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These essays explicitly confront a particular crisis in postwar art, seeking to examine the assumptions on which the modern commercial and museum gallery was based.
"This collection of essays assembles investigations of Brian O'Doherty's/Patrick Ireland's seminal work: his visual art practice, art criticism, institutional leadership and critique, media work, and literary writing. The international authors provide fresh perspective on an oeuvre that has resonance on both sides of the Atlantic."--Back cover.
Brenda Moore-McCann's in-depth study reveals the many layers of Brian O'Doherty's artistic identity. By contextualizing the work and providing first-class critical assessments, this book unravels his career to present a wealth of material with a distinct attitude and original vision.
"Studio and Cube is author Brian O'Doherty's long-awaited follow-up to his seminal 1976 essays for Artforum, republished in 1999 as "Inside the White Cube: The Ideology of the Gallery Space." That critically acclaimed volume dissected the abstract, white space of the modern art gallery, calling it "the archetypal image of twentieth-century art." In Studio and Cube O'Doherty turns his attention to the moment of art's creation, exploring the mystique of the artist's studio as the fecund space where inspiration occurs and the artwork is born." "Tracking the relationship between artist and artwork from Vermeer through late modernism, the author considers the differing work spaces of Courbet, Matisse, Rothko, Bacon, Warhol, and many others. He speculates on the implications of the work's transfer from the more anarchic and personal environment of the studio to the art gallery, concluding with a reflection on the way the "unruly energies" of the new media have transformed the classical white-cube gallery today. This is essential reading for anyone interested in the history and issues of contemporary art and the environments in which it is produced. Studio and Cube is the first in the series of FORuM Project Publications produced by the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University."--BOOK JACKET.
The eighteenth century was an era of violent contrasts and radical change, intellectual brilliance and war, spies and diplomatic intrigue, elegance and cruelty. One of the century's most mysterious figures was the Chevalier d'Eon, who lived as both man and woman, French spy and European celebrity. Written from the perspective of this historical figure, the novel by Brian O'Doherty—artist and author of, among others, the critical milestone Inside the White Cube and the Booker Prize–shortlisted The Deposition of Father McGreevy—reveals d'Eon's radical modernity, certified by his attitudes to gender and his examination of his own nature. He ponders the social determinants of sexual identity and studies the manners and conventions governing discourse between the sexes. At the same time, as diplomat and spy, he is involved in the power politics of nations. The novel holds close to historical facts and reproduces some of d'Eon's comments as recorded in his voluminous journals. Apparently his life did not become real to him until he had rehearsed it in writing.
A major figure in eighteenth-century Christianity, John Wesley sought to combine the essential elements of the Catholic and Evangelical traditions and to restore to the laity a vital role in church life. He began one of the most dynamic movements in the history of modern Protestantism, a movement which eventually produced the Methodist churches. This volume offers a representative selection of theological writings by Wesley and includes historically oriented introductions and footnotes which indicate Wesley's Anglican, patristic, and biblical sources.
This illuminating study explores a central but neglected aspect of modern Jewish history: the problem of abandoned Jewish wives, or agunes ("chained wives")—women who under Jewish law could not obtain a divorce—and of the men who deserted them. Looking at seventeenth- and eighteenth-century Germany and then late nineteenth-century eastern Europe and twentieth-century United States, Enforced Marginality explores representations of abandoned wives while tracing the demographic movements of Jews in the West. Bluma Goldstein analyzes a range of texts (in Old Yiddish, German, Yiddish, and English) at the intersection of disciplines (history, literature, sociology, and gender studies) to describe the dynamics of power between men and women within traditional communities and to elucidate the full spectrum of experiences abandoned women faced.
This facsimile edition collects all 19 issues of 'Art-Rite' magazine, edited by art critics Walter Robinson and Edit DeAk from 1973 to 1978. Robinson, DeAk and a third editor, Joshua Cohn, met as art history students at Columbia University, and were inspired to found the magazine by their art criticism teacher, Brian O'Doherty. 'Art-Rite', cheaply produced on newsprint, served as an important alternative to the established art magazines of the period. 'Art-Rite' ran for only five years, and published only 19 issues. But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's-who of 1970s art: Yvonne Rainer, Gordon Matta-Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing. Through its single-artist issues and its thematic issues on performance, video and artists' books, 'Art-Rite' championed the new art of its era.