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A new collection of key texts from a leading critic of modern art The critic Michael Peppiatt has been described by Art Newspaper as “the best art writer of his generation.” For more than 50 years, he has written trenchant and lively dispatches from the center of the international art world. In this new volume of key works, Peppiatt gives his unique insight into the making, collection, display, and interpretation of modern art. Covering the whole spectrum of modern art—from pioneers such as Gustav Klimt and Chaim Soutine, to collectors and dealers who played a pivotal role in the modern art world, to artists such as Francis Bacon, Bill Jacklin, and Frank Auerbach, with whom he had close relationships—Peppiatt interweaves personal anecdote with critical judgment. Each text is accompanied by a new short introduction, written in Peppiatt’s signature vivid and jargon-free style, in which he contextualizes his writings and reflects on significant moments in a lifetime of artistic engagement. This volume will provide readers with an exhilarating tour of 20th-century art.
The Making of A Modern Art World explores the artistic institutions and discursive practices prevailing in Republican Shanghai, aiming to reconstruct the operational logic and the stratified hierarchy of Shanghai’s art world. Using guohua as the point of entry, this book interrogates the discourse both of guohua itself, and the wider discourse of Chinese modernism in the visual arts. In the light of the sociological definition of ‘art world’, this book contextualizes guohua through focusing on the modes of production and consumption of painting in Shanghai, examining newly adopted modern artistic practices, namely, art associations, periodicals, art colleges, exhibitions, and the art market.
Today the Museum of Modern Art is widely recognized for establishing the canon of modern art; yet in its early years, the museum considered modern art part of a still unfolding experiment in contemporary visual production. By bracketing MoMA's early history from its later reputation, this book explores the ways the Museum acted as a laboratory to set an ambitious agenda for the exhibition of a multidisciplinary idea of modern art. Between its founding in 1929 and its 20th anniversary in 1949, MoMA created the first museum departments of architecture and design, film, and photography in the country, marshaled modern art as a political tool, and brought consumer culture into a versatile yet institutional context. Encompassing 14 essays that investigate the diversity of modern art, this volume demonstrates how MoMA's programming shaped a version of modern art that was not elitist but fundamentally intertwined with all levels of cultural production.
Exploring the myths and realities of the origins of the "modern artist" in Britain The artist has been a privileged figure in the modern age, embodying ideals of personal and political freedom and self-fulfillment. Does it matter who gets to be an artist? And do our deeply held beliefs stand up to scrutiny? Making the Modern Artist gets to the root of these questions by exploring the historical genesis of the figure of the artist. Based on an unprecedented biographical survey of almost 1,800 students at the Royal Academy of Arts in London between 1769 and 1830, the book reveals hidden stories about family origins, personal networks, and patterns of opportunity and social mobility. Locating the emergence of the "modern artist" in the crucible of Romantic Britain, rather than in 19th-century Paris or 20th-century New York, it reconnects the story of art with the advance of capitalism and demonstrates surprising continuities between liberal individualism and state formation, our dreams of personal freedom, and the social suffering characteristic of the modern era. Distributed for the Paul Mellon Centre for Studies in British Art
Since ’45 details the collision of American history and modern art. Since World War II, New York has been the indisputable center of the art world, and as Katy Siegel shows, it has had a profound influence on the preoccupations that contemporary art would come to have. Tracing art history over the past decades, she shows how anxieties over race, mass culture, the individual, suburbia, apocalypse, and nuclear destruction have supplanted the legacy of European artistic traditions. Siegel’s study encompasses a variety of works, including Rothko’s planes of color, Warhol’s serial silkscreens, Richard Prince’s cowboys, Robert Longo’s Men in Cities, Faith Ringgold’s Black Light, and Laurie Simmons’s dollhouses, and moves fluidly from discussions of artists’ works, art museums, and galleries to cultural influences and significant historical events. Rather than arguing on nationalist grounds or viewing American culture as representative of a now-devalued nation, Siegel explores how American culture dominated not only American artists but created conditions that now, after the full globalization of the art world, affect artists around the world. Since ’45 will interest all readers engaged in post-war and contemporary art in the United States and beyond.
This chronologically organized and comprehensive anthology of readings tells the whole story of art in America from 1900 to the present. It focuses on the themes, issues, and controversies that occurred throughout the century--using selections that are contemporary with the art--by artists, critics, exhibition organizers, poets, politicians, and other writers on culture. Some recurring themes and issues include issues of identity; the changing nature of modernism and modernity; nationalism; art as individual or community expression; the nature of public art; and the role of criticism, censorship, and government intervention. Texts by well-known writers include Meyer Schapiro, Clement Greenberg, Michael Fried, Donald Kuspit, and Kate Linker. A guide for those interested in both the standard interpretations of American art and in alternative readings.
Smith reveals how this visual revolution played an instrumental role in the complex psychological, social, economic, and technological changes that came to be known as the second industrial revolution. From the role of visualization in the invention of the assembly line, to office and building design, to the corporate and lifestyle images that filled new magazines such as Life and Fortune, he traces the extent to which the second wave of industrialization engaged the visual arts to project a new iconology of progress.
This Pioneering Book Is An Authentic Portrayal Of The Formative Years Of Modern Indian Art, When Its Parameters Were Being Established. Looks At Painters As Diverse As M.F. Hussain, S.M. Raza, F.N. Souza, K.H. Ara, Tyeb Mehta, Ram Kumar Among Many Others.
How artists at the turn of the twentieth century broke with traditional ways of posing the bodies of human figures to reflect modern understandings of human consciousness. With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era’s canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being’s physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses.
Artists don't achieve financial success and critical acclaim during their lifetimes as a result of chance or luck. Michael FitzGerald's assiduously researched book documents Picasso's courting of dealers, critics, collectors, and curators as he established his reputation during the first forty years of the twentieth century. FitzGerald describes the care, patience, and resourcefulness invested by Paul Rosenberg, Picasso's dealer and close collaborator from 1918 to 1940, in building the financial value and public acceptance of Picasso's art. The book is based on and quotes generously from previously unpublished correspondence between Picasso and dealers, collectors, and museum curators.