Product Description
Exploring the nature of the aesthetic medium has been at the heart of much of modern art. For exponents of high modernism, the essence of each medium lay inherently in its own particular material properties. Accordingly, the import of painting was its "flatness," as exemplified by the monochrome canvas. But some artists rejected this description as inadequate. Citing the examples of film, television, and video, they understood and articulated the medium as a complex structure of technical supports and layered conventions distinct from physical properties. Here, Rosalind Krauss positions the work of Marcel Broodthaers within this alternative narrative. Referring to the Belgian artist's films, books, graphic design, and museum "fictions," she presents Broodthaers as standing at, and thus standing for, the "complex" of the self-differing medium. ... Read more

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This digital document is an article from Proceso, published by CISA Comunicacion e Informacion, S.A. de C.V. on July 16, 2000. The length of the article is 1292 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: La Iglesia y la posmodernidad.(TT: The Church and post modernism.)
Author: Javier Sicilia
Publication: Proceso (Magazine/Journal)
Date: July 16, 2000
Publisher: CISA Comunicacion e Informacion, S.A. de C.V.
Page: 52

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This digital document is an article from Artforum International, published by Artforum International Magazine, Inc. on April 1, 2003. The length of the article is 4279 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Unhappy returns: John Rajchman on the po-mo decade. (Writing the '80s).(post-modernism)(Critical Essay)
Author: John Rajchman
Publication: Artforum International (Magazine/Journal)
Date: April 1, 2003
Publisher: Artforum International Magazine, Inc.
Volume: 41Issue: 8Page: 61(5)

Article Type: Critical Essay

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Product Description
Ann Kaplan examines the cultural context of MTV and its relationship to the history of rock music. The first part of the book focuses on MTV as a commerical institution. In the second, Kaplan identifies five distinct types of video. There are detailed analyses of videos by Bruce Springsteen, Billy Idol, Paul Young, Madonna, Tina Turner, Pat Benatar, Annie Lennox, and Aretha Franklin, and discussion of many more. Kaplan focuses particularly on gender issues in videos by both male and female stars. ... Read more

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An Introduction to Music and Art in the Western World, 10th edition, is a clear and attractive guide to the great artists and composers of the West and the societies in which they lived and worked. ... Read more

Customer Reviews (4)

Excellent, but watch for bad copies
I use this text in a 100 level Music and Art appreciation class I teach at the university level.This book is generally excellent until the last chapter, where the emphasis they place on modern art has proven, over the last 15 years since this edition was last updated, to be a little bit out of date.In fairness, more in the art areas than the music areas.Art is an area where value changes over time, and that shows in the last chapter.However, I feel the rest of the text is superb, and works well for my course, and with my students.I cannot seem to locate another combined art and music book that works better.

Simply the Best
It doesn't get much better than this. Substantive and always interesting, I used this with great success for several years teaching music appreciation at the University level. Works equally as well as a supplement to art appreciation and humanism. Sometimes out of print, so get it when you can.

Good for the class
Brought it for a class have not used it out of those confines but good for what I brought it for.

Good overview
This is an excellent chronological overview of the art, music and architecture of the Western world.It's well written and the color illustrations are well chosen and helpful.All in all, it's a good way to brush up on a few thousand years of cultural history in a short time. ... Read more

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Art Auction Catalogue ... Read more

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Virtuism is about is the aesthetics of human virtue, how virtuous acts produce in us the same experience as great works of art. Witnessing or creating a virtuous act produces the aesthetic experience. The giving of the good feeling of the aesthetic or "art" experience gives evidence that life has a higher meaning and a divine purpose. The book "Virtuism -- Philosophy and the Aesthetics of Virtue" discusses this and other philosophical implications of this relationship.

This book explores how the unverse acts in a way that is essentially "virtuous" towards us, in the long run, if we make an effort to act virtuous in it. The author started calling this philosophy Emotive Virtuism a few years ago because the idea of the emotional impact of human virtue played into philosophical questions very strongly. The author wanted to distance himself from the appearance of creating a simplistic philosophy because of the post-modernist critiques of narratives.

Virtuism started out as aesthetic theory and then moved into reflections about other areas of philosophy. The author did not purposefully intend to create an "ism" because he has a somewhat post-modernist idea about being wary of new narratives. The author states: "Since people are starting to use the word "virtuism" (found out by my doing a search on Google) with no connection to my writings (much like the alteration of the word "Surrealism" having nothing to do with Andre Breton, the founder of Surrealism, writings), I figured I had better formalize it the way I originally intended, because I have a certain idea about the philosophy of Virtuism."

Virtuism: Philosophy and the Aesthetics of Virtue is a philosophy book that draws on aesthetics and ethics. Virtuism started in the mid-1980's as an art theory. Like other art manifesto writers, like Andre Breton with his Surrealist manifestoes and Tristan Tzara with his Dada Manifestoes, the author was a young art theorist who was striving to do something new in the art world. Since everything shocking and scandalous seemingly had been done in the arts at that time, Virtuism became about the aesthetics of human virtue, how virtuous acts produce in us the same experience as great works of art. The author describes in his book how witnessing or creating a virtuous act produces the aesthetic experience. The book argues that the giving of the good feeling of the aesthetic or "art" experience gives evidence that life has a higher meaning, since in fact the aesthetic experience is so pleasant.

One area the author discusses is how modern philosophy states that the existence of a benevolent God cannot be proven, but then modern philosophers go on anyway to write books overshadowed with the idea that there is no benevolent purpose to life on earth. Since the opposite view could be also taken as true, since it is supposedly equally unprovable, the book writes from the perspective of how to pragmatically get life to act benevolent to us. The book discusses other philosophical implications of this relationship such as the dubious value of religious and sectarian exclusionism, and the fact that much social science statistics seem to prove the value of the virtues.

The author wanted to distance himself from the appearance of creating a simplistic philosophy because of the post-modernist critiques of narratives. Yet, philosophy and art are by necessity "ism-manufacturing" disciplines. For mathematics to grow, it must create new nouns and verbs, and philosophy and art must create new movements to grow. A person creating their own "ism" to the untrained mind is looked at dubiously. Yet, there are, every year, hundreds of new "isms" and new schools of thought created by academics and artists because of the ever present necessity for change and growth.


... Read more

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Clement Greenberg (January 16, 1909 ? May 7, 1994) was an influential American art critic closely associated with Modern art in the United States. In particular, he promoted the abstract expressionist movement and was among the first critics to praise the work of painter Jackson Pollock. ... Read more

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Art Journal: Fall/Winter 1980, Volume 40, Number 1/2: Modernism, Revisionism, Plurism, and Post-Modernism. 1980 paperback. Contains: "Modernism, Revisionism, Pluralism, and Post-Modernism" by Irving Sandler; "Revisionism Revisited" by Kirk Varnedoe; "Some Architectural Ideologies after the Fall" by Richard Pommer; "Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s" by Lucy R. Lippard; "The State of the Art: 1980" by Kim Levin; "Performance - Art for All?" by Roselee Goldberg; and "Pluralism in Art and in Art Criticism, a Roundtable Discussion." ... Read more

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Customer Reviews (3)

Cezanne and American Modernism
Beautiful book, great reproductions illustrating the Cezanne's influence on other artists.
Would have preferred a paperback edition for many reasons including the energy consumed shipping it to Hawaii.
Amazon.com provided efficient service as always!

Outstanding Resource for Understanding Cezanne's Influence on American Painters and Photographers
"Your eyes will see the King in His beauty;
They will see the land that is very far off." -- Isaiah 33:17

How does artistic influence spread? Today, an image in one location can be soon seen by billions through television, the Internet, and reproduction on paper.

A hundred years ago, a reclusive artist's work might only be seen by a few hundred people during a lifetime. Cezanne is a partial example because his work wasn't widely exhibited and collected during his lifetime. Yet if you go to any museum that presents modern art, you will see Cezanne described as a seminal influence on much of what occurred in the last century. If you are like me, you probably just assumed that Cezanne's work was always well appreciated and understood. Wrong!

Cezanne and American Modernism (the exhibition catalog for the show that is just ending at the Montclair Art Museum, moves next to The Baltimore Museum of Art, and concludes at the Phoenix Art Museum over the summer) delicately describes Cezanne's career: the visibility of his work during and after his life especially through collectors, dealers, and exhibitions; how artists and critics evaluated the work over time; and details the influence that Cezanne had on the works of over 30 prominent 20th century American artists in excellent, well-researched essays and illustrations. By coming from so many different perspectives, the essays and illustrations speak eloquently about Cezanne in a way that you've probably never thought about him. I especially enjoyed seeing Cezanne's works displayed on the same or adjoining pages as the American works that so obviously seem to be inspired from them.

Although I hadn't planned to make a special trip to see this show, now I feel that I absolutely must if I want to more deeply understand Cezanne and the many American artists whose work I so admire.

The American artists who are discussed and displayed in the volume include: Josef Bakos, Oscar Bluemner, Anne Brigman, Patrick Henry Bruce, Arthur B. Carles, Andrew Dasburg, Arthur B. Davies, Charles Demuth, Arther G. Dove, Arshile Gorky, Marsden Hartley, William H. Johnson, Leon Kroll, Stanton Macdonald-Wright, John Marin, Alfred H. Maurer, Willard Nash, B.J.O. Nordfeldt, Paul Outerbridge, Walter Pach, Maurice Prendergast, Man Ray, Anne Estelle Rice, Morgan Russell, Morton Livingston Schamberg, Charles Sheeler, Edward Steichen, Alfred Stieglitz, Paul Strand, Abraham Walkowitz, Margaret Watkins, Max Weber, Clarence H. White, and Hale Woodruff.

If you don't know all of these artists, you'll probably find some new favorites from this book.

"One day, they will have painters" (Matisse in 1933 on American art)
This is the catalogue for the current exhibition held at the Montclair Art Museum, which will later travel to Baltimore, and it focuses on a little-studied aspect of American art: the influence of Cézanne on pre-WWII American modernists (Hartley, Demuth, Man Ray, Gorky, etc). It is a wonderfully illustrated and thoroughly informative publication and, if anything, it serves as a reminder of how strong European influences were at the time and how those influences contributed to thwart the birth of a truly original American modern art (this was to happen only after WWII and the eclosion of Abstract Expressionism).

The book is full of interesting insights (such as the role of Francophile American collectors in promoting Cézanne in the US) and also of outright discoveries, such as "Cezannian" landscapes by Man Ray or Gorky which appear weak and industrious when compared to the master's works. Some three years after the Whitney exhibition focusing on the influence of Picasso on American Art, this book is an ideal complement to it and helps to understand the early developments of XXth century American painting. ... Read more

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This volume is part of a four-volume series about art and its interpretation in the 19th and 20th centuries. The books provide an introduction to modern European and American art and criticism that should be valuable both to students and to the general reader. This first volume focuses on aspects of Realism, Impressionism and Post-Impressionism in Paris between 1848 and 1900. Discussing works by Courbet, Manet, Monet, Pissarro, Cezanne, Morisot and other great painters of the period, the authors demonstrate how some historians view this art as representative of the social, historical, and economic circumstances in which it was produced, how the painterly effects of the art are evaluated and how a feminist perspective can help to explain art works and change our perception of them. ... Read more

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In the era of The Man in the Gray Flannel Suit—when social pressures on men to conform threatened cherished notions of masculine vitality, freedom, and authenticity—modernist paintings came to be seen as metaphorical embodiments of both idealized and highly conflicted conceptions of masculine selfhood. In Modernism's Masculine Subjects, Marcia Brennan traces the formalist critical discourses in which work by such artists as Henri Matisse, Willem de Kooning, and Jackson Pollock could stand as symbolic representations that at once challenged and reproduced such prevailing cultural conceptions of masculinity. Rejecting the typical view of formalism's exclusive engagement with essentialized and purified notions of abstraction and its disengagement from issues of gender and embodiment, Brennan explores the ways in which these categories were intertwined, historically and theoretically.

Brennan makes new use of writings by Clement Greenberg and other powerful critics describing the works of Matisse, the postwar New York School abstract expressionists, and their successors, the post-painterly abstractionists. The paintings of Matisse, she argues, were represented in part as intellectually engaged and culturally respectable centerfolds. Brennan examines de Kooning's Woman series —perhaps the most significant effort to incorporate feminine presence within abstract expressionist imagery—as extended cultural metaphors for bourgeois masculinity's conflicted relationship with its feminine "others." She also shows how the aggressive energy of Pollock's nonfigural painterly idiom became domesticated in the press by the repeated pairing of his work with images of Pollock in the studio and at home with his wife, the artist Lee Krasner. Finally, discussing the rise of the post-painterly abstractionists in the sixties, Brennan shows how, both despite and because of the critical presence of Helen Frankenthaler, formalist responses to the works of Morris Louis and Kenneth Noland provided an opportunity to promote idealized conceptions of masculine creativity. ... Read more

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Monet and Modernism

Edited by Karin Sagner- Duchting

This beautifully illustrated volume examines the lines of influence leading from Monet to the great modern exponents of Abstract Expressionism. The book emphasizes the innovative aspects of Monet ’s late works, including his famous water lily paintings and Rouen Cathedral series. His paintings are juxtaposed with those of 25 modern artists, including Jackson Pollock, Mark Rothko, Barnett Newman, Clyfford Still, and Ellsworth Kelly.

Exhibitions
Kunsthalle der Hypo- Kulturstiftung, Munich (23 November 2001- 10 March 2002)
Fondation Beyeler, Basel, Switzerland (28 March 2002- 30 July 2002) ... Read more