Art and Culture, 1972-84

Richard Lindner

Propyläen

NEW YORK GRAPHIC SOCIETY

This thin volume of Brancusi's photographs, of his own sculptures, his studio, and occasionally of himself, are some of my favorites. They hover between pictures-of and pictures-in-themselves in a way hard to conceive of when the subjects are famous works of art. They have a strong character, often revealing the physical flaws of the materials seen, as well as those in the photographic negative itself. But they are straightforward, with their subjects set mostly in the center of the frame and lit directly, however, this studio condition doesn't render them innocuous. On the contrary, wooden works, lit from in front and often a little too low, cast strong strange shadows, and the metal sculptures are often placed in such a way that the glow of the light's reflection partially obscures the object. They are every bit as uncompromising and oblique as those made by his contemporary and friend Man Ray.I became aware that he was a photographer several years ago as I was first moving my own photographic practice into the studio. I have bought all three books I can find on the subject but this one is the best thus far. The Sculptor As Photographer is overwhelming for exactly what it advertises - that one of the 20th century's greatest sculptors was also one of the best photographer's of his generation. The Hilton Kramer essay is largely forgettable but the plates, prepared by Richard Benson of MoMA's "The Printed Picture" fame, are beautiful.Exhibition of 30 photographs by Constantin Brancusi (1876-1957), from the collection of the Centre Georges Pompidou in Paris. Brancusi, one of the most influential sculptors of the 20th century, was also a distinguished photographer: he used photography to document his work, but also saw it as a creative means attractive in its own right. The show wants to give insights into his work and the creation of his sculptures in the workshop by presenting these photos that are also works of art in their own right.

Brâncusi, the sculptor as photographer

BRANCUSI, Constantin

Callaway Editions

Book by Scharf, William, Kramer, Hilton, Rand, Harry, O'Doherty, Brian

William Scharf: Paintings, 1984-2000 : Exhibition Held at the Phillips Collection, Washington, D.C. November 18, 2000-January 21, 2001

RAND, Harry

Phillips Collection

O'Doherty, Brian

Scharf, William

Phillips Collections

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