1,721,474 research outputs found
Michael Fried and beholding video art
Get PDFIn this paper, I consider Michael Fried’s recent contribution to the debate around the experience of video art, made in relation to the work of Douglas Gordon. Fried speculates that issues of antitheatricality may in fact be key to specifying the medium of video installation. While Fried’s position offers a useful way of framing the relation with the beholder in video art, in a way that pointedly moves beyond tautological notions of activating spectatorship, I question how theatricality is to be thus defined. Referencing the beholding of painting, I distinguish the implicit beholder from the literal spectator, and claim that the distinction has relevance for video art. However, I welcome what seems to be an explicit acknowledgment from Fried that the position of the spectator is a contributory factor in what he terms empathic projection. I argue that video art as a spatial practice offers a distinct mode of reception by positioning the spectator in relation to two-dimensional figurative space to which she is excluded
Michael Fried, La place du spectateur
No full textBuffat Marc. Michael Fried, La place du spectateur. In: Recherches sur Diderot et sur l'Encyclopédie, n°12, 1992. pp. 185-186
The Sensibility of Michael Fried
No full textIn a letter written to Phillip Lieder, then editor of Artforum, before the 1967 publication of “Art and Objecthood” in that same journal, Michael Fried wrote: “I keep toying with the idea, crazy as it sounds, of having a section in this sculpture-theater essay on how corrupt sensibility is par excellence faggot sensibility[. . .].” This essay analyzes this statement in relation to Fried’s published theorization of “objecthood” and “theatricality” as “corrupted and perverted.” The essay asks what exactly constituted a “perverted” sensibility for Fried and what the implications are of aligning that perversion with homosexuality. The proposed answer is located in the manner by which the minimalist relation to viewers disrupts the “coherent” image of modernism—a relation that exits the clearly demarcated enclosures of serious aesthetic judgment and enters into the engaging and absorbing vagaries of desire
Michael Fried, Why Photography Matters as Art as Never Before
Get PDFBien que son titre, Why Photography Matters as Art as Never Before (« Pourquoi la photographie importe en tant qu’art comme jamais auparavant »), laisse entendre que le dernier ouvrage de Michael Fried ne se consacre pas à la peinture, son propos s’inscrit pleinement dans la continuité des préoccupations de son auteur. Fried (né en 1939) s’est rendu célèbre comme l’un des plus fervents défenseurs de la peinture moderniste dès les années 1960. Jeune universitaire ambitieux, il publie en 1967 “..
Michael Fried : Absorption and theatricality. Painting and beholder in the Age of Diderot, 1980
No full textSaisselin Rémy G. Michael Fried : Absorption and theatricality. Painting and beholder in the Age of Diderot, 1980. In: Dix-huitième Siècle, n°14, 1982. Au tournant des Lumières : 1780-1820. p. 519
Michael Fried : Absorption and theatricality. Painting and beholder in the Age of Diderot, 1980
No full textSaisselin Rémy G. Michael Fried : Absorption and theatricality. Painting and beholder in the Age of Diderot, 1980. In: Dix-huitième Siècle, n°14, 1982. Au tournant des Lumières : 1780-1820. p. 519
Thomas Demand e suas alegorias da intenção; "exclusão" em Candida Höfer, Hiroshi Sugimoto, e Thomas Struth
No full textResumo Em 2008, com a publicação de Why photography matters as art as never before, Michael Fried retoma as discussões iniciadas em “Arte e objetidade”, ensaio de 1967, em especial a ideia de "absorção" ou antiteatralidade da arte, suposta característica da arte modernista em contraposição à minimalista/literalista. Fried debate a questão da "presença", argumentando em prol da antiteatralidade, considerando a "absorção" como a principal qualidade nos trabalhos fotográficos de Thomas Struth, Thomas Demand, Candida Höfer entre outros, sobretudo no capítulo 9, aqui traduzido. A partir de uma minuciosa descrição e da análise formal das imagens, Fried encontra parâmetros para consolidar seu principal argumento: a capacidade de "absorção" da fotografias
Theatricality, Michael Fried, and nineteenth-century art and theatre
Get PDFThis provocation uses a case study of the French history painter Paul Delaroche to examine the way in which theatricality is invoked as a critical term. Michael Fried considers Delaroche’s work to exemplify theatricality, a designation that, for him, connotes qualities of exaggeration and inauthenticity, but I argue that this is not how Delaroche was viewed in his own time. This leads to a wider consideration of the assumptions that underpin thinking about theatricality. In particular, I question the idea that theatricality is a quality of popular, as opposed to avant-garde, art. Finally, I want to challenge the automatic association between theatre and artifice that is threaded through discussions of theatricality
Clement Greenberg, Michael Fried : une histoire de l’art pour la forme ?
No full textDurant les années 60, les œuvres de Morris Louis, Kenneth Noland, Frank Stella, Jules Olitski, – et de quelques autres encore, parmi les artistes américains qui participèrent aux expositions “historiques” : Toward A New Abstraction, organisée en 1963 par le Jewish Museum, à New York, et Post-Painterly Abstraction, au Los Angeles County Museum, en 1964 –, furent identifiées à la théorie formaliste du modernisme de Clement Greenberg et de ses disciples. Parmi ces derniers, Michael Fried se dist..
Pour une nouvelle lecture de l'antithéâtralité: Denis Diderot et la théâtralité, ou Michael Fried et le minimalisme
No full textISBN 978-5-906792-40-2Ce livre est une collection d'articles basés sur des documents issus d'une conférence scientifique dédiée au 300e anniversaire de la naissance du célèbre philosophe français Denis Diderot, tenue en décembre 2013 à la Higher School of Economics National Research University (HSE).International audienceCette communication se propose de réévaluer la lecture friedienne de Diderot, et la pertinence du concept d'antithéâtralité. Il s'agit donc tout à la fois de mieux comprendre le concept proposé par Michael Fried, en le situant dans le contexte polémique de la querelle du minimalisme, et d'en discerner la fécondité et les limites pour lire les textes critiques et esthétiques de Diderot. L'antithéâtralité discernée par Michael Fried chez Diderot relève plutôt de ce que nous proposons d'appeler une "esthétique atmosphérique"
- …
