1,722 research outputs found
Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesHoward, Seymour, “I.R.I.S.: The Artist’s Intent and Proliferation of Meanings.”
Mehring, Christine, “Reexamining Greenberg’s Impact: An Inquiry into His Lack of Reception in Germany.”
Van Scheppen, Randall K., “Leo Steinberg’s Criticism: Symptom of Formalist Crisis, Prophetic of Postmodernist Promise.”
Menard, Andrew, “Cindy Sherman: The Cyborg Disrobes”
Greenberg, Emily B., “Cindy Sherman and the Female Grotesque.”
Kuspit, Donald, “The Great Divide.”
Kuspit, Donald, “Art: Sublimated Expression Or Transitional Experience? The Examples Of Van Gogh and Mondrian.”
Kuspit, Donald, “The Expressive Gaze.”
Sherman, David, “Madness and Modernism, The Cult of the Avant-Garde Artist, and Empathic Art in the Mediascape.
Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesYngvason, Hafthor, “Schiele, Michelangelo, and the Allegory of the Cave.”
Cone, Michele, “Suspicious Unheimlich’ and Ambivalence in the Appropriation Strategy of Anselm Kiefer.”
Wiens, Ann, “Abject of My Desire.”
Biro, Matthew, “Art Criticism and Deconstruction: Rosalind Krauss and Jacques Derrida.”
Tumasonis, Elizabeth, “Böcklin’s Reputation: Its Rise and Fall.”
Kuspit, Donald, B., “A Psychoanalytic Understanding of Aesthetic Disinterestedness.
Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesWelish, Marjorie, “The Studio Visit.”
Barnard, Phillip, Translator, “The Phallus Stripped Bare hy its Non-Bachelors, Even: A Conversation Between Alain Kirili and Phillippe Sollers.”
Plagens, Peler, “The McSacred and the Profane.”
Olson, Krislina S., “Living With It: Michael Graves’s Portland Building.”
Kuspit, Donald B., “David Salle: The New Gatsby.”
Bisanz, Rudolf M., “The Nude and Erotic Art: The Pick of the Crop Reviewed.
Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesPeglau, Michael, “Against Benjamin, H. D. Buchloh’s Attack on Painting.”
Matthews, Patricia, “A Dialogue of Silence: May Stevens’ Ordinary/Extraordinary 1977-86.”
Kuspit, Donald B., “Dorothea Tanning’s Occult Drawings.”
Greenberg, Allan, “Architecture of Democracy.”
Davis, Douglas, “On Architecture.”
Welish, Marjorie, “Frame of Mind: Interpreting Jasper Johns.”
Morgan, Robert C., “Review: Corinne Robbins, The Pluralist Era: American Art, 1968-1981.
Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesDiamond, Josephine, “Baudelaire’s Exposure of the Photographic Image.”
Glaser, David, “Spectacle in Recent Art.”
Tuchman, Phyllis, “The Road Now Taken.”
Werman, David S., “Psychoanalytic Perspectives on Art.”
O’Connor, Francis V., “Depressive Elementalism and Modernism: A Postmodernist Meditation.”
Boettger, Suzaan, “Regression in the Service of...”
Platt, Susan Noyes, “Formalism and American Art Criticism in the 1920’s.”
Kuspit, Donald B., “The Narcissistic Justification of Art Criticism.”
Peglau, Michael, “Review: Rosalind Krauss, The Originality of the Avant-Garde and Other Modernist Myths.
Fables and Fantasies
No full textA glossy exhibit catalogue of a show united around a central concept. These forty-four recent works are related by their use of myth, legend, or personal fantasy as a mode for expressing the troubled human condition in the face of the anxieties and uncertainties of the `post-modern' world (Michael Mezzatesta, the museum's director, on 4). Kuspit writes Most of the works are narrative; they obviously depict human affairs. More significantly, they are implicitly allegorical. They...articulate a myth of humanness (6). Even more specifically, they are about lost human integrity. Kuspit devotes several paragraphs to what these artist fablists attempt to accomplish. I find the works of Gingerich, Howson, and Campbell most engaging.Donald B. Kuspi
Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesSpector, Jack, “On Some Problems of Contemporary Art Criticism.”
Langer, Sandra L., “Character and Sexual Politics in some Romaine Brooks Les¬bian Self-Portraits.”
Wallach, Alan, “The Avant-Garde of the Eighties.”
Kangas, Matthew, “Artists on the Design Team: Three Seattle Projects.”
Kuspit, Donald B., “Art in an Age of Mass Mediation.”
Baranik, Rudolf, “The State of Formalism.”
Nickels, Bradley, “When the Realists Killed Realism.”
Neville, Robert, “Reviewing the Relativist Perspective.
Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesBisanz, Rudolf M., “Art History: Art Criticism and the Ideological Birth of Modern Art.”
Kirshner, Judith Russi, “A Narrative of Women’s Experience.”
Kuspit, Donald B., “The Problem of Art in the Age of Glamour.”
Leenhardt, Jacques, “Artist Career, Mainstream, and Art.”
Miller, Charles V., “Mainstream Provincialism.”
Mosquera, Gerardo, “New Cuban Art: Identity and Popular Culture.”
Risatti, Howard, “The Eighties Reviewed.
Engendering a Counter-Tradition: Jeff Wall, Photo-conceptualism, and the Sexual Politics of the Defeatured Landscape
No full textThis dissertation analyses the work of photographer Jeff Wall between the years of 1970 and 1979 in order to argue that the counter tradition he helped develop with other photo-conceptual artists in the Canadian city of Vancouver has included a gendered bifurcation of space since its earliest incarnation in 1970 as the"defeatured landscape." By analyzing the existence of eroticized images of women within the defeatured landscapes of Wall and his peers, the Vancouver counter-tradition of large-scale photography is shown to depend in part on the old modern trope of woman-as-nature. Rather than simply considering space as a particular place, space is considered here an active field that includes the control of art-historical discourse, and the conscious opposition towards the historical position once held in the Vancouver art community by an older generation of landscape artists, most notably Emily Carr. Furthermore, I show that during this time frame (1970-1979) the control of art-historical discourse involved adapting to and negotiating new constraints placed on figurative art by a burgeoning feminist consciousness. This study shows that the negotiation of gender relations appears as an important, but hitherto unexamined factor to be considered in the photo-conceptual artists successful bid for the vanguard in Vancouver during the decade of the 1970s.Advisor(s): Donald B. Kuspit. Committee Member(s): Andrew Uroskie; Shoki Goodarzi; Jayne Wark.Stony Brook University Libraries. SBU Graduate School in Department of Art History and Criticism. Lawrence Martin (Dean of Graduate School)
Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesBaldessari, John; Camnitzer, Luis; Gablik, Suzi; Koons, Jeff; Pekarsky, Mel; Sandback, Amy Baker; and Storr, Robert, contributors, “The Idea of the Moral Imperative in Contemporary Art.”
Bartell, Jeannine; Qnizon, Cheree; and Williams, Ellen, contributors, “Three Reviews of High and Low! Modern Art and Popular Culture at the Museum of Modern Art.”
Introduction to Paul Gauguin’s Notebook for Aline
Dielrich, Linnea S., “Introduction to Paul Gauguin’s Notebook for Aline.”
Dielrich, Linnea S. and Wyly, Katherine, translators, “Paul Gauguin’s Notebook for Aline.”
Wolf, Marion, “Van Gogh, Vinnen, and Vasily Kandinsky: The Threshold to Abstraction.”
Kuspit, Donald B., “A Sceptical Note on the Idea of The Moral Imperative.
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