Marcel Duchamp in perspective (Artists in perspective series)

Best known for cheeky conceptual works—like his signed urinals ("R. Mutt") and his graffitioed Mona Lisa—Marcel Duchamp (1887–1968) was also an extraordinary painter and sculptor (Nude Descending a Staircase) who changed the language of twentieth-century art and reigns with Picasso and Matisse as one of its greatest influences. Joseph Masheck has compiled a sampler of the best writing on Duchamp, with pieces that include Duchamp's obituary from Artforum, written by Jasper Johns; Octavio Paz on the ready-mades; a Duchamp post-mortem by Hans Richter; Donald Judd's investigation of Rrose Sélavy; a "Counter-Avant-Garde" by Clement Greenberg; a consideration by Guillaume Apollinaire; and John Cage's "26 Statements on Marcel Duchamp." Illustrated with photographs of Duchamp's seminal pieces, and updated with a substantial preface that offers new scholarship as well as a fascinating consideration of why Duchamp's popularity has exponentially increased since this book first appeared, this is an essential volume for the Duchamp devotee.

Arts & Photography

Masheck, Joseph

History & Criticism

PRENTICE/HALL

Joseph Masheck wants to take art, historical and modern, as a field of lively interrelations (as if in "random-access memory" retrieval), rather than just second the motion that art history should be nonlinear; and he takes the task of art criticism to be theory in practice. Thus significant new art is represented in the thirty essays in Modernities, besides already "classic" modern architecture, sculpture, and photography, and contemporary painting by artists. Alternating between a comprehensive sense of art history and engagement with the new and unplumbed contemporary arts, he considers himself a kind of aesthetic double agent.
Because Masheck is concerned with the concrete standing of artworks, he speculates on how works of art, including Marcel Duchamp's "ready-mades," relate to other things. More general themes range from the origin of the modern sense of form in prehistoric art to the historical underpinnings of expressionism and on to latter-day "graffiti" culture.

Modernities: Art-Matters in the Present

Penn State University Press

Best known for cheeky conceptual works—like his signed urinals ("R. Mutt") and his graffitioed Mona Lisa—Marcel Duchamp (1887–1968) was also an extraordinary painter and sculptor (Nude Descending a Staircase) who changed the language of twentieth-century art and reigns with Picasso and Matisse as one of its greatest influences. Joseph Masheck has compiled a sampler of the best writing on Duchamp, with pieces that include Duchamp's obituary from Artforum, written by Jasper Johns; Octavio Paz on the ready-mades; a Duchamp post-mortem by Hans Richter; Donald Judd's investigation of Rrose Sélavy; a "Counter-Avant-Garde" by Clement Greenberg; a consideration by Guillaume Apollinaire; and John Cage's "26 Statements on Marcel Duchamp." Illustrated with photographs of Duchamp's seminal pieces, and updated with a substantial preface that offers new scholarship as well as a fascinating consideration of why Duchamp's popularity has exponentially increased since this book first appeared, this is an essential volume for the Duchamp devotee.

Marcel Duchamp in Perspective

Da Capo Press

Building-Art: Modern Architecture under Cultural Construction (Contemporary Artists and their Critics)

Building-Art: Modern Architecture Under Cultural Construction is an anthology of essays by noted critic Joseph Masheck. Considering topics in nineteenth and twentieth century architecture, its theory and practice, as well as selected achievements by such great modernists as Le Corbusier, Ludwig Mies van der Rohe, and Louis Kahn, Masheck also analyzes important monuments and architectural ideas of such artists as Giorgio di Chirico and Tony Smith. Contextualizing and culturally speculative, these studies address such issues as the distinction between architecture and "mere" building, and architecture and engineering, frequently drawing the reader into architectural problems that have persisted for at least two centuries. Demonstrating a concern with on-going modernism, Masheck's essays guide the reader through the anti-modernist polemics of the 1970s and 1980s, which are particularly relevant in light of Postmodernism's demise. Joseph Masheck, editor-in-chief of Artforum from 1977-1980, is Associate Professor of Art History and coordinator of the graduate humanities program at Hofstra University. He is the author of several books and many articles.

Cambridge University Press

Architecture

This new publication, co-published by Slought Books and the Center for Visual Culture, Bryn Mawr College, is authored by noted critic Joseph Masheck and explores the development of modernism and aesthetics through the work of postimpressionist Paul Cézanne. Masheck's innovative experiment in art criticism has been undertaken in the analytical tradition of twentieth-century philosophical thought. "In that abstract painting was made possible by a cubism whose patron saint was the postimpressionist Cézanne, what follows is a search for the implicit philosophical aesthetics of the single most crucial artist for the development of modernism. […] But I also write as a teacher who sees a generation afoot that has learned to deal with postmodernism before understanding modernism (if at all)—which might be something like the American way of starting the dinner with the salad, if one ever got some meat. So I am perhaps also doing something constructively remedial about that, attempting to think, on its own terms but perhaps ‘forward’ again, through the work of a mythic ‘founder’ whose work opened so much future. As should become evident in reading, the device of reducing the painter’s name to ‘C’ is something more than an analytical affectation: it is a way of defetishizing a name all too famous in one way (art) so that we may perhaps for once assess with some detachment what its bearer may have accomplished in other (aesthetic-philosophic) terms." -- from the preface to C’s Æsthetics

C's Aesthetics: Philosophy In The Painting

Slought Networks

Faith in Art: Religion, Aesthetics, and Early Abstraction (Aesthetics and Contemporary Art)

Religious

Bloomsbury Academic

Adolf Loos: The Art of Architecture (International Library of Architecture)

Biographies & Memoirs

Arts & Literature

I.B.Tauris

Widely regarded as one of the most significant prophets of modern architecture, Adolf Loos was a star in his own time. His work was emblematic of the turn-of-the-century generation that was torn between the traditional culture of the nineteenth century and the innovative modernism of the twentieth. His essay 'Ornament and Crime' equated superfluous ornament and 'decorative arts' with underclass tattooing in an attempt to tell modern Europeans that they should know better. But the negation of ornament was supposed to reveal, not negate, good style; and an incorrigible ironist has been taken too literally in denying architecture as a fine art. Without normalizing his edgy radicality, Masheck argues that Loos's masterful "astylistic architecture" was an appreciation of tradition and utility and not, as most architectural historians have argued, a mere repudiation of the florid style of the Vienna Secession. Masheck has reads Loos as a witty, ironic rhetorician who has all too often been taken at face value. Far from being the anti-architect of the modern era, Masheck's Loos is 'an unruly yet integrally canonical artist-architect'. He believed in culture, comfort, intimacy and privacy and advocated the evolution of artful architecture. This is a brilliantly written revisionist reading of a perennially popular architect.

In this book, Joseph Masheck re-examines the spiritual in Mondrian's art and proposes a parallel between the equilibrium found in his paintings and his writings on theological justification. The artist's Calvinist Christianity is considered in respect to the balanced, asymmetrical works of his 'classic' phase of the 1920s and 1930s, and potential parallels with the writings of an important Dutch theologian of the Neo-Calvinist movement are explored. Finally, the author follows Mondrian's classic phase into the 1930s and beyond, in this extraordinary and inspiring reassessment of one of the fathers of abstract art. AUTHOR: Joseph Masheck is Professor of Art History at Hofstra University, New York. He was formerly Editor-in-chief of Artforum and has taught at Columbia, Harvard and Fordham Universities. His previous books include Marcel Duchamp in Perspective (Da Capo, 2002), C's Aesthetics: Philosophy in the Painting (Slought Foundation, 2004), Texts on (Texts on) Art (The Brooklyn Rail Black Square Editions, 2011) and Adolf Loos: The Art of Architecture (I. B. Tauris, 2013). SELLING POINT: * A fresh look at Mondrian by a renowned art historian 23 colour images

The Classic Mondrian in Neo-Calvinist View: The Watson Gordon Lecture 2017

National Galleries Of Scotland

See the best price to sell, buy, or rent books by Masheck, Joseph. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Masheck, Joseph

See the best price to sell, buy, or rent books by Masheck, Joseph. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Marcel Duchamp in perspective (Artists in perspective series)

Modernities: Art-Matters in the Present

Marcel Duchamp in Perspective

Building-Art: Modern Architecture under Cultural Construction (Contemporary Artists and their Critics)

Building-Art: Modern Architecture under Cultural Construction (Contemporary Artists and their Critics)

C's Aesthetics: Philosophy In The Painting

Faith in Art: Religion, Aesthetics, and Early Abstraction (Aesthetics and Contemporary Art)

Adolf Loos: The Art of Architecture (International Library of Architecture)

Adolf Loos: The Art of Architecture (International Library of Architecture)

The Classic Mondrian in Neo-Calvinist View: The Watson Gordon Lecture 2017