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Art and Objecthood : Essays and Reviews by Michael Fried (1998, Trade Paperback)

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Art and Objecthood : Essays and Reviews, Paperback by Fried, Michael, ISBN 0226263193, ISBN-13 9780226263199, Brand New, Free shipping in the US Reprints 27 essays and other texts by art critic Fried (humanities, Johns Hopkins U.) originally published between 1962 and 1977, with a long introduction in which he explains how he came to write art criticism and clarifies his views on a number of topics. The pieces include his introduction to the catalog for Three American Painters , the text of his book Morris Louis , and the influential title essay. Annotation c. by Book News, Inc., Portland, Or.

About this product

Product Identifiers

PublisherUniversity of Chicago Press

ISBN-100226263193

ISBN-139780226263199

eBay Product ID (ePID)81716

Product Key Features

Number of Pages352 Pages

Publication NameArt and Objecthood : Essays and Reviews

LanguageEnglish

Publication Year1998

SubjectHistory / Contemporary (1945-), Criticism & Theory

TypeTextbook

AuthorMichael Fried

Subject AreaArt

FormatTrade Paperback

Dimensions

Item Height0.1 in

Item Weight20.7 Oz

Item Length0.9 in

Item Width0.6 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN97-014836

Dewey Edition21

IllustratedYes

Dewey Decimal709/.04

Table Of ContentList of Illustrations Preface and Acknowledgments An Introduction to My Art Criticism Pt. 1: 1966-77 Shape as Form: Frank Stella's Irregular Polygons (1966) Morris Louis (1966-67) Jules Olitski (1966-67) Art and Objecthood (1967) New Work by Anthony Caro (1967) Ronald Davis: Surface and Illusion (1967) Two Sculptures by Anthony Caro (1968) Recent Work by Kenneth Noland (1969) Caro's Abstractness (1970) Problems of Polychromy: New Sculptures by Michael Bolus (1971) Larry Poons's New Paintings (1972) Anthony Caro's Table Sculptures, 1966-77 (1977) Pt. 2: 1965 Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella (1965) Pt. 3: 1962-64 Anthony Caro (1963) Frank Stella (1963) New York Letter: Oldenburg, Chamberlain (October 25, 1962) New York Letter: Louis, Chamberlain and Stella, Indiana (November 25, 1962) New York Letter: Warhol (December 25, 1962) New York Letter: Johns (February 25, 1963) New York Letter: Hofmann (April 25, 1963) New York Letter: Noland, Thiebaud (May 25, 1963) New York Letter: Hofmann, Davis (December 5, 1963) New York Letter: Kelly, Poons (December-January 1963-64) New York Letter: Judd (February 15, 1964) New York Letter: De Kooning Drawings (April 25, 1964) New York Letter: Olitski, Jenkins, Thiebaud, Twombly (May 1964) New York Letter: Brach, Chamberlain, Irwin (Summer 1964) Writings by Michael Fried, 1959-77, Exclusive of Poetry Index of Names in "An Introduction to My Art Criticism"

SynopsisMuch acclaimed and highly controversial, Michael Fried's art criticism defines the contours of late modernism in the visual arts. This volume contains twenty-seven pieces, including the influential introduction to the catalog for Three American Painters, the text of his book Morris Louis, and the renowned "Art and Objecthood." Originally published between 1962 and 1977, they continue to generate debate today. These are uncompromising, exciting, and impassioned writings, aware of their transformative power during a time of intense controversy about the nature of modernism and the aims and essence of advanced painting and sculpture. Ranging from brief reviews to extended essays, and including major critiques of Jackson Pollock, Morris Louis, Kenneth Noland, Jules Olitski, Frank Stella, and Anthony Caro, these writings establish a set of basic terms for understanding key issues in high modernism: the viability of Clement Greenberg's account of the infralogic of modernism, the status of figuration after Pollock, the centrality of the problem of shape, the nature of pictorial and sculptural abstraction, and the relationship between work and beholder. In a number of essays Fried contrasts the modernist enterprise with minimalist or literalist art, and, taking a position that remains provocative to this day, he argues that minimalism is essentially a genre of theater, hence artistically self-defeating. For this volume Fried has also provided an extensive introductory essay in which he discusses how he became an art critic, clarifies his intentions in his art criticism, and draws crucial distinctions between his art criticism and the art history he went on to write. The result is a book that is simply indispensable for anyone concerned with modernist painting and sculpture and the task of art criticism in our time.

LC Classification NumberN6490.F727 1998