In the 1980s, when the American art market flourished, critics were heavily concerned with theory. In The Aesthete in the City David Carrier offers a personal view on the artistic activity of that decade. He begins with a theoretical perspective on the relationship between two very different forms of artwriting: art criticism and art history writing. Carrier surveys the developments within theory during the 1980s, focusing on constructive critical analysis of the then fashionable work of Jean Baudrillard, Walter Benjamin, T. J. Clark, and Jacques Derrida. He provides detailed...
In the 1980s, when the American art market flourished, critics were heavily concerned with theory. In The Aesthete in the City David Carri...
Principles of Art History Writing traces the changes in the way in which writers about art represent the same works. These differ in such deep ways as to raise the question of whether those at the beginning of the process even saw the same things as those at the end did. Carrier uses four case studies to identify and explain changing styles of restorations and the history of interpretations of selected works by Piero, Caravaggio, and van Eyck.
Principles of Art History Writing traces the changes in the way in which writers about art represent the same works. These differ in such ...
The great poet Charles Baudelaire (1821-1867) was also an extremely influential art critic. High Art relates the philosophical issues posed by Baudelaire's art writing to the theory and practice of modernist and postmodernist painting. Baudelaire wrote in an age of transition, David Carrier argues, an era divided by the Revolution of 1848, the historical break that played for him a role now taken within modernism by the political revolts of 1968. Moving from the grand tradition of Delacroix to the images of modern life made by Constantin Guys, this movement from "high" to "low,"...
The great poet Charles Baudelaire (1821-1867) was also an extremely influential art critic. High Art relates the philosophical issues pose...
Adrian Stokes (1902-1972) was a British painter and writer whose books on art have been allowed to go out of print despite their impact on Modernist culture and ongoing acclaim for their beauty and intellectual acuity. This new edition of The Quattro Cento and Stones of Rimini presents the original texts of 1932 and 1934 and furnishes them with introductions by David Carrier and Stephen Kite that will help readers grasp the structure and significance of what have become Stokes's most widely-cited and influential books.
Written as parts of an incomplete trilogy, The...
Adrian Stokes (1902-1972) was a British painter and writer whose books on art have been allowed to go out of print despite their impact on Modernis...
Rosalind Krauss is, without visible rival, the most influential American art writer since Clement Greenberg. Together with her colleagues at DEGREESIOctober DEGREESR, the journal she co-founded, she has played a key role in the introduction of French theory into the American art world. In the 1960s, though first a follower of Greenberg, she was inspired by her readings of French structuralist and post-structuralist materials, revolted against her mentor's formalism, and developed a succession of radically original styles of art history writing. Offering a complete survey of her career and...
Rosalind Krauss is, without visible rival, the most influential American art writer since Clement Greenberg. Together with her colleagues at DEGREE...
In "Museum Skepticism," art historian David Carrier traces the birth, evolution, and decline of the public art museum as an institution meant to spark democratic debate and discussion. Carrier contends that since the inception of the public art museum during the French Revolution, its development has depended on growth: on the expansion of collections, particularly to include works representing non-European cultures, and on the proliferation of art museums around the globe. Arguing that this expansionist project has peaked, he asserts that art museums must now find new ways of making high art...
In "Museum Skepticism," art historian David Carrier traces the birth, evolution, and decline of the public art museum as an institution meant to spark...
Two of the most important modernist artists, Marcel Proust and Andy Warhol, also developed aesthetic theories. Proust presents imaginary artists a composer, a painter, and a novelist. Warhol made paintings and sculptures; created art history writing, fiction, and films; and sponsored a rock group. Warhol most likely never read Proust, but because their ways of thinking contrast dramatically, much can be learned about both men s art by comparing: the imaginary painting described by Proust to Warhol s Marilyn Diptych; the ways that Proust and Warhol understand art-making; how Proust and...
Two of the most important modernist artists, Marcel Proust and Andy Warhol, also developed aesthetic theories. Proust presents imaginary artists a com...
