Writing Back to Modern Art: After Greenberg, Fried, and Clark
Here for the first time is a full-length study of the 'critical modernisms' of the three leading art writers of the second half of the twentieth century, which helps us build a better understanding of the development of modern art writing and its relation to the 'post-modern' in art and society since the 1970s.
Focusing on canonical modern artists such as Manet, Cezanne, Picasso and Pollock, this book provides an important understanding of writing and criticism in modern art for all students and scholars of art theory and art history. Mainstay issues discussed include aesthetic evaluation, subjectivity and meaning in art and art writing. Jonathan Harris examines key discourses and identifies points of significant overlap as well as sharp disjunction between the critics.
Developing the notions of 'good' and 'bad' complexity in modernist criticism, Writing Back to Modern Artcreates ways for us to think outside of these discourses of value and meaning and helps us to look at the place that art writing holds in the latter twentieth century and beyond.of value and meaning and helps us to look at the place that art writing holds in the latter twentieth century and beyond.
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Composition and selfcomposition
Modernism the decay of collective style and the past of art
Not just interpreters collaborators?
Narcissus looking interminably into the unclean mirror
Modernisms modern art
iModernism versus avantgarde
Classic Cubismcool hedonism
Clarks critical subject
Dreaming doubting doubling
Vision value and the diseased eye
Morceau and tableau or alienation and totality
Value and vision
composition and decomposition
Subjectivity intersubjectivity and the society of the spectacle
Theatricality being and temporality
modernisms contested meanings
Dreamings and disasters