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== Contents ==
== Contents ==
<ref>https://archive.org/details/ost-art-artintheory1900-1990/page/n9/mode/2up</ref>
319
{| class="wikitable"
{| class="wikitable"
! colspan="6" |I. The Legacy of Symbolism
! colspan="6" |I. The Legacy of Symbolism
Line 312: Line 315:
|-
|-
|1.
|1.
|
|Jean Metzinger
|
|'Note on Painting'
|
|1910
|
|177
|
|
|-
|-
|2.
|2.
|
|Guillaume Apollinaire
|
|'The Cubists'
|
|1911
|
|178
|
|
|-
|-
|3.
|3.
|
|Guillaume Apollinaire
|
|'On the Subject in Modern Painting'
|
|1912
|
|179
|
|
|-
|-
|4.
|4.
|
|Guillaume Apollinaire
|
|'The New Painting: Art Notes'
|
|1912
|
|181
|
|
|-
|-
|5.
|5.
|
|Guillaume Apollinaire
|
|from ''The Cubist Painters''
|
|1912
|
|182
|
|
|-
|-
|6.
|6.
|
|Jacques Rivière
|
|'Present Tendencies in Painting'
|
|1912
|
|183
|
|
|-
|-
|7.
|7.
|
|Albert Gleizes and Jean Metzinger
|
|from ''Cubism''
|
|1912
|
|187
|
|
|-
|-
|8.
|8.
|
|Fernand Léger
|
|'The Origins of Painting and its Representational Value'
|
|1913
|
|196
|
|
|-
|-
|9.
|9.
|
|Olga Rozanova
|
|'The Bases of the New Creation'
|
|1913
|
|199
|
|
|-
|-
|10.
|10.
|
|Daniel-Henry Kahnweiler
|
|from ''The Rise of Cubism''
|
|1915-20
|
|203
|
|
|-
|-
|11.
|11.
|
|Georges Braque
|
|'Thoughts on Painting'
|
|1917
|
|209
|
|
|-
|-
|12.
|12.
|
|Pablo Picasso
|
|'Picasso Speaks'
|
|1923
|
|210
|
|
|-
|-
Line 408: Line 411:
|-
|-
|1.
|1.
|
|Amédée Ozenfant
|
|'Notes on Cubism'
|
|1916
|
|223
|
|
|-
|-
|2.
|2.
|
|Guillaume Apollinaire
|
|'The New Spirit and the Poets'
|
|1918
|
|225
|
|
|-
|-
|3.
|3.
|
|Oswald Spengler
|
|from ''The Decline of the West''
|
|1918
|
|227
|
|
|-
|-
|4.
|4.
|
|Carlo Carrà
|
|'Our Antiquity'
|
|1916-18
|
|229
|
|
|-
|-
|5.
|5.
|
|Léonce Rosenberg
|
|'Tradition and Cubism'
|
|1919
|
|234
|
|
|-
|-
|6.
|6.
|
|Giorgio de Chirico
|
|The Return of the Craft'
|
|1919
|
|234
|
|
|-
|-
|7.
|7.
|Charles Edouard Jeanneret (Le Corbusier) and Amédée Ozenfant
|'Purism'
|1920
|237
|
|
|
|-
|
|
|
|-
|8.
|8.
|
|Albert Gleizes
|
|'The Dada Case'
|
|1920
|
|240
|
|
|-
|-
|9.
|9.
|
|André Derain
|
|'On Raphael'
|
|1920
|
|243
|
|
|-
|-
|10.
|10.
|
|Percy Wyndham Lewis
|
|'The Children of the New Epoch'
|
|1921
|
|244
|
|
|-
|-
|11.
|11.
|
|Juan Gris
|
|Reply to a Questionnaire
|
|1921
|
|245
|
|
|-
|-
Line 488: Line 491:
|-
|-
|1.
|1.
|
|Hugo Ball
|
|'Dada Fragments'
|
|1916-17
|
|246
|
|
|-
|-
|2.
|2.
|Marcel Duchamp
|'The Richard Mutt Case'
|1917
|248
|
|
|
|-
|
|3.
|
|Tristan Tzara
|
|'Dada Manifesto 1918'
|-
|1918
|3.
|248
|
|
|
|
|
|
|-
|-
|4.
|4.
|
|Richard Huelsenbeck
|
|'First German Dada Manifesto'
|
|1918-20
|
|253
|
|
|-
|-
|5.
|5.
|
|Richard Huelsenbeck and Raoul Hausmann
|
|'What is Dadaism and what does it want in Germany?'
|
|1918/19
|
|256
|
|
|-
|-
|6.
|6.
|
|Richard Huelsenbeck
|
|from ''En Avant Dada''
|
|1920
|
|257
|
|
|-
|-
|7.
|7.
|
|Alexander Blok
|
|The Decline of Humanism'
|
|1918
|
|260
|
|
|-
|-
|8.
|8.
|Novembergruppe
|Draft Manifesto 1918 and 'Guidelines'
|1919
|262
|
|
|
|-
|
|
|
|-
|9.
|9.
|
|Novembergruppe Opposition
|
|'Open Letter to the Novembergruppe'
|
|1921
|
|264
|
|
|-
|-
|10.
|10.
|
|Walter Gropius
|
|Reply to Arbeitsrat für Kunst Questionnaire
|
|1919
|
|266
|
|
|-
|-
|11.
|11.
|
|Max Beckmann
|
|'Creative Credo'
|
|1918-20
|
|267
|
|
|-
|-
|12.
|12.
|
|Max Pechstein
|
|'Creative Credo'
|
|1920
|
|269
|
|
|-
|-
|13.
|13.
|
|George Grosz
|
|'My New Pictures'
|
|1921
|
|270
|
|
|-
|-
|14.
|14.
|Francis Picabia
|Thank you, Francis!'
|1923
|272
|
|
|
|-
|
|
|
|-
!
!
! colspan="5" |IIIc. ''Abstraction and Form''
! colspan="5" |IIIc. ''Abstraction and Form''
|-
|-
|1.
|1.
|
|Man Ray
|
|Statement
|
|1916
|
|274
|
|
|-
|-
|2.
|2.
|
|Viktor Shklovsky
|
|from 'Art as Technique'
|
|1917
|
|274
|
|
|-
|-
|3.
|3.
|
|De Stijl
|
|'Manifesto 1'
|
|1918
|
|278
|
|
|-
|-
|4.
|4.
|
|Theo van Doesburg
|
|from ''Principles of Neo-Plastic Art''
|
|1915-25
|
|279
|
|
|-
|-
|5.
|5.
|
|Piet Mondrian
|
|'Dialogue on the New Plastic'
|
|1919
|
|282
|
|
|-
|-
|6.
|6.
|Piet Mondrian
|''Neo-Plasticism: the General Principle of Plastic Equivalence''
|1920-21
|287
|
|
|
|-
|
|
|
|-
|7.
|7.
|
|Kasimir Malevich
|
|'Non-Objective Art and Suprematism'
|
|1919
|
|290
|
|
|-
|-
|8.
|8.
|
|Kasimir Malevich
|
|''The Question of Imitative Art''
|
|1920
|
|292
|
|
|-
|-
|9.
|9.
|
|Naum Gabo and Anton Pevsner
|
|'The Realistic Manifesto'
|
|1920
|
|297
|
|
|-
|-
|10.
|10.
|
|UNOVIS
|
|'Programme of a United Audience in Painting of the Vitebsk State Free Workshops'
|
|1920
|
|299
|
|
|-
|-
|11.
|11.
|Wassily Kandinsky
|'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences'
|1921
|301
|
|
|
|-
|
|
|
|-
|12.
|12.
|
|El Lissitsky
|
|'A. and Pangeometry'
|
|1925
|
|303
|
|
|-
|-
Line 779: Line 782:
|-
|-
|2.
|2.
|
|Paul Klee
|
|from ''On Modern Art''
|
|1924
|
|343
|
|
|-
|-
|3.
|3.
|
|Hart Crane
|
|'General Aims and Theories'
|
|1925
|
|350
|
|
|-
|-
|4.
|4.
|
|Amédée Ozenfant
|
|from ''Foundations of Modern Art''
|
|1928
|
|351
|
|
|-
|-
|5.
|5.
|
|Hans Hofmann
|
|'On the Aims of Art'
|
|1931
|
|354
|
|
|-
|-
|6.
|6.
|Abstraction-Création
|Editorial Statements
|1932/1933
|357
|
|
|
|-
|
|
|
|-
|7.
|7.
|
|Wladyslaw Strzeminski
|
|Statements
|
|1932/1933
|
|359
|
|
|-
|-
|8.
|8.
|
|Alfred H. Barr Jr
|
|from ''Cubism and Abstract Art''
|
|1936
|
|361
|
|
|-
|-
|9.
|9.
|
|Henri Matisse
|
|Statements to Tériade
|
|1936
|
|363
|
|
|-
|-
|10.
|10.
|
|Naum Gabo
|
|'The Constructive Idea in Art'
|
|1937
|
|365
|
|
|-
|-
|11.
|11.
|
|Piet Mondrian
|
|'Plastic Art and Pure Plastic Art'
|
|1937
|
|368
|
|
|-
|-
|12.
|12.
|Barbara Hepworth
|'Sculpture'
|1937
|374
|
|
|
|-
|
|13.
|
|American Abstract Artists
|
|Editorial Statement
|-
|1938
|13.
|377
|
|
|
|
|
|
|-
|-
|14.
|14.
|
|Ibram Lassaw
|
|'On Inventing Our Own Art'
|
|1938
|
|378
|
|
|-
|-
|15.
|15.
|
|Ben Nicholson
|
|'Notes on Abstract Art'
|
|1941
|
|380
|
|
|-
|-
Line 887: Line 890:
|-
|-
|2.
|2.
|
|AKhRR
|
|'Declaration'
|
|1922
|
|384
|
|
|-
|-
|3.
|3.
|
|AKhRR
|
|'The Immediate Tasks of AKhRR'
|
|1924
|
|385
|
|
|-
|-
|4.
|4.
|David A. Siqueiros et al.
|'A Declaration of Social, Political and Aesthetic Principles'
|1922
|387
|
|
|
|-
|
|
|
|-
|5.
|5.
|
|Red Group
|
|'Manifesto'
|
|1924
|
|388
|
|
|-
|-
|6.
|6.
|
|Otto Dix
|
|'The Object Is Primary'
|
|1927
|
|389
|
|
|-
|-
|7.
|7.
|
|ARBKD (Asso)
|
|'Manifesto' and 'Statutes'
|
|1928
|
|390
|
|
|-
|-
|8.
|8.
|
|George Grosz
|
|from 'My Life'
|
|1928
|
|393
|
|
|-
|-
|9.
|9.
|
|Alfred Rosenberg
|
|from 'The Myth of the Twentieth Century'
|
|1930
|
|393
|
|
|-
|-
|10.
|10.
|
|Georg Lukács
|
|'"Tendency" or Partisanship?'
|
|1932
|
|395
|
|
|-
|-
|11.
|11.
|
|Central Committee of the Ail-Union Communist Party
|
|'Decree on the Reconstruction of Literary and Artistic Organizations'
|
|1932
|
|400
|
|
|-
|-
|12.
|12.
|
|John Reed Club of New York
|
|'Draft Manifesto'
|
|1932
|
|401
|
|
|-
|-
|13.
|13.
|
|Diego Rivera
|
|'The Revolutionary Spirit in Modern Art'
|
|1932
|
|404
|
|
|-
|-
|14.
|14.
|
|Mario Sironi
|
|'Manifesto of Mural Painting'
|
|1933
|
|407
|
|
|-
|-
|15.
|15.
|
|Andrei Zhdanov
|
|'Speech to the Congress of Soviet Writers'
|
|1934
|
|409
|
|
|-
|-
|16.
|16.
|David A. Siqueiros
|'Towards a Transformation of the Plastic Arts'
|1934
|412
|
|
|-
|17.
|Stuart Davis and Clarence Weinstock
|'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of 2 Dimensions'
|1935
|415
|
|
|
|-
|
|
|-
|17.
|
|
|
|
|
|-
|18.
|18.
|
|Grant Wood
|
|from ''Revolt Against the City''
|
|1935
|
|418
|
|
|-
|-
|19.
|19.
|
|Francis Klingender
|
|'Content and Form in Art'
|
|1935
|
|421
|
|
|-
|-
|20.
|20.
|
|Adolf Hitler
|
|Speech Inaugurating the 'Great Exhibition of German Art'
|
|1937
|
|423
|
|
|-
|-
Line 1,051: Line 1,054:
|-
|-
|5.
|5.
|
|André Breton
|
|from the Second Manifesto of Surrealism
|
|1929
|
|446
|
|
|-
|-
|6.
|6.
|George Grosz and Wieland Herzfelde
|'Art Is in Danger'
|1925
|450
|
|
|
|-
|
|
|
|-
|7.
|7.
|
|Osip Brik
|
|'Photography versus Painting'
|
|1926
|
|454
|
|
|-
|-
|8.
|8.
|
|Sergei Tretyakov
|
|'We Are Searching 1 and 'We Raise the Alarm'
|
|1927
|
|457
|
|
|-
|-
|9.
|9.
|
|Siegfried Kracauer
|
|from 'The Mass Ornament'
|
|1927
|
|462
|
|
|-
|-
|10.
|10.
|
|October (Association of Artistic Labour)
|
|'Declaration'
|
|1928
|
|465
|
|
|-
|-
|11.
|11.
|
|V. N. Vološinov
|
|from ''Marxism and the Philosophy of Language''
|
|1929
|
|467
|
|
|-
|-
|12.
|12.
|Georges Bataille
|from 'Critical Dictionary'
|1929-30
|474
|
|
|-
|13.
|Georges Bataille
|'The ''Lugubrious Game''<nowiki>''</nowiki>
|1929
|476
|
|
|
|-
|
|
|-
|13.
|
|
|
|
|
|-
|14.
|14.
|
|Salvador Dali
|
|'The Stinking Ass'
|
|1930
|
|478
|
|
|-
|-
|15.
|15.
|
|Walter Benjamin
|
|Letter to Gershom Scholem
|
|1931
|
|481
|
|
|-
|-
|16.
|16.
|
|Walter Benjamin
|
|'The Author as Producer'
|
|1934
|
|483
|
|
|-
|-
|17.
|17.
|
|Bertolt Brecht
|
|'Popularity and Realism'
|
|1938
|
|489
|
|
|-
|-
Line 1,159: Line 1,162:
|-
|-
|2.
|2.
|Pablo Picasso
|'Conversation with Picasso'
|1935
|498
|
|
|-
|3.
|Herbert Read
|'What Is Revolutionary Art?'
|1935
|502
|
|
|-
|4.
|Meyer Schapiro
|'The Social Bases of Art'
|1936
|506
|
|
|-
|5.
|Jan Mukařovský
|from ''Aesthetic Function''
|1934/36
|511
|
|
|-
|6.
|Walter Benjamin
|'The Work of Art in the Age of Mechanical Reproduction'
|1936
|512
|
|
|-
|-
|3.
|7.
|Theodor Adorno
|Letter to Benjamin
|1936
|520
|
|
|-
|8.
|Ernst Bloch
|'Discussing Expressionism'
|1938
|523
|
|
|-
|9.
|André Breton, Diego Rivera and Leon Trotsky
|'Towards a Free Revolutionary Art'
|1938
|526
|
|
|-
|10.
|Clement Greenberg
|'Avant-Garde and Kitsch'
|1939
|529
|
|
|-
|11.
|Harold Rosenberg
|'The Fall of Paris'
|1940
|541
|
|
|-
|-
|4.
! colspan="6" |V. The Individual and the Social
|
|-
|
|
|
|
|Introduction
|
|
|549
|
|
|-
|-
|5.
!
|
! 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
|
|
|-
|-
|6.
|3.
|
|Adolph Gottlieb and Mark Rothko with Barnett Newman
|
|Statement
|
|1943
|
|561
|
|
|-
|-
|7.
|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.
|8.
|Barnett Newman
|'The First Man Was an Artist'
|1947
|566
|
|
|
|-
|
|9.
|
|Clement Greenberg
|
|'The Decline of Cubism'
|-
|1948
|9.
|569
|
|
|
|
|
|
|-
|-
|10.
|10.
|
|Barnett Newman
|
|'The Sublime Is Now'
|
|1948
|
|572
|
|
|-
|-
|11.
|11.
|Harold Rosenberg
|Jackson Pollock
|'The Fall of Paris'
|Interview with William Wright
|1940
|1950
|541
|574
|
|
|-
|-
! colspan="6" |V. The Individual and the Social
|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
|
|
|Introduction
|-
|
|15.
|549
|Clyfford Still
|Letter to Gordon Smith
|1959
|584
|
|
|-
|-
!
!
! colspan="5" |Va. ''The American Avant-Garde''
! colspan="5" |Vb. ''Individualism in Europe''
|-
|-
|1.
|1.
|Clement Greenberg
|Jean-Paul Sartre
|'Towards a Newer Laocoon'
|from ''Existentialism and Humanism''
|1940
|1946
|554
|587
|
|
|-
|-
|2.
|2.
|Jackson Pollock
|Jean Dubuffet
|Answers to a Questionnaire
|'Notes for the Well-Lettered'
|1944
|1946
|560
|590
|
|
|-
|-
|3.
|3.
|Adolph Gottlieb and Mark Rothko with Barnett Newman
|Jean Dubuffet
|Statement
|'Crude Art Preferred to Cultural Art'
|1943
|1948
|561
|593
|
|
|-
|-
|4.
|4.
|Mark Rothko
|Antonin Artaud
|'The Romantics were Prompted . . . '
|from ''Van Gogh: the Man Suicided by Society''
|1947
|1947
|563
|595
|
|
|-
|-
|5.
|5.
|Adolph Gottlieb
|Jean-Paul Sartre
|Statement
|'The Search for the Absolute'
|1947
|1948
|564
|599
|
|
|-
|-
|6.
|6.
|Mark Rothko
|Samuel Beckett and Georges Duthuit
|Statement
|from ''Three Dialogues''
|1947
|1949
|565
|605
|
|
|-
|-
|7.
|7.
|Barnett Newman
|Jacques Lacan
|'The Ideographic Picture'
|'The Mirror-Phase as Formative of the Function of the I'
|1947
|1949
|565
|609
|
|
|-
|-
|8.
|8.
|Barnett Newman
|Jean-Michel Atlan
|'The First Man Was an Artist'
|'Abstraction and Adventure in Contemporary Art'
|1947
|1950
|566
|613
|
|
|-
|-
|9.
|9.
|Clement Greenberg
|Francis Ponge
|'The Decline of Cubism'
|'Reflections on the Statuettes, Figures and Paintings of Alberto Giacometti'
|1948
|1951
|569
|614
|
|
|-
|-
|10.
|10.
|Barnett Newman
|Albert Camus
|'The Sublime Is Now'
|'Creation and Revolution'
|1948
|1951
|572
|615
|
|
|-
|-
|11.
|11.
|Jackson Pollock
|Michel Tapié
|Interview with William Wright
|from ''An Other Art''
|1950
|1952
|574
|619
|
|
|-
|-
|12.
|12.
|David Smith
|Georg Baselitz
|'Aesthetics, the Artist and the Audience'
|'Pandemonium Manifestos 1
|1952
|1961-2
|578
|621
|
|
|-
|-
|13.
|13.
|Clyfford Still
|Francis Bacon
|Statement
|Interview with David Sylvester
|1952
|1962-3
|580
|625
|
|
|-
|-
|14.
!
|Harold Rosenberg
! colspan="5" |Vc. ''Art and Society''
|from 'The American Action Painters'
|-
|1952
|1.
|581
|Maurice de Vlaminck
|'Open Opinions on Painting'
|1942
|630
|
|
|-
|-
|15.
|2.
|Clyfford Still
|Francis Klingender
|Letter to Gordon Smith
|from ''Marxism and Modern Art''
|1959
|1943
|584
|631
|
|
|-
|-
!
|3.
! colspan="5" |Vb. ''Individualism in Europe''
|Theodor Adorno and Max Horkheimer
|-
|'The Parable of the Oarsmen'
|1.
|1944
|Jean-Paul Sartre
|633
|from ''Existentialism and Humanism''
|1946
|587
|
|
|-
|-
|2.
|4.
|Jean Dubuffet
|Robert Motherwell
|'Notes for the Well-Lettered'
|'The Modern Painter's World'
|1946
|1944
|590
|635
|
|
|-
|-
|3.
|5.
|Jean Dubuffet
|Pablo Picasso
|'Crude Art Preferred to Cultural Art'
|'Why I Joined the Communist Party'
|1948
|1944
|593
|638
|
|
|-
|-
|4.
|6.
|Antonin Artaud
|Pablo Picasso
|from ''Van Gogh: the Man Suicided by Society''
|Statement to Simone Téry
|1947
|1945
|595
|639
|
|-
|5.
|Jean-Paul Sartre
|'The Search for the Absolute'
|1948
|599
|
|-
|6.
|Samuel Beckett and Georges Duthuit
|from ''Three Dialogues''
|1949
|605
|
|
|-
|-
|7.
|7.
|Jacques Lacan
|Fernand Léger
|'The Mirror-Phase as Formative of the Function of the I'
|'The Human Body Considered as an Object'
|1949
|1945
|609
|640
|
|
|-
|-
|8.
|8.
|Jean-Michel Atlan
|Lucio Fontana
|'Abstraction and Adventure in Contemporary Art'
|'The White Manifesto'
|1950
|1946
|613
|642
|
|
|-
|-
|9.
|9.
|Francis Ponge
|Vladimir Kemenov
|'Reflections on the Statuettes, Figures and Paintings of Alberto Giacometti'
|from 'Aspects of Two Cultures'
|1951
|1947
|614
|647
|
|
|-
|-
|10.
|10.
|Albert Camus
|Robert Motherwell and Harold Rosenberg
|'Creation and Revolution'
|'The Question of What Will Emerge Is Left Open'
|1951
|1947/8
|615
|649
|
|
|-
|-
|11.
|11.
|Michel Tapié
|Constant
|from ''An Other Art''
|'Our Own Desires Build the Revolution'
|1952
|1949
|619
|650
|
|
|-
|-
|12.
|12.
|Georg Baselitz
|Asger Jorn
|'Pandemonium Manifestos 1
|'Forms Conceived as Language'
|1961-2
|1949
|621
|651
|
|
|-
|-
|13.
|13.
|Francis Bacon
|André Fougeron
|Interview with David Sylvester
|'The Painter on his Battlement'
|1962-3
|1948
|625
|652
|
|
|-
|-
!
|14.
! colspan="5" |Vc. ''Art and Society''
|George Dondero
|-
|from ''The Congressional Record''
|1.
|1949
|Maurice de Vlaminck
|654
|'Open Opinions on Painting'
|1942
|630
|
|
|-
|-
|2.
|15.
|Arthur M. Schlesinger Jr
|from ''The Politics of Freedom''
|1950
|658
|
|
|-
|16.
|Alfred H. Barr Jr
|'Is Modern Art Communistic?'
|1952
|660
|
|
|-
|17.
|David Smith
|'Economic Support of Art in America Today'
|1953
|663
|
|
|-
|18.
|Ben Shahn
|'The Artist and the Politician'
|1953
|665
|
|
|-
|19.
|Henry Moore
|'The Sculptor in Modern Society'
|1952
|669
|
|
|-
|-
|3.
|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''
|-
|-
|4.
|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.
|5.
|
|Piero Manzoni
|
|'Free Dimension'
|
|1960
|
|709
|
|
|-
|-
|6.
|6.
|
|Pierre Restany
|
|'The New Realists'
|
|1960
|
|711
|
|
|-
|-
|7.
|7.
|
|Raymond Williams
|
|'The Analysis of Culture'
|
|1961
|
|712
|
|
|-
|-
|8.
|8.
|
|John Cage
|
|'On Robert Rauschenberg, Artist, and his Work'
|
|1961
|
|717
|
|
|-
|-
|9.
|9.
|
|Jasper Johns
|
|Interview with David Sylvester
|
|1965
|
|721
|
|
|-
|-
|10.
|10.
|
|Richard Hamilton
|
|'For the Finest Art, Try Pop'
|
|1961
|
|726
|
|
|-
|-
|11.
|11.
|
|Claes Oldenburg
|
|'I Am for an Art . . . '
|
|1961
|
|727
|
|
|-
|-
|12.
|12.
|
|Andy Warhol
|
|Interview with Gene Swenson
|
|1963
|
|730
|
|
|-
|-
|13.
|13.
|
|Roy Lichtenstein
|
|Lecture to the College Art Association
|
|1964
|
|733
|
|
|-
|-
|14.
|14.
|
|George Kubler
|
|from ''The Shape of Time''
|
|1962
|
|735
|
|
|-
|-
|15.
|15.
|
|Marshall McLuhan
|
|from ''Understanding Media''
|
|1964
|
|738
|
|
|-
|-
|16.
|16.
|Tony Smith
|from Interview with Samuel Wagstaff Jr
|1966
|741
|
|
|
|-
|
!
|
! colspan="5" |VIb. ''Modernist Art''
|-
|1.
|Alain Robbe-Grillet
|'Commitment*
|1957
|744
|
|
|-
|-
|17.
|2.
|
|David Smith
|
|'Tradition and Identity'
|
|1959
|
|748
|
|
|-
|-
|18.
|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
|
|
|-
|-
|19.
|6.
|
|Barnett Newman
|
|Interview with Dorothy Gees Seckler
|
|1962
|
|764
|
|
|-
|-
|20.
|7.
|David A Siqueiros
|Clement Greenberg
|'Open Letter to the Painters, Sculptors and Engravers of the Soviet Union'
|from 'After Abstract Expressionism'
|1955
|1962
|672
|766
|
|
|-
|-
|21.
|8.
|Georg Lukács
|Michael Fried
|'The Ideology of Modernism'
|from ''Three American Painters''
|1958
|1965
|675
|769
|
|
|-
|-
! colspan="6" |VI. Modernization and Modernism
|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
|
|
|Introduction
|-
|
|12.
|683
|William Tucker and Tim Scott
|'Reflections on Sculpture'
|1967
|784
|
|
|-
|-
!
|13.
! colspan="5" |VIa. ''The American Avant-Garde''
|Richard Wollheim
|-
|'The Work of Art as Object'
|1.
|1970
|Roland Barthes
|787
|from 'Myth Today'
|1956
|687
|
|
|-
|-
|2.
! colspan="6" |VII. Institutions and Objections
|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.
|
|
|
|
|
|Introduction
|
|
|797
|
|
|-
|-
|6.
!
|
! 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
|
|
|-
|-
|7.
|4.
|
|Donald Judd
|
|'Specific Objects'
|
|1965
|
|809
|
|
|-
|-
|8.
|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.
|9.
|
|Robert Barry
|
|Interview with Arthur R. Rose
|
|1969
|
|839
|
|
|-
|-
|10.
|10.
|
|Joseph Kosuth
|
|'Art after Philosophy'
|
|1969
|
|840
|
|
|-
|-
|11.
|11.
|
|Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni
|
|Statement
|
|1967
|
|850
|
|
|-
|-
|12.
|12.
|Daniel Buren
|'Beware'
|1969-70
|850
|
|
|
|
|
|
|-
|-
|13.
!
|
! 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
|
|
|-
|-
|14.
|5.
|George Kubler
|Ian Burn and Mel Ramsden
|from ''The Shape of Time''
|'The Role of Language'
|1962
|1969
|735
|879
|
|
|-
|-
|15.
|6.
|Marshall McLuhan
|Lawrence Weiner
|from ''Understanding Media''
|Statements
|1964
|1969-72
|738
|882
|
|
|-
|-
|16.
|7.
|Tony Smith
|Victor Burgin
|from Interview with Samuel Wagstaff Jr
|'Situational Aesthetics'
|1966
|1969
|741
|883
|
|
|-
|-
!
|8.
! colspan="5" |VIb. ''Modernist Art''
|John A. Murphy
|Sponsor's Statement for 'When Attitudes become Form'
|1969
|885
|
|-
|-
|1.
|9.
|Alain Robbe-Grillet
|Germano Celant
|'Commitment*
|from ''Art Povera''
|1957
|1969
|744
|886
|
|
|-
|-
|2.
|10.
|David Smith
|Joseph Beuys
|'Tradition and Identity'
|'Not Just a Few Are Called, But Everyone'
|1959
|1972
|748
|889
|
|
|-
|-
|3.
!
|Maurice Merleau-Ponty
! colspan="5" |VIIc. ''Political Aspects''
|from 'Eye and Mind'
|-
|1961
|1.
|750
|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.
|4.
|Clement Greenberg
|Joseph Beuys
|'Modernist Painting'
|'I Am Searching for Field Character'
|1960-65
|1974
|754
|902
|
|
|-
|-
|5.
|5.
|Theodor Adorno
|Hans Haacke
|from 'Commitment'
|Statement
|1962
|1974
|760
|904
|
|
|-
|-
|6.
|6.
|Barnett Newman
|Mel Ramsden
|Interview with Dorothy Gees Seckler
|from 'On Practice'
|1962
|1975
|764
|905
|
|
|-
|-
|7.
|7.
|Clement Greenberg
|Ian Burn
|from 'After Abstract Expressionism'
|'The Art Market: Affluence and Degradation'
|1962
|1975
|766
|908
|
|
|-
|-
|8.
|8.
|Michael Fried
|Victor Burgin
|from ''Three American Painters''
|from 'Socialist Formalism'
|1965
|1976
|769
|911
|
|
|-
|-
|9.
|9.
|Michael Fried
|Art & Language
|from 'Shape as Form: Frank Stella's New Paintings'
|Editorial to ''Art-Language''
|1966
|1976
|775
|916
|
|
|-
|-
|10.
!
|Jules Olitski
! colspan="5" |VIId. ''Critical Revisions''
|'Painting in Color'
|-
|1.
|Jacques Derrida
|from Of ''Grammatology''
|1967
|1967
|778
|918
|
|
|-
|-
|11.
|2.
|Stanley Cavell
|Michel Foucault
|'A Matter of Meaning It'
|'What Is an Author?'
|1967
|1969
|779
|923
|
|
|-
|-
|12.
|3.
|William Tucker and Tim Scott
|Louis Althusser
|'Reflections on Sculpture'
|from 'Ideology and Ideological State Apparatuses'
|1967
|1970
|784
|928
|
|
|-
|-
|13.
|4.
|Richard Wollheim
|Thomas Kuhn
|'The Work of Art as Object'
|from 'Postscript - 1969'
|1970
|1970
|787
|936
|
|
|-
|-
! colspan="6" |VII. Institutions and Objections
|5.
|Roland Barthes
|'From Work to Text'
|1971
|940
|
|-
|-
|6.
|Robert Smithson
|'Cultural Confinement'
|1972
|946
|
|
|-
|7.
|Leo Steinberg
|from ''Other Criteria''
|1968-72
|948
|
|
|Introduction
|-
|8.
|Rosalind Krauss
|'A View of Modernism'
|1972
|953
|
|
|797
|-
|9.
|Jean Baudrillard
|'Ethic of Labour, Aesthetic of Play'
|1973
|957
|
|
|-
|-
!
|10.
! colspan="5" |VIIa. ''Objecthood and Reductivism''
|Julia Kristeva
|'Prolegomenon' to ''Revolution in Poetic Language''
|1974
|960
|
|-
|-
|1.
|11.
|Yves Klein
|Laura Mulvey
|Sorbonne Lecture
|from 'Visual Pleasure and Narrative Cinema'
|1959
|1973/75
|803
|963
|
|
|-
|-
|2.
|12.
|Frank Stella
|Michel Foucault
|Pratt Institute Lecture
|A Lecture
|1959-60
|1976
|805
|970
|
|
|-
|-
|3.
|13.
|Ad Reinhardt
|Fredric Jameson
|'Art as Art'
|from 'Reflections on the Brecht-Lukacs Debate'
|1962
|1977
|806
|976
|
|
|-
|-
|4.
|14.
|Donald Judd
|Raymond Williams
|'Specific Objects'
|'Dominant, Residual and Emergent'
|1965
|1977
|809
|979
|
|
|-
|-
|5.
! colspan="6" |VIII. Ideas of the Postmodern
|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
|
|
|-
|Introduction
|8.
|Sol LeWitt
|'Sentences on Conceptual Art'
|1969
|837
|
|
|-
|987
|9.
|Robert Barry
|Interview with Arthur R. Rose
|1969
|839
|
|
|-
|-
|10.
!
|Joseph Kosuth
! colspan="5" |VIIIa. ''The Condition of History''
|'Art after Philosophy'
|-
|1969
|1.
|840
|Daniel Bell
|from 'Modernism and Capitalism'
|1978
|993
|
|
|-
|-
|11.
|2.
|Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni
|Jean-François Lyotard
|Statement
|Introduction to ''The Postmodern Condition''
|1967
|1979
|850
|998
|
|
|-
|-
|12.
|3.
|Daniel Buren
|Jürgen Habermas
|'Beware'
|'Modernity - An Incomplete Project'
|1969-70
|1980
|850
|1000
|
|
|-
|-
!
|4.
! colspan="5" |VIIb. ''Attitudes to Form''
|Jean-François Lyotard
|-
|'What Is Postmodernism?'
|1.
|1982
|Terry Atkinson and Michael Baldwin
|1008
|'Air Show'
|1967
|858
|
|
|-
|-
|2.
|5.
|Robert Smithson
|Julia Kristeva
|'A Sedimentation of the Mind: Earth Projects'
|'Powers of Horror'
|1968
|1980
|863
|1015
|
|
|-
|-
|3.
|6.
|Robert Morris
|'Notes on Sculpture 4: Beyond Objects'
|1969
|868
|
|-
|4.
|Art & Language
|Art & Language
|Editorial introduction to ''Art-Language''
|'Art & Language Paints a Picture'
|1969
|1983
|873
|1018
|
|
|-
|-
|5.
|7.
|Ian Burn and Mel Ramsden
|Donald Judd
|'The Role of Language'
|from '... not about master-pieces but why there are so few of them'
|1969
|1984
|879
|1028
|
|-
|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.
|
|
|
|
|
|-
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|14.
|Raymond Williams
|'Dominant, Residual and Emergent'
|1977
|979
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! colspan="6" |VIII. Ideas of the Postmodern
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|Introduction
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|987
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! colspan="5" |VIIIa. ''The Condition of History''
|-
|1.
|Daniel Bell
|from 'Modernism and Capitalism'
|1978
|993
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|2.
|Jean-François Lyotard
|Introduction to ''The Postmodern Condition''
|1979
|998
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|3.
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|Joseph Beuys, Jannis Kounellis, Anselm Kiefer, Enzo Cucchi
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|from 'The Cultural-Historical Tragedy of the European Continent'
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|1985
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|1032
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|9.
|9.
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|Gerhard Richter
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|from 'Interview with Benjamin Buchloh'
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|1986
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|1036
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Latest revision as of 05:22, 29 July 2023

Contents

[1]

319

I. The Legacy of Symbolism
Introduction 13
Ia. Classicism and Originality
1. Téodor de Wyzewa 'Wagnerian Painting' 1895 17
2. Paul Signac from Eugene Delacroix to Neo- Impressionism 1899 20
3. Paul Gauguin Letter to Fontainas 1899 23
4. Sigmund Freud from 'On Dreams' 1901 26
5. Otto Weininger from Sex and Character 1903 34
6. Paul Cézanne Letters to Emile Bernard 1904-6 37
7. Maurice Denis (intro. Roger Fry) 'Cézanne' 1907 40
8. Maurice Denis 'From Gauguin and van Gogh to Neo-Classicism' 1909 47
9. Julius Meier-Graefe 'The Mediums of Art, Past and Present' 1904 53
10. Giorgio de Chirico 'Mystery and Creation' 1913 60
Ib. Expression and the Primitive
1. August Endell 'The Beauty of Form and Decorative Art' 1897-8 62
2. André Derain Letters to Vlaminck c. 1905-9 65
3. Ernst Ludwig Kirchner Programme of the Brücke 1906 67
4. Wilhelm Worringer from Abstraction and Empathy 1908 68
5. Henri Matisse 'Notes of a Painter' 1908 72
6. Roger Fry 'An Essay in Aesthetics' 1909 78
7. Wassily Kandinsky from Concerning the Spiritual in Art 1911 86
8. Wassily Kandinsky The Cologne Lecture 1914 94
9. Franz Marc The "Savages" of Germany' and 'Two Pictures' 1912 98
10. August Macke 'Masks' 1912 100
11. Emil Nolde 'On Primitive Art' 1912 101
12. Oskar Kokoschka 'On the Nature of Visions' 1912 102
13. Alexander Shevchenko 'Neo-Primitivism' 1913 104
14. Benedetto Croce 'What Is Art?' 1913 108
15. Give Bell 'The Aesthetic Hypothesis' 1914 113
16. Hermann Bahr from Expressionism 1916 116
II. The Idea of the Modern World
Introduction 125
IIa. Modernity
1. Georg Simmel 'The Metropolis and Mental Life' 1902-3 130
2. Max Weber 'Asceticism and the Spirit of Capitalism' 1904-5 135
3. Vladimir Ilyich Lenin 'Party Organization and Party Literature' 1905 136
4. Henri Bergson from Creative Evolution 1907 140
5. Alexander Blok 'Nature and Culture' 1908 143
6. Filippo Tommaso Marinetti 'The Foundation and Manifesto of Futurism' 1909 145
7. Umberto Boccioni et al. 'Futurist Painting: Technical Manifesto' 1910 149
8. Robert Delaunay 'On the Construction of Reality in Pure Painting' 1912 152
9. Percy Wyndham Lewis 'Our Vortex' 1914 154
10. Franz Marc 'Foreword' 1914 156
11. Fernand Leger 'Contemporary Achievements in Painting' 1914 157
12. Henri Gaudier-Brzeska 'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska' 1915 160
13. Karl Kraus from 'In These Great Times' 1914 163
14. Kasimir Malevich From Cubism and Futurism to Suprematism: The New Realism in Painting 1915-16 166
IIb. Cubism
1. Jean Metzinger 'Note on Painting' 1910 177
2. Guillaume Apollinaire 'The Cubists' 1911 178
3. Guillaume Apollinaire 'On the Subject in Modern Painting' 1912 179
4. Guillaume Apollinaire 'The New Painting: Art Notes' 1912 181
5. Guillaume Apollinaire from The Cubist Painters 1912 182
6. Jacques Rivière 'Present Tendencies in Painting' 1912 183
7. Albert Gleizes and Jean Metzinger from Cubism 1912 187
8. Fernand Léger 'The Origins of Painting and its Representational Value' 1913 196
9. Olga Rozanova 'The Bases of the New Creation' 1913 199
10. Daniel-Henry Kahnweiler from The Rise of Cubism 1915-20 203
11. Georges Braque 'Thoughts on Painting' 1917 209
12. Pablo Picasso 'Picasso Speaks' 1923 210
III. Rationalization and Transformation
Introduction 217
IIIa. Neo-Classicism and the Call to Order
1. Amédée Ozenfant 'Notes on Cubism' 1916 223
2. Guillaume Apollinaire 'The New Spirit and the Poets' 1918 225
3. Oswald Spengler from The Decline of the West 1918 227
4. Carlo Carrà 'Our Antiquity' 1916-18 229
5. Léonce Rosenberg 'Tradition and Cubism' 1919 234
6. Giorgio de Chirico The Return of the Craft' 1919 234
7. Charles Edouard Jeanneret (Le Corbusier) and Amédée Ozenfant 'Purism' 1920 237
8. Albert Gleizes 'The Dada Case' 1920 240
9. André Derain 'On Raphael' 1920 243
10. Percy Wyndham Lewis 'The Children of the New Epoch' 1921 244
11. Juan Gris Reply to a Questionnaire 1921 245
IIIb. Dissent and Disorder
1. Hugo Ball 'Dada Fragments' 1916-17 246
2. Marcel Duchamp 'The Richard Mutt Case' 1917 248
3. Tristan Tzara 'Dada Manifesto 1918' 1918 248
4. Richard Huelsenbeck 'First German Dada Manifesto' 1918-20 253
5. Richard Huelsenbeck and Raoul Hausmann 'What is Dadaism and what does it want in Germany?' 1918/19 256
6. Richard Huelsenbeck from En Avant Dada 1920 257
7. Alexander Blok The Decline of Humanism' 1918 260
8. Novembergruppe Draft Manifesto 1918 and 'Guidelines' 1919 262
9. Novembergruppe Opposition 'Open Letter to the Novembergruppe' 1921 264
10. Walter Gropius Reply to Arbeitsrat für Kunst Questionnaire 1919 266
11. Max Beckmann 'Creative Credo' 1918-20 267
12. Max Pechstein 'Creative Credo' 1920 269
13. George Grosz 'My New Pictures' 1921 270
14. Francis Picabia Thank you, Francis!' 1923 272
IIIc. Abstraction and Form
1. Man Ray Statement 1916 274
2. Viktor Shklovsky from 'Art as Technique' 1917 274
3. De Stijl 'Manifesto 1' 1918 278
4. Theo van Doesburg from Principles of Neo-Plastic Art 1915-25 279
5. Piet Mondrian 'Dialogue on the New Plastic' 1919 282
6. Piet Mondrian Neo-Plasticism: the General Principle of Plastic Equivalence 1920-21 287
7. Kasimir Malevich 'Non-Objective Art and Suprematism' 1919 290
8. Kasimir Malevich The Question of Imitative Art 1920 292
9. Naum Gabo and Anton Pevsner 'The Realistic Manifesto' 1920 297
10. UNOVIS 'Programme of a United Audience in Painting of the Vitebsk State Free Workshops' 1920 299
11. Wassily Kandinsky 'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences' 1921 301
12. El Lissitsky 'A. and Pangeometry' 1925 303
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
4. Nikolai Punin 'The Monument to the Third International' 1920 311
5. Alexander Rodchenko 'Slogans' and 'Organizational Programme' 1920-21 315
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
IV. Freedom, Responsibility and Power
Introduction 333
IVa. The Modern as Ideal
1. Walter Gropius 'The Theory and Organization of the Bauhaus' 1923 338
2. Paul Klee from On Modern Art 1924 343
3. Hart Crane 'General Aims and Theories' 1925 350
4. Amédée Ozenfant from Foundations of Modern Art 1928 351
5. Hans Hofmann 'On the Aims of Art' 1931 354
6. Abstraction-Création Editorial Statements 1932/1933 357
7. Wladyslaw Strzeminski Statements 1932/1933 359
8. Alfred H. Barr Jr from Cubism and Abstract Art 1936 361
9. Henri Matisse Statements to Tériade 1936 363
10. Naum Gabo 'The Constructive Idea in Art' 1937 365
11. Piet Mondrian 'Plastic Art and Pure Plastic Art' 1937 368
12. Barbara Hepworth 'Sculpture' 1937 374
13. American Abstract Artists Editorial Statement 1938 377
14. Ibram Lassaw 'On Inventing Our Own Art' 1938 378
15. Ben Nicholson 'Notes on Abstract Art' 1941 380
IVb. Realism as Figuration
1. Vladimir Ilyich Lenin 'On Proletarian Culture' 1920 383
2. AKhRR 'Declaration' 1922 384
3. AKhRR 'The Immediate Tasks of AKhRR' 1924 385
4. David A. Siqueiros et al. 'A Declaration of Social, Political and Aesthetic Principles' 1922 387
5. Red Group 'Manifesto' 1924 388
6. Otto Dix 'The Object Is Primary' 1927 389
7. ARBKD (Asso) 'Manifesto' and 'Statutes' 1928 390
8. George Grosz from 'My Life' 1928 393
9. Alfred Rosenberg from 'The Myth of the Twentieth Century' 1930 393
10. Georg Lukács '"Tendency" or Partisanship?' 1932 395
11. Central Committee of the Ail-Union Communist Party 'Decree on the Reconstruction of Literary and Artistic Organizations' 1932 400
12. John Reed Club of New York 'Draft Manifesto' 1932 401
13. Diego Rivera 'The Revolutionary Spirit in Modern Art' 1932 404
14. Mario Sironi 'Manifesto of Mural Painting' 1933 407
15. Andrei Zhdanov 'Speech to the Congress of Soviet Writers' 1934 409
16. David A. Siqueiros 'Towards a Transformation of the Plastic Arts' 1934 412
17. Stuart Davis and Clarence Weinstock 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of 2 Dimensions' 1935 415
18. Grant Wood from Revolt Against the City 1935 418
19. Francis Klingender 'Content and Form in Art' 1935 421
20. Adolf Hitler Speech Inaugurating the 'Great Exhibition of German Art' 1937 423
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
5. André Breton from the Second Manifesto of Surrealism 1929 446
6. George Grosz and Wieland Herzfelde 'Art Is in Danger' 1925 450
7. Osip Brik 'Photography versus Painting' 1926 454
8. Sergei Tretyakov 'We Are Searching 1 and 'We Raise the Alarm' 1927 457
9. Siegfried Kracauer from 'The Mass Ornament' 1927 462
10. October (Association of Artistic Labour) 'Declaration' 1928 465
11. V. N. Vološinov from Marxism and the Philosophy of Language 1929 467
12. Georges Bataille from 'Critical Dictionary' 1929-30 474
13. Georges Bataille 'The Lugubrious Game'' 1929 476
14. Salvador Dali 'The Stinking Ass' 1930 478
15. Walter Benjamin Letter to Gershom Scholem 1931 481
16. Walter Benjamin 'The Author as Producer' 1934 483
17. Bertolt Brecht 'Popularity and Realism' 1938 489
18. Fernand Léger 'The New Realism Goes On' 1936 493
IVd. Modernism as Critique
1. Kasimir Malevich Letter to Meyerhold 1932 497
2. Pablo Picasso 'Conversation with Picasso' 1935 498
3. Herbert Read 'What Is Revolutionary Art?' 1935 502
4. Meyer Schapiro 'The Social Bases of Art' 1936 506
5. Jan Mukařovský from Aesthetic Function 1934/36 511
6. Walter Benjamin 'The Work of Art in the Age of Mechanical Reproduction' 1936 512
7. Theodor Adorno Letter to Benjamin 1936 520
8. Ernst Bloch 'Discussing Expressionism' 1938 523
9. André Breton, Diego Rivera and Leon Trotsky 'Towards a Free Revolutionary Art' 1938 526
10. Clement Greenberg 'Avant-Garde and Kitsch' 1939 529
11. Harold Rosenberg 'The Fall of Paris' 1940 541
V. The Individual and the Social
Introduction 549
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
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
Vc. Art and Society
1. Maurice de Vlaminck 'Open Opinions on Painting' 1942 630
2. Francis Klingender from Marxism and Modern Art 1943 631
3. Theodor Adorno and Max Horkheimer 'The Parable of the Oarsmen' 1944 633
4. Robert Motherwell 'The Modern Painter's World' 1944 635
5. Pablo Picasso 'Why I Joined the Communist Party' 1944 638
6. Pablo Picasso Statement to Simone Téry 1945 639
7. Fernand Léger 'The Human Body Considered as an Object' 1945 640
8. Lucio Fontana 'The White Manifesto' 1946 642
9. Vladimir Kemenov from 'Aspects of Two Cultures' 1947 647
10. Robert Motherwell and Harold Rosenberg 'The Question of What Will Emerge Is Left Open' 1947/8 649
11. Constant 'Our Own Desires Build the Revolution' 1949 650
12. Asger Jorn 'Forms Conceived as Language' 1949 651
13. André Fougeron 'The Painter on his Battlement' 1948 652
14. George Dondero from The Congressional Record 1949 654
15. Arthur M. Schlesinger Jr from The Politics of Freedom 1950 658
16. Alfred H. Barr Jr 'Is Modern Art Communistic?' 1952 660
17. David Smith 'Economic Support of Art in America Today' 1953 663
18. Ben Shahn 'The Artist and the Politician' 1953 665
19. Henry Moore 'The Sculptor in Modern Society' 1952 669
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
VI. Modernization and Modernism
Introduction 683
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. Piero Manzoni 'Free Dimension' 1960 709
6. Pierre Restany 'The New Realists' 1960 711
7. Raymond Williams 'The Analysis of Culture' 1961 712
8. John Cage 'On Robert Rauschenberg, Artist, and his Work' 1961 717
9. Jasper Johns Interview with David Sylvester 1965 721
10. Richard Hamilton 'For the Finest Art, Try Pop' 1961 726
11. Claes Oldenburg 'I Am for an Art . . . ' 1961 727
12. Andy Warhol Interview with Gene Swenson 1963 730
13. Roy Lichtenstein Lecture to the College Art Association 1964 733
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
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
VII. Institutions and Objections
Introduction 797
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
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
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
VIId. Critical Revisions
1. Jacques Derrida from Of Grammatology 1967 918
2. Michel Foucault 'What Is an Author?' 1969 923
3. Louis Althusser from 'Ideology and Ideological State Apparatuses' 1970 928
4. Thomas Kuhn from 'Postscript - 1969' 1970 936
5. Roland Barthes 'From Work to Text' 1971 940
6. Robert Smithson 'Cultural Confinement' 1972 946
7. Leo Steinberg from Other Criteria 1968-72 948
8. Rosalind Krauss 'A View of Modernism' 1972 953
9. Jean Baudrillard 'Ethic of Labour, Aesthetic of Play' 1973 957
10. Julia Kristeva 'Prolegomenon' to Revolution in Poetic Language 1974 960
11. Laura Mulvey from 'Visual Pleasure and Narrative Cinema' 1973/75 963
12. Michel Foucault A Lecture 1976 970
13. Fredric Jameson from 'Reflections on the Brecht-Lukacs Debate' 1977 976
14. Raymond Williams 'Dominant, Residual and Emergent' 1977 979
VIII. Ideas of the Postmodern
Introduction 987
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. Jürgen Habermas 'Modernity - An Incomplete Project' 1980 1000
4. Jean-François Lyotard 'What Is Postmodernism?' 1982 1008
5. Julia Kristeva 'Powers of Horror' 1980 1015
6. Art & Language 'Art & Language Paints a Picture' 1983 1018
7. Donald Judd from '... not about master-pieces but why there are so few of them' 1984 1028
8. Joseph Beuys, Jannis Kounellis, Anselm Kiefer, Enzo Cucchi from 'The Cultural-Historical Tragedy of the European Continent' 1985 1032
9. Gerhard Richter from 'Interview with Benjamin Buchloh' 1986 1036
10. Gerhard Richter Notes 1990 1047
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
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

  1. ↑ https://archive.org/details/ost-art-artintheory1900-1990/page/n9/mode/2up
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