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17 books about Modern Art
Artificial Darkness
An Obscure History of Modern Art and Media
Noam M. Elcott
University of Chicago Press, 2016
Darkness has a history and a uniquely modern form. Distinct from night, shadows, and artificial light, “artificial darkness” has been overlooked—until now. In fact, controlled darkness was essential to the rise of photography and cinema, science and spectacle, and a century of advanced art and film. Artificial Darkness is the first book to historicize and theorize this phenomenon and map its applications across a range of media and art forms.
In exploring how artificial darkness shaped modern art, film, and media, Noam M. Elcott addresses seminal and obscure works alongside their sites of production—such as photography darkrooms, film studios, and laboratories—and their sites of reception, including theaters, cinemas, and exhibitions. He argues that artists, scientists, and entertainers like Étienne-Jules Marey, Richard Wagner, Georges Méliès, and Oskar Schlemmer revolutionized not only images but also everything surrounding them: the screen, the darkness, and the experience of bodies and space. At the heart of the book is “the black screen,” a technology of darkness that spawned today’s blue and green screens and has undergirded numerous advanced art and film practices to this day.
Turning familiar art and film narratives on their heads, Artificial Darkness is a revolutionary treatment of an elusive, yet fundamental, aspect of art and media history.
In exploring how artificial darkness shaped modern art, film, and media, Noam M. Elcott addresses seminal and obscure works alongside their sites of production—such as photography darkrooms, film studios, and laboratories—and their sites of reception, including theaters, cinemas, and exhibitions. He argues that artists, scientists, and entertainers like Étienne-Jules Marey, Richard Wagner, Georges Méliès, and Oskar Schlemmer revolutionized not only images but also everything surrounding them: the screen, the darkness, and the experience of bodies and space. At the heart of the book is “the black screen,” a technology of darkness that spawned today’s blue and green screens and has undergirded numerous advanced art and film practices to this day.
Turning familiar art and film narratives on their heads, Artificial Darkness is a revolutionary treatment of an elusive, yet fundamental, aspect of art and media history.
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Complex Identities
Jewish Consciousness and Modern Art
Baigell, Matthew
Rutgers University Press, 2001
American and Israeli scholars examine how 19th and 20th century artists have responded to their jewishness through their art.
Complex Identities is a joint effort by American and Israeli scholars who ask challenging questions about art as formed by society and ethnicity. Focusing on nineteenth– and twentieth–century European, American, and Israeli artists, the contributors delve into the many ways in which Jewish artists have responded to their Jewishness and to the societies in which they lived, and how these factors have influenced their art, their choice of subject matter, and presentation of their work.
The contributions reflect a broad range of contemporary art criticism drawn from the history of art, culture, and literature. By analyzing how Jewish experiences have depicted and shaped art, the collection begins to answer how art, in its turn, depicts and shapes Jewish experience. An introduction by the volume editors unifies the essays and gives a historical overview.
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How New York Stole the Idea of Modern Art
Serge Guilbaut
University of Chicago Press, 1985
"A provocative interpretation of the political and cultural history of the early cold war years. . . . By insisting that art, even art of the avant-garde, is part of the general culture, not autonomous or above it, he forces us to think differently not only about art and art history but about society itself."—New York Times Book Review
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The Living Line
Modern Art and the Economy of Energy
Robin Veder
Dartmouth College Press, 2015
Robin Veder’s The Living Line is a radical reconceptualization of the development of late-nineteenth- and early-twentieth-century American modernism. The author illuminates connections among the histories of modern art, body cultures, and physiological aesthetics in early-twentieth-century American culture, fundamentally altering our perceptions about art and the physical, and the degree of cross-pollination in the arts. The Living Line shows that American producers and consumers of modernist visual art repeatedly characterized their aesthetic experience in terms of kinesthesia, the sense of bodily movement. They explored abstraction with kinesthetic sensibilities and used abstraction to achieve kinesthetic goals. In fact, the formalist approach to art was galvanized by theories of bodily response derived from experimental physiological psychology and facilitated by contemporary body cultures such as modern dance, rhythmic gymnastics, physical education, and physical therapy. Situating these complementary ideas and exercises in relation to enduring fears of neurasthenia, Veder contends that aesthetic modernism shared industrial modernity’s objective of efficiently managing neuromuscular energy. In a series of finely grained and interconnected case studies, Veder demonstrates that diverse modernists associated with the Armory Show, the Société Anonyme, the Stieglitz circle (especially O’Keeffe), and the Barnes Foundation participated in these discourses and practices and that “kin-aesthetic modernism” greatly influenced the formation of modern art in America and beyond. This daring and completely original work will appeal to a broad audience of art historians, historians of the body, and American culture in general.
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Meaning of Modern Art
Karsten Harries
Northwestern University Press, 1968
That modern art is different from earlier art is so obvious as to be hardly worth mentioning. Yet there is little agreement as to the meaning or the importance of this difference. Indeed, contemporary aestheticians, especially, seem to feel that modern art does not depart in any essential way from the art of the past. One reason for this view is that, with the exception of Marxism, the leading philosophical schools today are ahistorical in orientation. This is as true of phenomenology and existentialism as it is of contemporary analytic philosophy. As a result there have been few attempts by philosophers to understand the meaning of the history of art—an understanding fundamental to any grasp of the difference between modern art and its predecessors.
Art expresses an ideal image of man, and an essential part of understanding the meaning of a work of art is understanding this image. When the ideal image changes, art, too, must change. It is thus possible to look at the emergence of modern art as a function of the disintegration of the Platonic-Christian conception of man. The artist no longer has an obvious, generally accepted route to follow. One sign of this is that there is no one style today comparable to Romanesque, Gothic, Renaissance, or Baroque. This lack of direction has given the artist a new freedom. Today there is a great variety of answers to the question, "What is art?" Such variety, however, betrays an uncertainty about the meaning of art. An uneasiness about the meaning of art has led modern artists to enter into dialogue with art historians, psychologists and philosophers. Perhaps this interpretation can contribute to that dialogue.
Art expresses an ideal image of man, and an essential part of understanding the meaning of a work of art is understanding this image. When the ideal image changes, art, too, must change. It is thus possible to look at the emergence of modern art as a function of the disintegration of the Platonic-Christian conception of man. The artist no longer has an obvious, generally accepted route to follow. One sign of this is that there is no one style today comparable to Romanesque, Gothic, Renaissance, or Baroque. This lack of direction has given the artist a new freedom. Today there is a great variety of answers to the question, "What is art?" Such variety, however, betrays an uncertainty about the meaning of art. An uneasiness about the meaning of art has led modern artists to enter into dialogue with art historians, psychologists and philosophers. Perhaps this interpretation can contribute to that dialogue.
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Modern Art and the Remaking of Human Disposition
Emmelyn Butterfield-Rosen
University of Chicago Press, 2021
How artists at the turn of the twentieth century broke with traditional ways of posing the bodies of human figures to reflect modern understandings of human consciousness.
With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era’s canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being’s physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject.
Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses.
With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era’s canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being’s physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject.
Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses.
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Modern Art
Selected Essays
Leo Steinberg
University of Chicago Press, 2023
The fifth and final volume in the Essays by Leo Steinberg series, focusing on modern artists.
Leo Steinberg was one of the most original art historians of the twentieth century, known for taking interpretive risks that challenged the profession by overturning reigning orthodoxies. In essays and lectures ranging from old masters to modern art, he combined scholarly erudition with eloquent prose that illuminated his subject and a credo that privileged the visual evidence of the image over the literature written about it. His writings, sometimes provocative and controversial, remain vital and influential reading. Steinberg’s perceptions evolved from long, hard looking at his objects of study. Almost everything he wrote included passages of formal analysis that were always put into the service of interpretation.
Following the series publication on Pablo Picasso, this volume focuses on other modern artists, including Cézanne, Monet, Matisse, Max Ernst, Jasper Johns, Robert Rauschenberg, Roy Lichtenstein, Hans Haacke, and Jeff Koons. Included are seven unpublished lectures and essays, Steinberg’s landmark essay “Encounters with Rauschenberg,” a survey of twentieth-century sculpture, and an examination of the role of authorial predilections in critical writing. The final chapter presents a collection of Steinberg’s humorous pieces, witty forays penned for his own amusement.
Modern Art is the fifth and final volume in a series that presents Steinberg’s writings, selected and edited by his longtime associate Sheila Schwartz.
Leo Steinberg was one of the most original art historians of the twentieth century, known for taking interpretive risks that challenged the profession by overturning reigning orthodoxies. In essays and lectures ranging from old masters to modern art, he combined scholarly erudition with eloquent prose that illuminated his subject and a credo that privileged the visual evidence of the image over the literature written about it. His writings, sometimes provocative and controversial, remain vital and influential reading. Steinberg’s perceptions evolved from long, hard looking at his objects of study. Almost everything he wrote included passages of formal analysis that were always put into the service of interpretation.
Following the series publication on Pablo Picasso, this volume focuses on other modern artists, including Cézanne, Monet, Matisse, Max Ernst, Jasper Johns, Robert Rauschenberg, Roy Lichtenstein, Hans Haacke, and Jeff Koons. Included are seven unpublished lectures and essays, Steinberg’s landmark essay “Encounters with Rauschenberg,” a survey of twentieth-century sculpture, and an examination of the role of authorial predilections in critical writing. The final chapter presents a collection of Steinberg’s humorous pieces, witty forays penned for his own amusement.
Modern Art is the fifth and final volume in a series that presents Steinberg’s writings, selected and edited by his longtime associate Sheila Schwartz.
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On Modern Art
Jean-Paul Sartre
Seagull Books, 2021
A collection of insightful essays by the French philosopher on contemporary art.
Iconic French novelist, playwright, and essayist Jean-Paul Sartre is widely recognized as one of the most important philosophers of the twentieth century, and his work has remained relevant and thought-provoking through the decades. The Seagull Sartre Library now presents some of his most incisive philosophical, cultural, and literary critical essays in twelve newly designed and affordable editions.
Sartre was a prodigious commentator on contemporary art, as is evident from the short but incisive essays that make up this important volume. Sartre examines here the work of a wide range of artists, including recognized masters such as Alberto Giacometti, Alexander Calder, and André Masson, alongside unacknowledged greats like French painter Robert Lapoujade and German painter-photographer Wols.
Iconic French novelist, playwright, and essayist Jean-Paul Sartre is widely recognized as one of the most important philosophers of the twentieth century, and his work has remained relevant and thought-provoking through the decades. The Seagull Sartre Library now presents some of his most incisive philosophical, cultural, and literary critical essays in twelve newly designed and affordable editions.
Sartre was a prodigious commentator on contemporary art, as is evident from the short but incisive essays that make up this important volume. Sartre examines here the work of a wide range of artists, including recognized masters such as Alberto Giacometti, Alexander Calder, and André Masson, alongside unacknowledged greats like French painter Robert Lapoujade and German painter-photographer Wols.
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Painting outside the Lines
Patterns of Creativity in Modern Art
David W. Galenson
Harvard University Press, 2002
Why have some great modern artists—including Picasso—produced their most important work early in their careers while others—like Cézanne—have done theirs late in life? In a work that brings new insights, and new dimensions, to the history of modern art, David Galenson examines the careers of more than 100 modern painters to disclose a fascinating relationship between age and artistic creativity.
Galenson’s analysis of the careers of figures such as Monet, Seurat, Matisse, Pollock, and Jasper Johns reveals two very different methods by which artists have made innovations, each associated with a very different pattern of discovery over the life cycle. Experimental innovators, like Cézanne, work by trial and error, and arrive at their most important contributions gradually. In contrast, Picasso and other conceptual innovators make sudden breakthroughs by formulating new ideas. Consequently, experimental innovators usually make their discoveries late in their lives, whereas conceptual innovators typically peak at an early age.
A novel contribution to the history of modern art, both in method and in substance, Painting outside the Lines offers an enlightening glimpse into the relationship between the working methods and the life cycles of modern artists. The book’s explicit use of simple but powerful quantitative techniques allows for systematic generalization about large numbers of artists—and illuminates significant but little understood features of the history of modern art. Pointing to a new and richer understanding of that history, from Impressionism to Abstract Expressionism and beyond, Galenson’s work also has broad implications for future attempts to understand the nature of human creativity in general.
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Painting the Difference
Sex and Spectator in Modern Art
Charles Harrison
University of Chicago Press, 2005
The picture plane of a painting creates boundaries and perspectives. It governs the relationship of daubs of pigment on a canvas to reality, allowing the viewer to connect with the imagined world of a work of art. Charles Harrison's latest endeavor, Painting the Difference, explores the role of the picture plane in modern painting and the relationships it creates among the artist, the subject, and the spectator. One of the most respected teachers and theorists of modern art, Harrison here offers a bold interpretation of the Modernist canon that uncovers the significance of gender to the functioning of the picture plane.
Arguing that the representation of women in art was crucial to the character of modernity, Harrison traces the history of female subjects as they began to gaze out of the picture to confront and engage their viewers. Combining sweeping conceptual history with telling investigations into the details of particular paintings, Painting the Difference deciphers the implications of sexual difference for the development of nineteenth- and twentieth-century art. Harrison shows how artists, reflecting the underlying anxieties of the time about gender, used female subjects' gazes both to create a sexualized relationship between these subjects and their viewers, and to simultaneously question that relationship. In considering works by artists such as Renoir, Manet, Degas, Cézanne, Picasso, and Matisse, as well as Rothko, Warhol, Cindy Sherman, and many more, Harrison incorporates elements of cultural criticism and social history into his arguments, and generous color illustrations permit the reader to test Harrison's claims against the works on which they are based. Rich with detail and compelling analysis, Painting the Difference offers cutting-edge interpretation grounded in the reality of magnificent works of art.
Arguing that the representation of women in art was crucial to the character of modernity, Harrison traces the history of female subjects as they began to gaze out of the picture to confront and engage their viewers. Combining sweeping conceptual history with telling investigations into the details of particular paintings, Painting the Difference deciphers the implications of sexual difference for the development of nineteenth- and twentieth-century art. Harrison shows how artists, reflecting the underlying anxieties of the time about gender, used female subjects' gazes both to create a sexualized relationship between these subjects and their viewers, and to simultaneously question that relationship. In considering works by artists such as Renoir, Manet, Degas, Cézanne, Picasso, and Matisse, as well as Rothko, Warhol, Cindy Sherman, and many more, Harrison incorporates elements of cultural criticism and social history into his arguments, and generous color illustrations permit the reader to test Harrison's claims against the works on which they are based. Rich with detail and compelling analysis, Painting the Difference offers cutting-edge interpretation grounded in the reality of magnificent works of art.
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Picasso and the Chess Player
Pablo Picasso, Marcel Duchamp, and the Battle for the Soul of Modern Art
Larry Witham
University Press of New England, 2013
In the fateful year of 1913, events in New York and Paris launched a great public rivalry between the two most consequential artists of the twentieth century, Pablo Picasso and Marcel Duchamp. The New York Armory Show art exhibition unveiled Duchamp’s Nude Descending a Staircase, a “sensation of sensations” that prompted Americans to declare Duchamp the leader of cubism, the voice of modern art. In Paris, however, the cubist revolution was reaching its peak around Picasso. In retrospect, these events form a crossroads in art history, a moment when two young bohemians adopted entirely opposite views of the artist, giving birth to the two opposing agendas that would shape all of modern art. Today, the museum-going public views Pablo Picasso as the greatest figure in modern art. Over his long lifetime, Picasso pioneered several new styles as the last great painter in the Western tradition. In the rarefied world of artists, critics, and collectors, however, the most influential artist of the last century was not Picasso, but Marcel Duchamp: chess player, prankster, and a forefather of idea-driven dada, surrealism, and pop art. Picasso and the Chess Player is the story of how Picasso and Duchamp came to define the epochal debate between modern and conceptual art—a drama that features a who’s who of twentieth-century art and culture, including Henri Matisse, Gertrude Stein, André Breton, Salvador Dalí, and Andy Warhol. In telling the story, Larry Witham weaves two great art biographies into one tumultuous century.
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Remarkable Modernisms
Contemporary American Authors on Modern Art
Daniel Morris
University of Massachusetts Press, 2009
For the authors discussed in Remarkable Modernisms—poets John Yau, Charles Simic, and Mark Strand, and novelists Ann Beattie and Joyce Carol Oates—writing about modern art not only helps to illuminate the work of the artist but also serves as a stimulus to verbal self-portraiture. By revealing as much about their own lives and works as they do about the visual objects reviewed—pieces, for example by Jasper Johns, Andy Warhol, Joseph Cornell, Alex Katz, Edward Hopper, and George Bellows—the authors studied by Daniel Morris extend the scope of their analysis. In all five cases, writing about art becomes a critical inquiry into the nature of public acts of witnessing and private acts of seeing and not seeing.
While challenging older, rigidly formalist approaches, these authors also diverge from the strictly contextual approaches favored by many contemporary academic critics. As poets and novelists, they remain sensitive to the value of compositional techniques when they address a visual artifact, and they reject the shibboleth of "content" versus "formalist" approaches to art. They reveal that this dichotomy fails to account for the "semantics of form"— the interwoven relationship between the "how" and the "what" of a work of art. Indebted to visual art as a basis for their own compositional discoveries in words, these authors' writings on art have the effect of turning pictures into a language that extends our frame of reference beyond the flat surface of the picture plane to each author's version of contemporary society as social text.
While challenging older, rigidly formalist approaches, these authors also diverge from the strictly contextual approaches favored by many contemporary academic critics. As poets and novelists, they remain sensitive to the value of compositional techniques when they address a visual artifact, and they reject the shibboleth of "content" versus "formalist" approaches to art. They reveal that this dichotomy fails to account for the "semantics of form"— the interwoven relationship between the "how" and the "what" of a work of art. Indebted to visual art as a basis for their own compositional discoveries in words, these authors' writings on art have the effect of turning pictures into a language that extends our frame of reference beyond the flat surface of the picture plane to each author's version of contemporary society as social text.
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The Simple Truth
The Monochrome in Modern Art
Simon Morley
Reaktion Books, 2020
The monochrome—a single-color work of art—is highly ambiguous. For some it epitomizes purity and is art reduced to its essence. For others it is just a stunt, the proverbial emperor’s new clothes. Why are monochrome works both so admired and such an easy target of scorn? Why does a monochrome look so simple and yet is so challenging to comprehend? And what is it that drives artists to create such works?
In this illuminating book, Simon Morley unpacks the meanings of the monochrome as it has developed internationally over the twentieth century to today. In doing so, he also explores how artists have understood what they make, how critics variously interpret it, and how art is encountered by viewers.
In this illuminating book, Simon Morley unpacks the meanings of the monochrome as it has developed internationally over the twentieth century to today. In doing so, he also explores how artists have understood what they make, how critics variously interpret it, and how art is encountered by viewers.
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A Social History of Modern Art, Volume 1
Art in an Age of Revolution, 1750-1800
Albert Boime
University of Chicago Press, 1987
In A Social History of Modern Art, a sweeping multivolume social history of Western art from the French Revolution to World War I, Albert Boime moves beyond the concern with style and form that has traditionally characterized the study of art history and, in the tradition of Arnold Hauser, examines art in a broad historical context. Into his wide-ranging cultural inquiry Boime incorporates not only frequently studied mainstream artists and sculptors but also neglected and lesser known artists and unattributed popular imagery. He examines popular as well as official culture, the family as well as the state, and the conditions of the poor as well as of the affluent that affected cultural practice.
This inaugural volume explores the artistic repercussions of the major political and economic events of the latter half of the eighteenth century: the Seven Years' War, the French Revolution, and the English industrial revolution. Boime examines the prerevolutionary popularity of the rococo style and the emergence of the cult of antiquity that followed the Seven Years' War. He shows how the continual experiments of Jacques-Louis David and others with neoclassical symbols and themes in the latter part of the century actively contributed to the transformation of French and English politics. Boime's analyses reveal the complex relationship of art with a wide range of contemporary attitudes and conditions—technological innovation, social and political tensions, commercial expansion, and the growth of capitalism.
"Provocative and endlessly revealing."—Christopher Knight, Los Angeles Herald Examiner
This inaugural volume explores the artistic repercussions of the major political and economic events of the latter half of the eighteenth century: the Seven Years' War, the French Revolution, and the English industrial revolution. Boime examines the prerevolutionary popularity of the rococo style and the emergence of the cult of antiquity that followed the Seven Years' War. He shows how the continual experiments of Jacques-Louis David and others with neoclassical symbols and themes in the latter part of the century actively contributed to the transformation of French and English politics. Boime's analyses reveal the complex relationship of art with a wide range of contemporary attitudes and conditions—technological innovation, social and political tensions, commercial expansion, and the growth of capitalism.
"Provocative and endlessly revealing."—Christopher Knight, Los Angeles Herald Examiner
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A Social History of Modern Art, Volume 2
Art in an Age of Bonapartism, 1800-1815
Albert Boime
University of Chicago Press, 1990
In this second volume, Albert Boime continues his work on the social history of Western art in the Modern epoch. This volume offers a major critique and revisionist interpretation of Western European culture, history, and society from Napoleon's seizure of power to 1815. Boime argues that Napoleon manipulated the production of images, as well as information generally, in order to maintain his political hegemony. He examines the works of French painters such as Jacques-Louis David and Jean Auguste Dominique Ingres, to illustrate how the art of the time helped to further the emperor's propagandistic goals. He also explores the work of contemporaneous English genre painters, Spain's Francisco de Goya, the German Romantics Philipp Otto Runge and Caspar David Friedrich, and the emergence of a national Italian art.
Heavily illustrated, this volume is an invaluable social history of modern art during the Napoleonic era.
Stimulating and informative, this volume will become a valuable resource for faculty and undergraduates.—R. W. Liscombe, Choice
Heavily illustrated, this volume is an invaluable social history of modern art during the Napoleonic era.
Stimulating and informative, this volume will become a valuable resource for faculty and undergraduates.—R. W. Liscombe, Choice
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TV by Design
Modern Art and the Rise of Network Television
Lynn Spigel
University of Chicago Press, 2008
While critics have long disparaged commercial television as a vast wasteland, TV has surprising links to the urbane world of modern art that stretch back to the 1950s and ’60s During that era, the rapid rise of commercial television coincided with dynamic new movements in the visual arts—a potent combination that precipitated a major shift in the way Americans experienced the world visually. TV by Design uncovers this captivating story of how modernism and network television converged and intertwined in their mutual ascent during the decades of the cold war.
Whereas most histories of television focus on the way older forms of entertainment were recycled for the new medium, Lynn Spigel shows how TV was instrumental in introducing the public to the latest trends in art and design. Abstract expressionism, pop art, art cinema, modern architecture, and cutting-edge graphic design were all mined for staging techniques, scenic designs, and an ever-growing number of commercials. As a result, TV helped fuel the public craze for trendy modern products, such as tailfin cars and boomerang coffee tables, that was vital to the burgeoning postwar economy. And along with influencing the look of television, many artists—including Eero Saarinen, Ben Shahn, Saul Bass, William Golden, and Richard Avedon—also participated in its creation as the networks put them to work designing everything from their corporate headquarters to their company cufflinks.
Dizzy Gillespie, Ernie Kovacs, Duke Ellington, and Andy Warhol all stop by in this imaginative and winning account of the ways in which art, television, and commerce merged in the first decades of the TV age.
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The Visible Word
Experimental Typography and Modern Art, 1909-1923
Johanna Drucker
University of Chicago Press, 1994
Early in this century, Futurist and Dada artists developed brilliantly innovative uses of typography that blurred the boundaries between visual art and literature. In The Visible Word, Johanna Drucker shows how later art criticism has distorted our understanding of such works. She argues that Futurist, Dadaist, and Cubist artists emphasized materiality as the heart of their experimental approach to both visual and poetic forms of representation; by mid-century, however, the tenets of New Criticism and High Modernism had polarized the visual and the literary.
Drucker suggests a methodology closer to the actual practices of the early avant-garde artists, based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara.
Few studies of avant-garde art and literature in the early twentieth century have acknowledged the degree to which typographic activity furthered debates about the very nature and function of the avant-garde. The Visible Word enriches our understanding of the processes of change in artistic production and reception in the twentieth century.
Drucker suggests a methodology closer to the actual practices of the early avant-garde artists, based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara.
Few studies of avant-garde art and literature in the early twentieth century have acknowledged the degree to which typographic activity furthered debates about the very nature and function of the avant-garde. The Visible Word enriches our understanding of the processes of change in artistic production and reception in the twentieth century.
[more]
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