View source for Art in Theory 1900-1990

== Contents ==
<ref>https://archive.org/details/ost-art-artintheory1900-1990/page/n9/mode/2up</ref>

319
{| class="wikitable"
! colspan="6" |I. The Legacy of Symbolism
|-
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|
|Introduction
|
|13
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|-
!
! colspan="5" |Ia. ''Classicism and Originality''
|-
|1.
|Téodor de Wyzewa
|'Wagnerian Painting'
|1895
|17
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|-
|2.
|Paul Signac
|from ''Eugene Delacroix to Neo- Impressionism''
|1899
|20
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|3.
|Paul Gauguin
|Letter to Fontainas
|1899
|23
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|-
|4.
|Sigmund Freud
|from 'On Dreams'
|1901
|26
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|5.
|Otto Weininger
|from ''Sex and Character''
|1903
|34
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|6.
|Paul Cézanne
|Letters to Emile Bernard
|1904-6
|37
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|-
|7.
|Maurice Denis (intro. Roger Fry)
|'Cézanne'
|1907
|40
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|8.
|Maurice Denis
|'From Gauguin and van Gogh to Neo-Classicism'
|1909
|47
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|-
|9.
|Julius Meier-Graefe
|'The Mediums of Art, Past and Present'
|1904
|53
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|-
|10.
|Giorgio de Chirico
|'Mystery and Creation'
|1913
|60
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|-
!
! colspan="5" |Ib. ''Expression and the Primitive''
|-
|1.
|August Endell
|'The Beauty of Form and Decorative Art'
|1897-8
|62
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|-
|2.
|André Derain
|Letters to Vlaminck
|c. 1905-9
|65
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|-
|3.
|Ernst Ludwig Kirchner
|Programme of the Brücke
|1906
|67
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|-
|4.
|Wilhelm Worringer
|from ''Abstraction and Empathy''
|1908
|68
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|-
|5.
|Henri Matisse
|'Notes of a Painter'
|1908
|72
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|-
|6.
|Roger Fry
|'An Essay in Aesthetics'
|1909
|78
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|-
|7.
|Wassily Kandinsky
|from ''Concerning the Spiritual in Art''
|1911
|86
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|-
|8.
|Wassily Kandinsky
|The Cologne Lecture
|1914
|94
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|-
|9.
|Franz Marc
|The "Savages" of Germany' and 'Two Pictures'
|1912
|98
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|-
|10.
|August Macke
|'Masks'
|1912
|100
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|-
|11.
|Emil Nolde
|'On Primitive Art'
|1912
|101
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|-
|12.
|Oskar Kokoschka
|'On the Nature of Visions'
|1912
|102
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|-
|13.
|Alexander Shevchenko
|'Neo-Primitivism'
|1913
|104
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|-
|14.
|Benedetto Croce
|'What Is Art?'
|1913
|108
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|-
|15.
|Give Bell
|'The Aesthetic Hypothesis'
|1914
|113
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|-
|16.
|Hermann Bahr
|from ''Expressionism''
|1916
|116
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|-
! colspan="6" |II. The Idea of the Modern World
|-
|
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|Introduction
|
|125
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|-
!
! colspan="5" |IIa. ''Modernity''
|-
|1.
|Georg Simmel
|'The Metropolis and Mental Life'
|1902-3
|130
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|-
|2.
|Max Weber
|'Asceticism and the Spirit of Capitalism'
|1904-5
|135
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|-
|3.
|Vladimir Ilyich Lenin
|'Party Organization and Party Literature'
|1905
|136
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|-
|4.
|Henri Bergson
|from ''Creative Evolution''
|1907
|140
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|-
|5.
|Alexander Blok
|'Nature and Culture'
|1908
|143
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|-
|6.
|Filippo Tommaso Marinetti
|'The Foundation and Manifesto of Futurism'
|1909
|145
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|-
|7.
|Umberto Boccioni et al.
|'Futurist Painting: Technical Manifesto'
|1910
|149
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|-
|8.
|Robert Delaunay
|'On the Construction of Reality in Pure Painting'
|1912
|152
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|-
|9.
|Percy Wyndham Lewis
|'Our Vortex'
|1914
|154
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|-
|10.
|Franz Marc
|'Foreword'
|1914
|156
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|-
|11.
|Fernand Leger
|'Contemporary Achievements in Painting'
|1914
|157
|
|-
|12.
|Henri Gaudier-Brzeska
|'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska'
|1915
|160
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|-
|13.
|Karl Kraus
|from 'In These Great Times'
|1914
|163
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|-
|14.
|Kasimir Malevich
|From ''Cubism and Futurism to Suprematism: The New Realism in Painting''
|1915-16
|166
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|-
!
! colspan="5" |IIb. ''Cubism''
|-
|1.
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|2.
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|3.
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|4.
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|5.
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|7.
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|8.
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|9.
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|10.
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|11.
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|12.
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! colspan="6" |III. Rationalization and Transformation
|-
|
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|Introduction
|
|217
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|-
!
! colspan="5" |IIIa. ''Neo-Classicism and the Call to Order''
|-
|1.
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|2.
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|3.
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|9.
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|10.
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|11.
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!
! colspan="5" |IIIb. ''Dissent and Disorder''
|-
|1.
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|2.
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|3.
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|4.
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|5.
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|7.
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|8.
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|9.
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|10.
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|11.
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|12.
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|13.
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|14.
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!
! colspan="5" |IIIc. ''Abstraction and Form''
|-
|1.
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|2.
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|3.
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|4.
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|5.
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|6.
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|7.
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|8.
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|9.
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|10.
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|11.
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|12.
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!
! colspan="5" |IIId. ''Utility and Construction''
|-
|1.
|KOMFUT
|'Programme Declaration'
|1919
|308
|
|-
|2.
|Vladimir Tatlin
|'The Initiative Individual in the Collective'
|1919
|309
|
|-
|3.
|Lyubov Popova
|Catalogue Statement
|1919
|310
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|-
|4.
|Nikolai Punin
|'The Monument to the Third International'
|1920
|311
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|-
|5.
|Alexander Rodchenko
|'Slogans' and 'Organizational Programme'
|1920-21
|315
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|-
|6.
|Alexander Rodchenko and Varvara Stepanova
|'Programme of the First Working Group of Constructivists'
|1922
|317
|
|-
|7.
|Alexei Gan
|from ''Constructivism''
|1922
|318
|
|-
|8.
|El Lissitsky and Ilya Ehrenberg
|Statement by the Editors of ''Veshch''
|1922
|320
|
|-
|9.
|''LEF'' editorial
|Whom is ''LEF'' Alerting? 1
|1923
|321
|
|-
|10.
|Osip Brik
|'The So-called "Formal Method"'
|1923
|323
|
|-
|11.
|Osip Brik
|'From Picture to Calico-Print'
|1924
|324
|
|-
|12.
|Vladimir Tatlin
|'Report of the Section for Material Culture's Research Work'
|1924
|328
|
|-
! colspan="6" |IV. Freedom, Responsibility and Power
|-
|
|
|Introduction
|
|333
|
|-
!
! colspan="5" |IVa. ''The Modern as Ideal''
|-
|1.
|Walter Gropius
|'The Theory and Organization of the Bauhaus'
|1923
|338
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|-
|2.
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|3.
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|4.
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|5.
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|6.
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|7.
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|8.
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|9.
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|10.
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|11.
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|12.
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|13.
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|14.
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|15.
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!
! colspan="5" |IVb. ''Realism as Figuration''
|-
|1.
|Vladimir Ilyich Lenin
|'On Proletarian Culture'
|1920
|383
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|-
|2.
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|3.
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|4.
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|5.
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|6.
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|7.
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|8.
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|9.
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|10.
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|11.
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|12.
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|13.
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|14.
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|15.
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|16.
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|17.
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|18.
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|19.
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|20.
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!
! colspan="5" |IVc. ''Realism as Critique''
|-
|1.
|Leon Trotsky
|from ''Literature and Revolution''
|1922-3
|427
|
|-
|2.
|André Breton
|from the First Manifesto of Surrealism
|1924
|432
|
|-
|3.
|Louis Aragon et al.
|'Declaration of the Bureau de Recherches Surréalistes'
|1925
|439
|
|-
|4.
|André Breton
|''Surrealism and Painting''
|1928
|440
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|-
|5.
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|6.
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|7.
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|8.
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|9.
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|10.
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|11.
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|12.
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|13.
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|14.
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|15.
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|16.
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|17.
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|18.
|Fernand Léger
|'The New Realism Goes On'
|1936
|493
|
|-
!
! colspan="5" |IVd. ''Modernism as Critique''
|-
|1.
|Kasimir Malevich
|Letter to Meyerhold
|1932
|497
|
|-
|2.
|
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|3.
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|4.
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|5.
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|6.
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|7.
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|8.
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|9.
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|10.
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|11.
|Harold Rosenberg
|'The Fall of Paris'
|1940
|541
|
|-
! colspan="6" |V. The Individual and the Social
|-
|
|
|Introduction
|
|549
|
|-
!
! colspan="5" |Va. ''The American Avant-Garde''
|-
|1.
|Clement Greenberg
|'Towards a Newer Laocoon'
|1940
|554
|
|-
|2.
|Jackson Pollock
|Answers to a Questionnaire
|1944
|560
|
|-
|3.
|Adolph Gottlieb and Mark Rothko with Barnett Newman
|Statement
|1943
|561
|
|-
|4.
|Mark Rothko
|'The Romantics were Prompted . . . '
|1947
|563
|
|-
|5.
|Adolph Gottlieb
|Statement
|1947
|564
|
|-
|6.
|Mark Rothko
|Statement
|1947
|565
|
|-
|7.
|Barnett Newman
|'The Ideographic Picture'
|1947
|565
|
|-
|8.
|Barnett Newman
|'The First Man Was an Artist'
|1947
|566
|
|-
|9.
|Clement Greenberg
|'The Decline of Cubism'
|1948
|569
|
|-
|10.
|Barnett Newman
|'The Sublime Is Now'
|1948
|572
|
|-
|11.
|Jackson Pollock
|Interview with William Wright
|1950
|574
|
|-
|12.
|David Smith
|'Aesthetics, the Artist and the Audience'
|1952
|578
|
|-
|13.
|Clyfford Still
|Statement
|1952
|580
|
|-
|14.
|Harold Rosenberg
|from 'The American Action Painters'
|1952
|581
|
|-
|15.
|Clyfford Still
|Letter to Gordon Smith
|1959
|584
|
|-
!
! colspan="5" |Vb. ''Individualism in Europe''
|-
|1.
|Jean-Paul Sartre
|from ''Existentialism and Humanism''
|1946
|587
|
|-
|2.
|Jean Dubuffet
|'Notes for the Well-Lettered'
|1946
|590
|
|-
|3.
|Jean Dubuffet
|'Crude Art Preferred to Cultural Art'
|1948
|593
|
|-
|4.
|Antonin Artaud
|from ''Van Gogh: the Man Suicided by Society''
|1947
|595
|
|-
|5.
|Jean-Paul Sartre
|'The Search for the Absolute'
|1948
|599
|
|-
|6.
|Samuel Beckett and Georges Duthuit
|from ''Three Dialogues''
|1949
|605
|
|-
|7.
|Jacques Lacan
|'The Mirror-Phase as Formative of the Function of the I'
|1949
|609
|
|-
|8.
|Jean-Michel Atlan
|'Abstraction and Adventure in Contemporary Art'
|1950
|613
|
|-
|9.
|Francis Ponge
|'Reflections on the Statuettes, Figures and Paintings of Alberto Giacometti'
|1951
|614
|
|-
|10.
|Albert Camus
|'Creation and Revolution'
|1951
|615
|
|-
|11.
|Michel Tapié
|from ''An Other Art''
|1952
|619
|
|-
|12.
|Georg Baselitz
|'Pandemonium Manifestos 1
|1961-2
|621
|
|-
|13.
|Francis Bacon
|Interview with David Sylvester
|1962-3
|625
|
|-
!
! colspan="5" |Vc. ''Art and Society''
|-
|1.
|Maurice de Vlaminck
|'Open Opinions on Painting'
|1942
|630
|
|-
|2.
|
|
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|3.
|
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|4.
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|5.
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|6.
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|7.
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|8.
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|9.
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|10.
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|11.
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|12.
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|13.
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|14.
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|15.
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|16.
|
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|17.
|
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|18.
|
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|19.
|
|
|
|
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|-
|20.
|David A Siqueiros
|'Open Letter to the Painters, Sculptors and Engravers of the Soviet Union'
|1955
|672
|
|-
|21.
|Georg Lukács
|'The Ideology of Modernism'
|1958
|675
|
|-
! colspan="6" |VI. Modernization and Modernism
|-
|
|
|Introduction
|
|683
|
|-
!
! colspan="5" |VIa. ''The American Avant-Garde''
|-
|1.
|Roland Barthes
|from 'Myth Today'
|1956
|687
|
|-
|2.
|Guy Debord
|Writings from the Situationist International
|1957-61
|693
|
|-
|3.
|Lawrence Alloway
|'The Arts and the Mass Media'
|1958
|700
|
|-
|4.
|Alan Kaprow
|from ''Assemblages, Environments and Happenings''
|1959-65
|703
|
|-
|5.
|
|
|
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|6.
|
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|7.
|
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|8.
|
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|9.
|
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|10.
|
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|11.
|
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|12.
|
|
|
|
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|13.
|
|
|
|
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|-
|14.
|George Kubler
|from ''The Shape of Time''
|1962
|735
|
|-
|15.
|Marshall McLuhan
|from ''Understanding Media''
|1964
|738
|
|-
|16.
|Tony Smith
|from Interview with Samuel Wagstaff Jr
|1966
|741
|
|-
!
! colspan="5" |VIb. ''Modernist Art''
|-
|1.
|Alain Robbe-Grillet
|'Commitment*
|1957
|744
|
|-
|2.
|David Smith
|'Tradition and Identity'
|1959
|748
|
|-
|3.
|Maurice Merleau-Ponty
|from 'Eye and Mind'
|1961
|750
|
|-
|4.
|Clement Greenberg
|'Modernist Painting'
|1960-65
|754
|
|-
|5.
|Theodor Adorno
|from 'Commitment'
|1962
|760
|
|-
|6.
|Barnett Newman
|Interview with Dorothy Gees Seckler
|1962
|764
|
|-
|7.
|Clement Greenberg
|from 'After Abstract Expressionism'
|1962
|766
|
|-
|8.
|Michael Fried
|from ''Three American Painters''
|1965
|769
|
|-
|9.
|Michael Fried
|from 'Shape as Form: Frank Stella's New Paintings'
|1966
|775
|
|-
|10.
|Jules Olitski
|'Painting in Color'
|1967
|778
|
|-
|11.
|Stanley Cavell
|'A Matter of Meaning It'
|1967
|779
|
|-
|12.
|William Tucker and Tim Scott
|'Reflections on Sculpture'
|1967
|784
|
|-
|13.
|Richard Wollheim
|'The Work of Art as Object'
|1970
|787
|
|-
! colspan="6" |VII. Institutions and Objections
|-
|
|
|Introduction
|
|797
|
|-
!
! colspan="5" |VIIa. ''Objecthood and Reductivism''
|-
|1.
|Yves Klein
|Sorbonne Lecture
|1959
|803
|
|-
|2.
|Frank Stella
|Pratt Institute Lecture
|1959-60
|805
|
|-
|3.
|Ad Reinhardt
|'Art as Art'
|1962
|806
|
|-
|4.
|Donald Judd
|'Specific Objects'
|1965
|809
|
|-
|5.
|Robert Morris
|'Notes on Sculpture 1-3'
|1966-7
|813
|
|-
|6.
|Michael Fried
|'Art and Objecthood'
|1967
|822
|
|-
|7.
|Sol LeWitt
|'Paragraphs on Conceptual Art'
|1967
|834
|
|-
|8.
|Sol LeWitt
|'Sentences on Conceptual Art'
|1969
|837
|
|-
|9.
|Robert Barry
|Interview with Arthur R. Rose
|1969
|839
|
|-
|10.
|Joseph Kosuth
|'Art after Philosophy'
|1969
|840
|
|-
|11.
|Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni
|Statement
|1967
|850
|
|-
|12.
|Daniel Buren
|'Beware'
|1969-70
|850
|
|-
!
! colspan="5" |VIIb. ''Attitudes to Form''
|-
|1.
|Terry Atkinson and Michael Baldwin
|'Air Show'
|1967
|858
|
|-
|2.
|Robert Smithson
|'A Sedimentation of the Mind: Earth Projects'
|1968
|863
|
|-
|3.
|Robert Morris
|'Notes on Sculpture 4: Beyond Objects'
|1969
|868
|
|-
|4.
|Art & Language
|Editorial introduction to ''Art-Language''
|1969
|873
|
|-
|5.
|Ian Burn and Mel Ramsden
|'The Role of Language'
|1969
|879
|
|-
|6.
|Lawrence Weiner
|Statements
|1969-72
|882
|
|-
|7.
|Victor Burgin
|'Situational Aesthetics'
|1969
|883
|
|-
|8.
|John A. Murphy
|Sponsor's Statement for 'When Attitudes become Form'
|1969
|885
|
|-
|9.
|Germano Celant
|from ''Art Povera''
|1969
|886
|
|-
|10.
|Joseph Beuys
|'Not Just a Few Are Called, But Everyone'
|1972
|889
|
|-
!
! colspan="5" |VIIc. ''Political Aspects''
|-
|1.
|Lucy Lippard
|'Interview with Ursula Meyer' 1969 and 'Postface' to ''Six Years''
|1973
|893
|
|-
|2.
|''Artforum''
|from 'The Artist and Politics: a Symposium'
|1970
|896
|
|-
|3.
|Art Workers' Coalition
|Statement of Demands
|1970
|901
|
|-
|4.
|Joseph Beuys
|'I Am Searching for Field Character'
|1974
|902
|
|-
|5.
|Hans Haacke
|Statement
|1974
|904
|
|-
|6.
|Mel Ramsden
|from 'On Practice'
|1975
|905
|
|-
|7.
|Ian Burn
|'The Art Market: Affluence and Degradation'
|1975
|908
|
|-
|8.
|Victor Burgin
|from 'Socialist Formalism'
|1976
|911
|
|-
|9.
|Art & Language
|Editorial to ''Art-Language''
|1976
|916
|
|-
!
! colspan="5" |VIId. ''Critical Revisions''
|-
|1.
|Jacques Derrida
|from Of ''Grammatology''
|1967
|918
|
|-
|2.
|Michel Foucault
|'What Is an Author?'
|1969
|923
|
|-
|3.
|
|
|
|
|
|-
|4.
|
|
|
|
|
|-
|5.
|
|
|
|
|
|-
|6.
|
|
|
|
|
|-
|7.
|
|
|
|
|
|-
|8.
|
|
|
|
|
|-
|9.
|
|
|
|
|
|-
|10.
|
|
|
|
|
|-
|11.
|
|
|
|
|
|-
|12.
|
|
|
|
|
|-
|13.
|
|
|
|
|
|-
|14.
|Raymond Williams
|'Dominant, Residual and Emergent'
|1977
|979
|
|-
! colspan="6" |VIII. Ideas of the Postmodern
|-
|
|
|Introduction
|
|987
|
|-
!
! colspan="5" |VIIIa. ''The Condition of History''
|-
|1.
|Daniel Bell
|from 'Modernism and Capitalism'
|1978
|993
|
|-
|2.
|Jean-François Lyotard
|Introduction to ''The Postmodern Condition''
|1979
|998
|
|-
|3.
|
|
|
|
|
|-
|4.
|
|
|
|
|
|-
|5.
|
|
|
|
|
|-
|6.
|
|
|
|
|
|-
|7.
|
|
|
|
|
|-
|8.
|
|
|
|
|
|-
|9.
|
|
|
|
|
|-
|10.
|Gerhard Richter
|Notes
|1990
|1047
|
|-
!
! colspan="5" |VIIIb. ''The Critique of Originality''
|-
|1.
|Jean Baudrillard
|'The Hyper-realism of Simulation'
|1976
|1049
|
|-
|2.
|Craig Owens
|from 'The Allegorical Impulse: Towards a Theory of Postmodernism'
|1980
|1051
|
|-
|3.
|Rosalind Krauss
|from 'The Originality of the Avant-Garde'
|1981
|1060
|
|-
|4.
|Hal Foster
|from 'Subversive Signs'
|1982
|1065
|
|-
|5.
|Sherrie Levine
|Statement
|1982
|1066
|
|-
|6.
|Art & Language
|'Letter to a Canadian Curator'
|1982
|1067
|
|-
|7.
|Barbara Kruger
|'"Taking" Pictures'
|1982
|1070
|
|-
|8.
|Peter Halley
|'Nature and Culture'
|1983
|1071
|
|-
|9.
|Fredric Jameson
|'The Deconstruction of Expression'
|1984
|1074
|
|-
|10.
|Haim Steinbach, Jeff Koons, Sherrie Levine, Philip Taaffe, Peter Halley, Ashley Bickerton
|'From Criticism to Complicity'
|1986
|1080
|
|-
|11.
|Julia Kristeva
|Interview with Catherine Francblin
|1986
|1084
|
|-
!
! colspan="5" |VIIIc. ''Figures of Difference''
|-
|1.
|Edward Said
|from 'Opponents, Audiences, Constituencies, and Community'
|1981
|1086
|
|-
|2.
|Mary Kelly
|'Re-Viewing Modernist Criticism'
|1981
|1088
|
|-
|3.
|Krzysztof Wodiczko
|'Public Projection'
|1983
|1094
|
|-
|4.
|Victor Burgin
|from 'The Absence of Presence'
|1984
|1097
|
|-
|5.
|Jacqueline Rose
|'Sexuality in the Field of Vision'
|1984/85
|1101
|
|-
|6.
|W. J. T. Mitchell
|'Image and Word' and 'Mute Poesy and Blind Painting'
|1986
|1106
|
|-
|7.
|Flint Schier
|'Painting after Art?: Comments on Wollheim
|1987/91
|1111
|
|-
|8.
|Raymond Williams
|'When Was Modernism?'
|1987/89
|1116
|
|-
|9.
|Gayatri Chakravorti Spivak
|'Who Claims Alterity?'
|1989
|1119
|
|-
|10.
|Richard Serra
|from The Yale Lecture
|1990
|1124
|
|}

== References ==