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Abstract Art in the Late Twentieth Century (Contemporary Artists and Their Critics)

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Abstract Art in the Late Twentieth Century (Contemporary Artists and Their Critics) Cover

 

Synopses & Reviews

Publisher Comments:

By the middle of the 20th century, abstraction was the accepted language of art as practiced by painters and articulated by critics, who began to investigate its historical and theoretical dimensions. Abstract Art in the Late Twentieth Century includes seminal essays on abstract painting by eleven of its most incisive critics and written over four decades, between 1960 and 2000. Tracing the post-Greenbergian development of such critical issues as hard-edge painting, deductive and serial structure, monochrome abstraction, the psychological analogy, regionalism, and the 'death of painting' in post-modernism, they examine works by Ad Reinhardt, Frank Stella, Brice Marden, Sherrie Levine, and Gerhard Richter, among others. The introduction and commentary by Frances Colpitt situates the essays historically and examines their philosophical sources and influences, from formalism and phenomenology, to structuralism and poststructuralism. What emerges is a coherent and optimistic picture of abstract painting, the definitive contribution of modern art.

Synopsis:

Essays that trace the critical issues surrounding abstract painting's contribution to modern art.

Synopsis:

Essays that trace the critical issues surrounding abstract painting's contribution to modern art.

Synopsis:

These essays on abstract painting by eleven of its most incisive critics trace the development of such critical issues as hard-edge painting, deductive and serial structure, monochrome abstraction, the psychological analogy, regionalism, and the "death of painting" in Postmodernism. The introduction and commentary by Frances Colpitt situates the essays historically and examines their philosophical sources and influences, from formalism and phenomenology to structuralism and poststructuralism. What emerges is a coherent and optimistic picture of abstract painting--the definitive contribution of modern art.

Table of Contents

Introduction; 1. Four abstract Classicists Jules Langsner; 2. Literalism and abstraction: Frank Stella's retrospective at the Modern Philip Leider; 3. Serial imagery John Coplans; 4. The silent art Lucy R. Lippard; 5. After the ultimate Grégoire Müller; 6. Marden, Novros, Rothko: painting in the age of actuality Sheldon Nodelman; 7. The end of a painting Douglas Crimp; 8. Signs taken for wonders Hal Foster; 9. The current state of nonrepresentation Jeremy Gilbert-Rolfe; 10. The abstract self-object Donald Kuspit; 11. Once removed from what? David Pagel; 12. Systems of opinion: abstract painting since 1959 Frances Colpitt.

Product Details

ISBN:
9780521004534
Editor:
Colpitt, Frances
Editor:
Kuspit, Donald
Editor:
Colpitt, Frances
Editor:
Kuspit, Donald
Author:
Colpitt, Frances
Author:
Kuspit, Donald
Publisher:
Cambridge University Press
Location:
New York
Subject:
History - General
Subject:
History, modern
Subject:
History - Abstract
Subject:
Art, abstract
Subject:
General Art
Subject:
History - Modern (Late 19th Century to 1945)
Subject:
Art, Abstract Art, Abstract
Subject:
Art-History and Criticism
Subject:
Art - General
Edition Description:
Trade paper
Series:
Contemporary artists and their critics
Series Volume:
no. 183
Publication Date:
20050631
Binding:
TRADE PAPER
Grade Level:
Professional and scholarly
Language:
English
Illustrations:
12 b/w illus.
Pages:
236
Dimensions:
8.62x6.40x.46 in. .88 lbs.

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Abstract Art in the Late Twentieth Century (Contemporary Artists and Their Critics) New Trade Paper
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Product details 236 pages Cambridge University Press - English 9780521004534 Reviews:
"Synopsis" by , Essays that trace the critical issues surrounding abstract painting's contribution to modern art.
"Synopsis" by , Essays that trace the critical issues surrounding abstract painting's contribution to modern art.
"Synopsis" by , These essays on abstract painting by eleven of its most incisive critics trace the development of such critical issues as hard-edge painting, deductive and serial structure, monochrome abstraction, the psychological analogy, regionalism, and the "death of painting" in Postmodernism. The introduction and commentary by Frances Colpitt situates the essays historically and examines their philosophical sources and influences, from formalism and phenomenology to structuralism and poststructuralism. What emerges is a coherent and optimistic picture of abstract painting--the definitive contribution of modern art.
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