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The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.
Using philosophical and ethnographic theory, presents new approaches to ritual and memory, relating them to visual and sound images as acts of communication.
This book assess the relationship of literature to various other cultural forms in the Middle Ages. Jesse M. Gellrich uses the insights of such thinkers as Levi-Strauss, Foucault, Barthes, and Derrida to explore the continuity of medieval ideas about speaking, writing, and texts.
Explores European civilisation as a concept of twentieth-century political practice and the project of a transnational network of European elites. This title is available as Open Access.
“[An] epic account of life and loves among artists and writers in Paris from belle époque to world slump.” —William Feaver, The Spectator A legendary capital of the arts, Paris hosted some of the most legendary developments in world culture—particularly at the beginning of the twentieth century, with the flowering of fauvism, cubism, dadaism, and surrealism. In Bohemian Paris, Dan Franck leads us on a vivid and magical tour of the Paris of 1900–1930, a hotbed of artistic creation where we encounter Apollinaire, Modigliani, Cocteau, Matisse, Picasso, Hemingway, and Fitzgerald, working, loving, and struggling to stay afloat. Sixteen pages of black-and-white illustrations are featured. “Franck spins lavish historical, biographical, artistic, and even scandalous details into a narrative that will captivate both serious and casual readers . . . Marvelous and informative.” —Carol J. Binkowski, Library Journal
"'This book,' Michael Fried's work opens, 'was written not so much chapter by chapter as painting by painting over a span of roughly ten years.' Courbet's Realism is a magnificent work and its very first sentence brings us up against the qualities of mind of its author, qualities that make it as impressive as it is. It allows us to reconstruct the keen eye, the commitment to perception, the gift of rapt concentration, the conviction that great paintings are not necessarily understood easily, and the further conviction that a great painter deserves to get from us as good as he gives. By drawing on these qualities, Fried achieves something out of reach for all but a handful of his colleagues. In his writing, art history takes on some of the character of art itself. It is driven by the same stubborn resolve to open our eyes."—Richard Wollheim, San Francisco Review of Books Courbet's Realism is clearly a major contribution to the highly active field of Courbet studies. . . . But to contribute here and now is necessarily also to contribute to central debates about art history itself, and so the book is also—I hesitate to say 'more importantly,' because of the way object and method are woven together in it—a major contribution to current attempts to rethink the foundations and objects of art history. . . . It will not be an easy book to come to terms with; for all its engagement with contemporary literary theory and related developments, it is not an application of anything, and its deeply thought-through arguments will not fall easily in line with the emerging shapes of the various 'new art histories' that tap many of the same theoretical resources. At this moment, there may be nothing more valuable than such a work."—Stephen Melville, Art History
This absorbing book draws upon new research and works that, in some cases were held out of public view in Picasso's own collection, to explore the critically important--but still under-studied--period of his life from the Spanish Civil War through World War II and the Nazi occupation of France. This span of years is marked by some of the most intensely personal and expressive work of his career. The subjects he painted changed dramatically in direct response first to the horrors of war and then the dangers and privations of life in occupied Paris, where, though branded a degenerate artist by the Nazis, he chose to remain until the Liberation.
This is the first book to explore prehistoric warfare and violence by integrating qualitative research methods with quantitative, scientific techniques of analysis such as paleopathology, morphometry, wear analysis, and experimental archaeology. It investigates early warfare and violence from the standpoint of four broad interdisciplinary themes: skeletal markers of violence and weapon training; conflict in prehistoric rock-art; the material culture of conflict; and intergroup violence in archaeological discourse. The book has a wide-ranging chronological and geographic scope, from early Neolithic to late Iron Age and from Western Europe to East Asia. It includes world-renowned sites and artefact collections such as the Tollense Valley Bronze Age battlefield (Germany), the UNESCO World Heritage Site at Tanum (Sweden), and the British Museum collection of bronze weaponry from the late Shang period (China). Original case studies are presented in each section by a diverse international authorship. The study of warfare and violence in prehistoric and pre-literate societies has been at the forefront of archaeological debate since the publication of Keeley’s provocative monograph ‘War Before Civilization’ (Oxford 1996). The problem has been approached from a number of standpoints including anthropological and behavioural studies of interpersonal violence, osteological examinations of sharp lesions and blunt-force traumas, wear analysis of ancient weaponry, and field experiments with replica weapons and armour. This research, however, is often confined within the boundaries of the various disciplines and specialist fields. In particular, a gap can often be detected between the research approaches grounded in the humanities and social sciences and those based on the archaeological sciences. The consequence is that, to this day, the subject is dominated by a number of undemonstrated assumptions regarding the nature of warfare, combat, and violence in non-literate societies. Moreover, important methodological questions remain unanswered: can we securely distinguish between violence-related and accidental trauma on skeletal remains? To what extent can wear analysis shed light on long-forgotten fighting styles? Can we design meaningful combat tests based on historic martial arts? And can the study of rock-art unlock the social realities of prehistoric warfare? By breaking the mould of entrenched subject boundaries, this edited volume promotes interdisciplinary debate in the study of prehistoric warfare and violence by presenting a number of innovative approaches that integrate qualitative and quantitative methods of research and analysis.