Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
103
result(s) for
"Painting 20th century Criticism and interpretation."
Sort by:
James Nares
\"This definitive monograph, produced in close collaboration with the artist, surveys the entirety of his career. Ed Halter considers the development of Nares's moving-image works, while Glenn O'Brien appraises his \"action painting.\" Looking across media, Amy Taubin finds similar themes and strategies throughout Nares's practice. These essays are complemented by an illuminating conversation between Nares and longtime friend and fellow artist Christopher Wool. The book is illustrated with hundreds of film stills, vibrant paintings, performance photographs, and archival materials, the majority of which has never before been published\"--Inside jacket flap.
Book
Transmedial landscapes and modern Chinese painting
Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world.
Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.
eBook
George Condo : painting reconfigured
The definitive monograph on the iconoclastic painter George Condo. Working closely with Condo, Simon Baker has combined biographical, chronological and thematic approaches to survey the artist's work and career to date.
Book
Making Race
Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of \"racial art\" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices.
Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present.
eBook
Collage in Twentieth-Century Art, Literature, and Culture
Emphasizing the diversity of twentieth-century collage practices, Rona Cran's book explores the role that it played in the work of Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan. For all four, collage was an important creative catalyst, employed cathartically, aggressively, and experimentally. Collage's catalytic effect, Cran argues, enabled each to overcome a potentially destabilizing crisis in representation. Cornell, convinced that he was an artist and yet hampered by his inability to draw or paint, used collage to gain access to the art world and to show what he was capable of given the right medium. Burroughs' formal problems with linear composition were turned to his advantage by collage, which enabled him to move beyond narrative and chronological requirement. O'Hara used collage to navigate an effective path between plastic art and literature, and to choose the facets of each which best suited his compositional style. Bob Dylan's self-conscious application of collage techniques elevated his brand of rock-and-roll to a level of heightened aestheticism. Throughout her book, Cran shows that to delineate collage stringently as one thing or another is to severely limit our understanding of the work of the artists and writers who came to use it in non-traditional ways.
eBook
Concerning the Spiritual—and the Concrete—in Kandinsky’s Art
This book examines the art and writings of Wassily Kandinsky, who is widely regarded as one of the first artists to produce non-representational paintings. Crucial to an understanding of Kandinsky's intentions is On the Spiritual in Art, the celebrated essay he published in 1911. Where most scholars have taken its repeated references to \"spirit\" as signaling quasi-religious or mystical concerns, Florman argues instead that Kandinsky's primary frame of reference was G.W.F. Hegel's Aesthetics, in which art had similarly been presented as a vehicle for the developing self-consciousness of spirit (or Geist, in German). In addition to close readings of Kandinsky's writings, the book also includes a discussion of a 1936 essay on the artist's paintings written by his own nephew, philosopher Alexandre Kojève, the foremost Hegel scholar in France at that time. It also provides detailed analyses of individual paintings by Kandinsky, demonstrating how the development of his oeuvre challenges Hegel's views on modern art, yet operates in much the same manner as does Hegel's philosophical system. Through the work of a single, crucial artist, Florman presents a radical new account of why painting turned to abstraction in the early years of the twentieth century.
eBook
Hassel Smith : paintings 1937-1997
\"This book on the Abstract Expressionist painter Hassel Smith illustrates all periods of the artist's many-faceted career. Considered by critics as a \"West Coast underground legend,\" Hassel Smith was an influential member of the experimental school of artists that emerged from post-World War II California. Together with Clyfford Still, Mark Rothko, and Richard Diebenkorn, Smith made his name at the California School of Fine Arts (now the San Francisco Art Institute) and from 1950 until the mid-1960s with successful exhibitions in Europe and on both coasts of the US. While his breakthrough paintings are characterized by their wildly vibrant brushstrokes and explosions of color, Smith was equally adept in a more restrained style, producing in later years the magisterial sequence of \"measured\" abstractions. As an initial burst of fame subsided, Smith continued to paint with unwavering energy. The result is a robust and dynamic body of work that reflects Smith's persistent curiosity and the breadth of his inquiry into the possibilities of painting. Long awaited by followers of the innovative art of the American Far West, this volume presents a full appreciation of Smith's achievement\"--Publisher's description.
Book
Painting, History and Meaning
This compelling new study considers contemporary painting's relationship with time and with events, ideas and paintings from the past. Following French philosopher Jean-François Lyotard's determination of painting as entailing a series of temporal sites, Painting, History and Meaning examines works that tendentiously engage with aspects and events derived from the past. A unique examination of the relationship that contemporary painting has with history and historical material, Painting, History and Meaning is a timely response to, and discussion of, how contemporary painters and artists have addressed a significant area of concern for both practitioners and theorists in recent years. Craig Staff explores art that has encompassed strategies of excavation, anachronism and memorialization, examining key works by artists including Dana Schutz, Tomma Abts, Gerhard Richter, Marlene Dumas, Johannes Phokela and Taus Makhacheva. A scholarly examination of contemporary painting through an innovative interdisciplinary research methodology, this fascinating study illuminates the complex relationship between painting and history. Primary readership will be the fine art academic community, art and painting practitioners, scholars and academics. Will appeal to second and third year undergraduate and postgraduate students of fine art and art history. Of interest to students of cultural studies, history, curatorial studies and continental philosophy, and to those in the visual arts wanting to develop their understanding of contemporary art.
eBook