Theories and documents of contemporary art : a sourcebook of artists' writings
- Berkeley : University of California Press, c1996.
- Physical description
- xxii, 1003 p. : ill. ; 27 cm.
- California studies in the history of art ; 35
The Art & Architecture Library is closed July 25 - Sept. 9 during its relocation to the new McMurtry Building. The collection is not accessible during this period. Please contact Interlibrary Borrowing to obtain this title.
N6490 .T492 1996
- Unknown N6490 .T492 1996
- Includes bibliographical references (p. 897-956) and index.
- Preface General Introduction 1. Gestural Abstraction Peter Selz Jackson Pollock Barnett Newman Mark Rothko Robert Motherwell Helen Frankenthaler Joan Mitchell Cy Twombly David Smith Louise Bourgeois Alfred H. Barr Michel Tapie Wols Henri Michaux Lucio Fontana Emilio Vedova Alberto Burri Willi Baumeister Antoni Tapies Tadeusz Kantor Per Kirkeby Anselm Kiefer 2. GEOMETIC ABSTRACTION Introduction Max Bill Richard Paul Lhse Piero Manzoni Yves Klein Charles Biederman Ad Dekkers Ad Reinhardt Ellsworth Kelly Kenneth Noland Anne Truitt Anthony Caro Josef Albers Victor Vasarely Bridget Riley Frank Stella Donald Judd Carl Andre Dan Flavin Tony Smith Agnes Martin Brice Marden Daniel Buren Alfred Jensen Miriam Schapiro and Melissa Meyer Valerie Jaudon and Joyce Kozloff Peter Halley 3. FIGURATION Introduction Fernand Leger Renato Guttuso Max Beckmann Paul Tillich Jean-Paul Sartre Alberto Giacometti Jean Fautrier Jean Dubuffet Willem de Kooning Francis Bacon Constant Niewenhuys Karel Appel Willem Sandberg Alice Neel Romare Bearden Lucian Freud R.B. Kitaj David Hockney and Larry Rivers Michelangelo Pistoletto Philip Pearlstein Chuck Close Richard Estes Leon Golub Nancy Spero Arnulf Rainer Philip Guston Georg Baselitz Jorg Immendorff Magdalena Abakanowicz Francesco Clemente Susan Rothenberg Eric Frischl Julian Schnabel John Pitnam Weber Jesse Helms Robert Mapplethorpe Andres Serrano 4. MATERIAL CULTURE AND EVERYDAY LIFE Introduction Richard Hamilton Dieter Roth Oyvind Fahlstrom Pierre Bestany Daniel spoerri Niki de Saint-Phalle Pino Pascali Gerhard Richter Ion Grigorescu Tony Cragg Robert Rauschenberg Jasper Johns Bruce Conner George Brecht claes Oldenburg Roy Lichtenstein Andy Warhol James Rosenquist Lucas Samaras Ray Johnson Edward Ruscha Judy Chicago Faith Ringgold Jeff Donaldson Kieth Haring Kenny Scharf David Wojnarowicz Barbara Kruger Sherrie Levine Jeff Koons 5. ART AND TECHNOLOGY Introduction Nicholas Schoffer Gustav Metzger Jean Tinguely Takis Otto Piene Heinz Mack Groupe de Recherche d'Art Visuel Billy Kluver Mark Pauline Survival Research Laboratories Laurie Anderson Krzyszstof Wodiczko Stelarc Nam June Paik Douglas Davis Gerry Schum Frank Gillette Shigeko Kubota Bill Viola William Wegman Pete D'agostino Lynn Hershman Martha Rosler Myron W. Krueger Peter Weibel Jeffrey Shaw Roy Ascott 6. INSTALLATIONS, ENVIRONMENTS, AND SITES Introduction Joseph Cornell Frederick Kiesler Louise Nevelson Edward Kienholz Christian Boltanski ISamu Noguchi Eduardo Chillida Maya Lin Walter de Maria Robert Smithson Michael Heizer, Dennis Oppenheim, Robert Smithson Nancy Holt Agnes Denes Alan Sonfist Christo Gordon Matta-Clark Alice Aycock Charles Simonds Richard Long Helen Meyer Harrison and Newton Harrison Robert Irwin James Turrell 7. PROCESS Introduction Robert Morris Eva Hesse Nancy Graves Richard Serra Bruce Nauman Robert Ryman Richard Tuttle Barry Le Va Sam Gilliam, Jr. Lynda Benglis Mierle Lademan Ukeles Ann Hamilton and Kathryn Clark Martin Puryear Mark Thompson Joseph Beuys Franz Erhard Walther Rebecca Horn Barry Flanagan Jan Dibbets Germano Celant Jannis Kounellis Mario Merz Giuseppe Penone Pinchas Cohen Gan 8. PERFORMANCE ART Introduction Jiro Yoshihara Georges Mathieu Situationist International Guy Debord John Cage Allan Kaprow Carolee Schneemann Jean-Jacques Lebel Raphael Montanez Ortiz Wolf Vostell George Maciunas Dick Higgins Ben Vautier Robert Filliou Yoko Ono Milan Knizak Jarzy Beres Hermann Nitsch Otto Muhl Otto Muhl and the AA Commune Gunter Brus Valie Export Ulkricke Rosenbach Marina Ambramovic and Ulay Vito Acconci Chris Burden Eleanor Antin tom Marioni Linda Montano and Tehching Hsieh Suzanne Lacy Adrian Piper Cindy Sherman Karen Finely James Luna 9. LANGUAGE AND CONCEPTS Introduction Marcel Duchamp Henry Flynt Sol Lewitt Mel Bochner Dan Graham Seth Siegellaub Robert Barry Lawrence Weiner Douglas Huebler Joseph Kosuth Zoran Popovic Art & Language Victor Burgin Mary Kelly Stanley Brouwn Vincenzo Agnetti John Latham Marcel Broodthaers Hans Haacke Laus Staeke Herve Fischer Jenny Holzer John Baldessari Group Material NOTES BIBLIOGRAPHY INDEX.
- (source: Nielsen Book Data)
- Publisher's Summary
- Ambitious and interdisciplinary, this long-awaited collaboration is a landmark presentation of the writings of contemporary artists. These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, the collection - while comprehensive and authoritative - offers the reader some eclectic surprises as well. Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality. Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed. Kristine Stiles' general introduction is a succinct overview of artists' theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images. Reflecting the editors' shared belief that artists' own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp's "Theories of Modern Art" (with Peter Selz and Joshua Taylor) and Joshua Taylor's "Nineteenth-Century Theories of Art", will be an invaluable resource for anyone interested in contemporary art. 'In New York in 1915 I bought at a hardware store a snow shovel on which I wrote 'in advance of the broken arm'. It was around that time that the word 'readymade' came to mind to designate this form of manifestation' - Marcel Duchamp (1961). 'Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms. The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women' - Miriam Schapiro and Melissa Meyer (1978). 'I want to create a fusion of art and life, Asia and America, Duchampiana modernism and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the Nomadic Asians who crossed over the Bering Strait over 10,000 years ago' - Shigeko Kubota (1976). 'Black for me is a lot more peaceful and gentle than white. White marble may be very beautiful, but you can't read anything on it. I wanted something that would be soft on the eyes, and turn into a mirror if you polished it. The point is to see yourself reflected in the names. Also the mirror image doubles and triples the space' - Maya Lin (1983). 'Artists often depend on the manipulation of symbols to present ideas and associations not always apparent in such symbols. If all such ideas and associations were evident there would be little need for artists to give expression to them. In short, there would be no need to make art' - Andres Serrano (1989).
(source: Nielsen Book Data)
- Publication date
- [edited by] Kristine Stiles and Peter Selz.