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Formalism And Historicity


Author : Benjamin H. D. Buchloh
language : en
Publisher: Mit Press
Release Date : 2015-02-06

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These influential essays by the noted critic and art historian Benjamin Buchloh have had a significant impact on the theory and practice of art history. Written over the course of three decades and now collected in one volume, they trace a history of crucial artistic transitions, iterations, and paradigmatic shifts in the twentieth century, considering both the evolution and emergence of artistic forms and the specific historical moment in which they occurred. Buchloh's subject matter ranges through various moments in the history of twentieth-century American and European art, from the moment of the retour à l'ordre of 1915 to developments in the Soviet Union in the 1920s to the beginnings of Conceptual art in the late 1960s to the appropriation artists of the 1980s. He discusses conflicts resulting from historical repetitions (such as the monochrome and collage/montage aesthetics in the 1910s, 1950s, and 1980s), the emergence of crucial neo-avantgarde typologies, and the resuscitation of obsolete genres (including the portrait and landscape, revived by 1980s photography). Although these essays are less monographic than those in Buchloh's earlier collection, Neo-Avantgarde and Culture Industry, two essays in this volume are devoted to Marcel Broodthaers, whose work remains central to Buchloh's theoretical concerns. Engaging with both formal and historical paradigms, Buchloh situates himself productively between the force fields of formal theory and historical narrative, embracing the discrepancies and contradictions between them and within individual artistic trajectories. ContentsFormalism and Historicity (1977)Marcel Broodthaers: Allegories of the Avant-Garde (1980)Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting (1981)Allegorical Procedures: Appropriations and Montage in Contemporary Art (1982)The Museum Fictions of Marcel Broodthaers (1983)From Faktura to Factography (1984)Readymade, Objet Trouvé, Idée Reçue (1985)The Primary Colors for the Second Time: A Paradigm Repetition of the Neo-Avantgarde (1986)Cold War Constructivism (1986)Conceptual Art 1962--1969: From the Aesthetics of Administration to the Critique of Institutions (1989)Residual Resemblance: Three Notes on the Ends of Portraiture (1994)Sculpture: Publicity and the Poverty of Experience (1996)

Formalism And Historicity


Author :
language : en
Publisher:
Release Date : 1993-02-01

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Neo Avantgarde And Culture Industry


Author : Benjamin H. D. Buchloh
language : en
Publisher: MIT Press
Release Date : 2003

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Leading art critic and theoretician Buchloh discusses post-World War 2 avant-garde artists from both formalist and socio-historical perspectives in this collection of essays.

Painting As Model


Author : Yve-Alain Bois
language : en
Publisher: MIT Press
Release Date : 1993

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Essays that seek to redefine the status of theory in modernist critical discourse

Sewn In The Sweatshops Of Marx


Author : Thierry de Duve
language : en
Publisher: University of Chicago Press
Release Date : 2012-10-15

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Joseph Beuys, Andy Warhol, Yves Klein, and Marcel Duchamp form an unlikely quartet, but they each played a singular role in shaping a new avant-garde for the 1960s and beyond. Each of them staged brash, even shocking, events and produced works that challenged the way the mainstream art world operated and thought about itself. Distinguished philosopher Thierry de Duve binds these artists through another connection: the mapping of the aesthetic field onto political economy. Karl Marx provides the red thread tying together these four beautifully written essays in which de Duve treats each artist as a distinct, characteristic figure in that mapping. He sees in Beuys, who imagined a new economic system where creativity, not money, was the true capital, the incarnation of the last of the proletarians; he carries forward Warhol’s desire to be a machine of mass production and draws the consequences for aesthetic theory; he calls Klein, who staked a claim on pictorial space as if it were a commodity, “The dead dealer”; and he reads Duchamp as the witty financier who holds the secret of artistic exchange value. Throughout, de Duve expresses his view that the mapping of the aesthetic field onto political economy is a phenomenon that should be seen as central to modernity in art. Even more, de Duve shows that Marx—though perhaps no longer the “Marxist” Marx of yore—can still help us resist the current disenchantment with modernity’s many unmet promises. An intriguing look at these four influential artists, Sewn in the Sweatshops of Marx is an absorbing investigation into the many intertwined relationships between the economic and artistic realms.

History Politics And The Novel


Author : Dominick LaCapra
language : en
Publisher: Cornell University Press
Release Date : 1989

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Analyzes novels by Stendhal, Dostoevsky, Eliot, Flaubert, Mann, Woolf, and Gadolis in terms of their historical context

Shakespeare And Historical Formalism


Author : Stephen Cohen
language : en
Publisher: Routledge
Release Date : 2016-04-01

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Located at the intersection of new historicism and the 'new formalism', historical formalism is one of the most rapidly growing and important movements in early modern studies: taking seriously the theoretical issues raised by both history and form, it challenges the anti-formalist orthodoxies of new historicism and expands the scope of historicist criticism. Shakespeare and Historical Formalism is the first volume devoted exclusively to collecting and assessing work of this kind. With essays on a broad range of Shakespeare's works and engaging topics from performance theory to the emergence of 'the literary' and from historiography to pedagogy, the volume demonstrates the value of historical formalism for Shakespeare studies and for literary criticism as a whole. Shakespeare and Historical Formalism begins with an introduction that describes the nature and potential of historical formalism and traces its roots in early modern literary theory and its troubled relationship with new historicism. The volume is then divided into two sections corresponding to the two chief objectives of historical formalism: a historically informed and politically astute formalism, and a historicist criticism revitalized by attention to issues of form. The first section, 'Historicizing Form', explores from a variety of perspectives the historical and political sources, meanings and functions of Shakespeare's dramatic forms. The second section, 'Re-Forming History', uses questions of form to rethink our understanding of historicism and of history itself, and in doing so challenges some of our fundamental literary-critical, pedagogical and epistemological assumptions. Concluding with suggestions for further reading on historical formalism and related work, Shakespeare and Historical Formalism invites scholars to rethink the familiar categories and principles of formal and historical criticism.