Concepts of Modern ArtNikos Stangos Harper & Row, 1981 - 384 pagina's No other book on modern and contemporary art presents in as authoritative and concise a manner the ideas that underlie the diverse and radical developments of the last hundred years. In this new edition, an important essay, "Postmodernism and the Art of Identity", not only brings the story of modern art right up to the present, but also introduces the unexpected development of returning to art the day-to-day meaning it may have lost, through engagement with issues raised in the representation of gender, sexuality, and AIDS. In other essays by some of the most internationally acclaimed writers on art, the extraordinary challenges of twentieth-century art are introduced and discussed with unparalleled lucidity, intelligence, and factual accuracy. |
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Pagina 216
... spectator . Before a work of Kinetic Art the spectator is no longer a passive or recep- tive observer : he becomes an active partner ' with forces which develop of their own accord ' . In Kinetic Art the composition is not given all at ...
... spectator . Before a work of Kinetic Art the spectator is no longer a passive or recep- tive observer : he becomes an active partner ' with forces which develop of their own accord ' . In Kinetic Art the composition is not given all at ...
Pagina 218
... spectator In 1920 , Marcel Duchamp demonstrated , by means of his Rotative Plaque Verre , that if a flat disc painted with concentric circles is spun rapidly it will take on the appearance of a solid object . In other words a moving ...
... spectator In 1920 , Marcel Duchamp demonstrated , by means of his Rotative Plaque Verre , that if a flat disc painted with concentric circles is spun rapidly it will take on the appearance of a solid object . In other words a moving ...
Pagina 222
... Spectator participation can range from the limited activity of setting a work in motion and stopping it , to actually constructing it . In this respect Lygia Clark's Animals offer a particularly good example . These works are made of ...
... Spectator participation can range from the limited activity of setting a work in motion and stopping it , to actually constructing it . In this respect Lygia Clark's Animals offer a particularly good example . These works are made of ...
Inhoudsopgave
Preface Nikos Stangos | 10 |
Expressionism Norbert Lynton | 30 |
Cubism John Golding | 50 |
Copyright | |
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abstract art Abstract Expressionism Abstract Expressionists aesthetic American André André Breton Apollinaire architecture art movement artists automatism become Blaue Reiter Boccioni Braque Breton catalogue Cézanne collage colour composition Conceptual Art concerned Constructivism Constructivists contemporary critics Cubism Dada Dadaists Delaunay Demoiselles Derain Doesburg drawing Duchamp early elements Ernst exhibition expression Fauves Fauvism figure forms function futurist Gabo Gerrit Thomas Gris idea illustration images influence involved Kandinsky Kinetic Art Kooning Kupka Léger light Lissitzky London Malevich Manifesto Matisse means Miro Modern Art Mondrian Motherwell move Museum of Modern Newman objects Oil on canvas Orphism Ozenfant and Jeanneret painters painting Paris photo Museum Picabia Picasso pictorial picture planes Pollock Pop Art pure Purist Rietveld Robert Rothko Salon sculpture seems sense space spectator Stijl structure Studio style Suprematism suprematist surface Surrealism surrealist synthetic Tate Gallery technique Theo Theo van Doesburg tion tradition vertical visual Vlaminck wrote York