Art: Key Contemporary Thinkers

Art: Key Contemporary Thinkers

Language: English

Pages: 256

ISBN: 1845203208

Format: PDF / Kindle (mobi) / ePub

The last few decades have witnessed an explosion in ideas and theories on art. Art itself has never been so topical, but much recent thinking remains inaccessible and difficult to use. This book assesses the work of those thinkers (including artists) who have had a major impact on making, criticizing and interpreting art since the 1960s. With entries by leading international experts, this book presents a concise, critical appraisal of thinkers and their ideas about art and its place in the wider cultural context. A guide to the key thinkers who shape today's world of art, this book is a vital reference for anyone interested in modern and contemporary art, its history, philosophy and practice.Theodor Adorno * Roland Barthes * Georges Bataille * Jean Baudrillard * Walter Benjamin * Jm Bernstein * Pierre Bourdieu * Nicolas Bourriaud * Benjamin Buchloh * Daniel Buren * Judith Butler * Noël Carroll * Stanley Cavell * Tj Clark * Arthur C. Danto * Gilles Deleuze * Jacques Derrida * George Dickie * Thierry De Duve * James Elkins * Hal Foster * Michel Foucault * Michael Fried * Dan Graham * Clement Greenberg * Fredric Jameson * Mike Kelley * Mary Kelly * Melanie Klein * Joseph Kosuth * Rosalind Krauss * Julia Kristeva * Barbara Kruger * Niklas Luhmann * Jean-François Lyotard * Maurice Merleau-Ponty * Wjt Mitchell * Robert Morris * Linda Nochlin * Adrian Piper * Griselda Pollock * Robert Smithson * Jeff Wall * Albrecht Wellmer * Richard Wollheim

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trans. Richard Howard, Berkeley: University of California Press, 1991. Barthes, R., Oeuvres complètes (vols I–V), ed. Eric Marty, Paris: Seuil, 2002. 152 by Jacques Derrida but also by his readings of and associations with other intellectuals of the 1960s and 1970s, such as Jacques Lacan and Julia Kristeva. Barthes’ ability in Camera Lucida to blend a theoretical essay on photography with a memoir continues to entice readers. At the same time, the text has been cherry-picked by theoreticians

Origins of Pictorial Complexity, New York: Routledge, 1999. Elkins, J., Xi fang mei shu xue zhong de Zhongguo shan shui hua. Chinese Landscape Painting as Western Art History, trans. Pan Yoachang and 66 is worthwhile because, for Elkins, both practices are ‘serious and sustained attempts to understand what substances are and how they carry meaning’. How to Use Your Eyes (2000) consists of thirty-three short essays on various features of the visible world and the way in which an informed

Walter Benn Michaels is prominent among the many interlocutors whose influence Fried acknowledges. In the mid-1960s Fried’s critical essays began appearing in Artforum, which under the leadership of Philip Leider constituted a sustained experiment in criticism, publishing an extraordinary range of essays by both critics and artists, and establishing itself as the decade’s foremost journal of contemporary art. ‘Art and Objecthood’ appeared in Artforum’s June 1967 issue devoted to ‘American

Alone: Clement Greenberg’s Modernism and the Bureaucratization of the Senses, Chicago: Chicago University Press, 2005. Krauss, R., The Optical Unconscious, October Books, Cambridge: MIT Press, 1993. Kuspit, D., Clement Greenberg: Art Critic, Madison: University of Wisconsin Press, 1979. ROSALIND KRAUSS (1940–) Rosalind Krauss’s substantial and varied body of writing is characterized by a rigorous consideration of form linked to an ongoing interrogation of theoretical method. With particular

‘low’. The magazine pieces transferred the minimalist grid to the ‘pop’ domain of publicity. Schema (1966) is a perfect example of this. The schema as such consists of an abstract ‘data grid’ of printing components (font size, number of words, paper stock, etc.), which acquires a different content with each instance of publication. Schema’s grid is thus in-formed by the contingencies of its external support. Graham also conceived of texts, such as Information, that could pass under the editorial

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