Concepts of Modern ArtNo 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
In a manifesto issued jointly with Alfred Kemeny in 1922 he discusses the effect
of Kinetic Art on the spectator. Before a work of Kinetic Art the spectator is no
longer a passive or receptive observer: he becomes an active partner 'with forces
...
In a manifesto issued jointly with Alfred Kemeny in 1922 he discusses the effect
of Kinetic Art on the spectator. Before a work of Kinetic Art the spectator is no
longer a passive or receptive observer: he becomes an active partner 'with forces
...
Pagina 218
Works involving movement on the part of the 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 ...
Works involving movement on the part of the 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 ...
Pagina 222
14 Traditionally the spectator has played a more or less, though not entirely,
passive role. He has admired works of art as the product of another's imagination,
as something over against, distinct from himself. Now, it is suggested, he can
enter ...
14 Traditionally the spectator has played a more or less, though not entirely,
passive role. He has admired works of art as the product of another's imagination,
as something over against, distinct from himself. Now, it is suggested, he can
enter ...
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Inhoudsopgave
Preface Nikos Stangos | 7 |
Expressionism Norbert Lynton | 30 |
Cubism John Golding | 50 |
Copyright | |
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Overige edities - Alles weergeven
Veelvoorkomende woorden en zinsdelen
abstract art Abstract Expressionism Abstract Expressionists achieved aesthetic American Apollinaire architecture art movement artists automatism Bauhaus become Berlin Blaue Reiter Boccioni Braque Breton Cezanne collage colour composition Conceptual Art concerned construction Constructivism Constructivists contemporary context Cubism Dada Dadaists Delaunay Demoiselles Derain Doesburg drawing Duchamp early elements Ernst exhibition expression Fauves Fauvism figure forms function futurist Gallery Gerrit Thomas Gris idea illustration images influence involved Kandinsky Kinetic Art Kooning Kupka Leger light Lissitzky Malevich Manifesto material Matisse Matisse's means Miro Modern Art Mondrian Motherwell move Museum of Modern Newman objects Oil on canvas Orphism painters painting Paris photo Museum Picabia Picasso pictorial picture planes Pollock Pop Art pure Purist Rietveld Robert Rothko sculpture seems sense space spectator Stijl structure studio style Suprematism suprematist surface Surrealism surrealist synthetic Synthetic Cubism technique Theo Theo van Doesburg tion tradition vertical visual Vlaminck Vorticists wrote York
Bibliografische gegevens
| Titel | Concepts of Modern Art Icon Editions |
| Redacteur | Nikos Stangos |
| Bijdrager | Nikos Stangos |
| Editie | 2, geïllustreerd |
| Uitgever | Harper & Row, 1981 |
| Oorspronkelijk uit | de University of Michigan |
| Gedigitaliseerd | 17 nov 2009 |
| ISBN | 0064301044, 9780064301046 |
| Lengte | 384 pagina's |
| Citatie exporteren | BiBTeX EndNote RefMan |