{"product_id":"art-in-theory-1900-2000-9780631227083","title":"Art in Theory 1900  2000","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e* New edition of this popular anthology of twentieth-century art-theoretical texts.  * Now updated to include the results of new research, together with significant contributions from the 1990s.  * Includes writings by critics, philosophers, politicians and literary figures.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Occasionally one comes across a book that is at once compelling and frightening, a book that excites and disorientates, a book with intimations of the sublime. \u003ci\u003eArt in Theory\u003c\/i\u003e is such a book. An indispensable source book.\" (\u003ci\u003eArlis News-Sheet\u003c\/i\u003e)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface and Acknowledgements.  \u003cp\u003eA Note on the Presentation and Editing of Texts.\u003c\/p\u003e \u003cp\u003eGeneral Introduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: The Legacy of Symbolism.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1. Classicism and Originality.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePaul Signac: from Eugène Delacroix to Neo-Impressionism 1899.\u003c\/p\u003e \u003cp\u003ePaul Gauguin: letter to Fontainas 1899.\u003c\/p\u003e \u003cp\u003eSigmund Freud: from 'On Dreams' 1901.\u003c\/p\u003e \u003cp\u003eOtto Weininger: from Sex and Character 1903.\u003c\/p\u003e \u003cp\u003eMax Liebermann: 'Imagination in Painting' 1904.\u003c\/p\u003e \u003cp\u003ePaul Cézanne: letters to Emile Bernard 1904-06.\u003c\/p\u003e \u003cp\u003eRainer Maria Rilke: from Letters on Cézanne 1907.\u003c\/p\u003e \u003cp\u003eMaurice Denis (intro. Roger Fry): 'Cézanne' 1907.\u003c\/p\u003e \u003cp\u003eMaurice Denis: 'From Gauguin and Van Gogh to Neo-Classicism' 1909.\u003c\/p\u003e \u003cp\u003eJulius Meier-Graefe: 'The Mediums of Art, Past and Present' 1904.\u003c\/p\u003e \u003cp\u003eGiorgio de Chirico: 'Mystery and Creation' 1913.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2. Expression and the Primitive.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAugust Endell: 'The Beauty of Form and Decorative Art' 1897-98.\u003c\/p\u003e \u003cp\u003eAlbert Pinkham Ryder: 'Paragraphs from the Studio of a Recluse' 1905.\u003c\/p\u003e \u003cp\u003eAndré Derain: letters to Vlaminck c.1905-1909.\u003c\/p\u003e \u003cp\u003eErnst Ludwig Kirchner: programme of Die Brücke 1906.\u003c\/p\u003e \u003cp\u003eWilhelm Worringer: from Abstraction and Empathy 1908.\u003c\/p\u003e \u003cp\u003eHenri Matisse: 'Notes of a Painter' 1908.\u003c\/p\u003e \u003cp\u003eRoger Fry: 'An Essay in Aesthetics' 1909.\u003c\/p\u003e \u003cp\u003eWassily Kandinsky: from Concerning the Spiritual in Art 1911.\u003c\/p\u003e \u003cp\u003eWassily Kandinsky: The Cologne Lecture 1914.\u003c\/p\u003e \u003cp\u003eFranz Marc: 'The \"Savages\" of Germany' and 'Two Pictures' 1912.\u003c\/p\u003e \u003cp\u003eAugust Macke: 'Masks' 1912.\u003c\/p\u003e \u003cp\u003eEmil Nolde: 'On Primitive Art' 1912.\u003c\/p\u003e \u003cp\u003eOscar Kokoschka: 'On the Nature of Visions' 1912.\u003c\/p\u003e \u003cp\u003eAlexander Shevchenko: 'Neo-Primitivism' 1913.\u003c\/p\u003e \u003cp\u003eBenedetto Croce: 'What is Art?' 1913.\u003c\/p\u003e \u003cp\u003eClive Bell: 'The Aesthetic Hypothesis' 1914.\u003c\/p\u003e \u003cp\u003eCarl Einstein: 'Negro Sculpture' 1915.\u003c\/p\u003e \u003cp\u003eHermann Bahr: from Expressionism 1916.\u003c\/p\u003e \u003cp\u003eHans Prinzhorn: from Artistry of the Mentally Ill 1922.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: The Idea of the Modern World.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3. Modernity.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGeorg Simmel: 'Metropolis and Mental Life' 1902-3.\u003c\/p\u003e \u003cp\u003eMax Weber: 'Asceticism and the Spirit of Capitalism' 1904-05.\u003c\/p\u003e \u003cp\u003eVladimir Ilyich Lenin: 'Party Organization and Party Literature' 1905.\u003c\/p\u003e \u003cp\u003eHenri Bergson: from Creative Evolution 1907.\u003c\/p\u003e \u003cp\u003eAlexander Blok: 'Nature and Culture' 1908.\u003c\/p\u003e \u003cp\u003eFilippo Tommaso Marinetti: 'The Foundation and Manifesto of Futurism' 1909.\u003c\/p\u003e \u003cp\u003eUmberto Boccioni et al: 'Futurist Painting: Technical Manifesto' 1910.\u003c\/p\u003e \u003cp\u003eRobert Delaunay: 'On the Construction of Reality in Pure Painting' 1912.\u003c\/p\u003e \u003cp\u003eGeorgy Valentinovich Plekhanov: from Art and Social Life 1912.\u003c\/p\u003e \u003cp\u003eFranz Marc: 'Foreword' 1914.\u003c\/p\u003e \u003cp\u003eFernand Léger: 'Contemporary Achievements in Painting' 1914.\u003c\/p\u003e \u003cp\u003ePercy Wyndham Lewis: 'Our Vortex' 1914.\u003c\/p\u003e \u003cp\u003eHenri Gaudier-Brzeska: 'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska' 1915.\u003c\/p\u003e \u003cp\u003eLudwig Meidner: 'Instructions for Painting Pictures of the Metropolis' 1914.\u003c\/p\u003e \u003cp\u003eKarl Kraus: from 'In These Great Times' 1914.\u003c\/p\u003e \u003cp\u003eKasimir Malevich: From Cubism and Futurism to Suprematism: The New Realism in Painting 1915-16.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4. Cubism.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eJean Metzinger: 'Note on Painting' 1910.\u003c\/p\u003e \u003cp\u003eGuillaume Apollinaire: 'The Cubists' 1911.\u003c\/p\u003e \u003cp\u003eGuillaume Apollinaire: 'On the Subject in Modern Painting' 1912.\u003c\/p\u003e \u003cp\u003eGuillaume Apollinaire: 'The New Painting: Art Notes' 1912.\u003c\/p\u003e \u003cp\u003eGuillaume Apollinaire: from The Cubist Painters 1912.\u003c\/p\u003e \u003cp\u003eJacques Rivière: 'Present Tendencies in Painting' 1912.\u003c\/p\u003e \u003cp\u003eAlbert Gleizes and Jean Metzinger: from Cubism 1912.\u003c\/p\u003e \u003cp\u003eFernand Léger: 'The Origins of Painting and its Representational Value' 1913.\u003c\/p\u003e \u003cp\u003eOlga Rozanova: 'The Bases of the New Creation' 1913.\u003c\/p\u003e \u003cp\u003eDaniel-Henry Kahnweiler: from The Rise of Cubism 1916-20.\u003c\/p\u003e \u003cp\u003eGeorges Braque: 'Thoughts on Painting' 1917.\u003c\/p\u003e \u003cp\u003ePablo Picasso: 'Picasso Speaks' 1923.\u003c\/p\u003e \u003cp\u003ePart III: Rationalization and Transformation.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5. Neo-Classicism and the Call to Order.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAmédée Ozenfant: 'Notes on Cubism' 1916.\u003c\/p\u003e \u003cp\u003eGuillaume Apollinaire: 'The New Spirit and the Poets' 1918.\u003c\/p\u003e \u003cp\u003eOswald Spengler: from The Decline of the West 1918.\u003c\/p\u003e \u003cp\u003eCarlo Carrà: 'Our Antiquity' 1916-18.\u003c\/p\u003e \u003cp\u003eLéonce Rosenberg: 'Tradition and Cubism' 1919.\u003c\/p\u003e \u003cp\u003eGiorgio de Chirico: 'The Return to Craft' 1919.\u003c\/p\u003e \u003cp\u003eCharles Edouard Jeanneret (Le Corbusier) and Amédée Ozenfant: 'Purism' 1920.\u003c\/p\u003e \u003cp\u003eAlbert Gleizes: 'The Dada Case' 1920.\u003c\/p\u003e \u003cp\u003eAndré Derain: 'On Raphael' 1920.\u003c\/p\u003e \u003cp\u003ePercy Wyndham Lewis: 'The Children of the New Epoch' 1921.\u003c\/p\u003e \u003cp\u003eJuan Gris: Reply to a Questionnaire 1921.\u003c\/p\u003e \u003cp\u003eGustav Friedrich Hartlaub: 'Reply to a Questionnaire' 1922.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6. Dissent and Disorder.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHugo Ball: 'Dada Fragments' 1916-17.\u003c\/p\u003e \u003cp\u003eMarcel Duchamp: 'The Richard Mutt Case' 1917.\u003c\/p\u003e \u003cp\u003eTristan Tzara: 'Dada Manifesto 1918' 1918.\u003c\/p\u003e \u003cp\u003eRichard Huelsenbeck: 'First German Dada Manifesto' 1918.\u003c\/p\u003e \u003cp\u003eRichard Huelsenbeck and Raoul Hausmann: 'What is Dadaism and what does it want in Germany?' 1919.\u003c\/p\u003e \u003cp\u003eRichard Huelsenbeck: from En Avant Dada 1920.\u003c\/p\u003e \u003cp\u003eAlexander Blok: 'The Decline of Humanism' 1918.\u003c\/p\u003e \u003cp\u003eNovembergruppe: Draft Manifesto 1918 and 'Guidelines' 1919.\u003c\/p\u003e \u003cp\u003eNovembergruppe Opposition: 'Open Letter to the Novembergruppe' 1921.\u003c\/p\u003e \u003cp\u003eWalter Gropius: Reply to Arbeitsrat für Kunst Questionnaire 1919.\u003c\/p\u003e \u003cp\u003eMax Beckmann: 'Creative Credo' 1918-20.\u003c\/p\u003e \u003cp\u003eMax Pechstein: 'Creative Credo' 1920.\u003c\/p\u003e \u003cp\u003eGeorge Grosz: 'My New Pictures' 1921.\u003c\/p\u003e \u003cp\u003eFrancis Picabia: 'Thank you, Francis!' 1923.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7. Abstraction and Form.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHans Arp: Introduction to a catalogue 1915.\u003c\/p\u003e \u003cp\u003eMan Ray: Statement 1916.\u003c\/p\u003e \u003cp\u003eViktor Shklovsky: from 'Art as Technique' 1917.\u003c\/p\u003e \u003cp\u003eDe Stijl: 'Manifesto 1' 1918.\u003c\/p\u003e \u003cp\u003eTheo van Doesburg: from Principles of Neo-Plastic Art 1915-25.\u003c\/p\u003e \u003cp\u003ePiet Mondrian: 'Dialogue on the New Plastic' 1919.\u003c\/p\u003e \u003cp\u003ePiet Mondrian: Neo-Plasticism: the General Principle of Plastic Equivalence 1920-21.\u003c\/p\u003e \u003cp\u003eKasimir Malevich: 'Non-Objective Art and Suprematism' 1919.\u003c\/p\u003e \u003cp\u003eKasimir Malevich: The Question of Imitative Art 1920.\u003c\/p\u003e \u003cp\u003eNaum Gabo and Anton Pevsner: 'The Realistic Manifesto' 1920.\u003c\/p\u003e \u003cp\u003eUNOVIS: 'Programme of a United Audience in Painting of the Vitebsk State Free Workshops' 1920.\u003c\/p\u003e \u003cp\u003eWassily Kandinsky: 'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences' 1921.\u003c\/p\u003e \u003cp\u003eJohannes Itten: 'Analyses of Old Master Art' 1921.\u003c\/p\u003e \u003cp\u003eOskar Schlemmer: Notes 1922-23.\u003c\/p\u003e \u003cp\u003eWalter Gropius: 'The Theory and Organization of the Bauhaus' 1923.\u003c\/p\u003e \u003cp\u003eTheo van Doesburg, El Lissitsky, Hans Richter: 'Declaration of the International Fraction of Constructivists of the First International Congress of Progressive Artists' 1922-23.\u003c\/p\u003e \u003cp\u003e17 Wladyslaw Strzeminski: 'What is legitimately called the New Art...' 1924.\u003c\/p\u003e \u003cp\u003eEl Lissitsky: 'A and Pangeometry' 1925.\u003c\/p\u003e \u003cp\u003eHannah Höch: 'The painter' c. 1920.\u003c\/p\u003e \u003cp\u003eJosé Ortega y Gasset: from The Dehumanisation of Art 1925.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8. Utility and Construction.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eKOMFUT: 'Programme Declaration' 1919.\u003c\/p\u003e \u003cp\u003eVladimir Tatlin: 'The Initiative Individual in the Collective' 1919.\u003c\/p\u003e \u003cp\u003eLyubov Popova: Catalogue statement 1919.\u003c\/p\u003e \u003cp\u003eNikolai Punin: 'The Monument to the Third International' 1920.\u003c\/p\u003e \u003cp\u003eAlexander Rodchenko: 'Slogans' and 'Organizational Programme' 1920-21.\u003c\/p\u003e \u003cp\u003eAlexander Rodchenko and Varvara Stepanova: 'Programme of the First Working Group of Constructivists' 1922.\u003c\/p\u003e \u003cp\u003eAlexei Gan: from Constructivism 1922.\u003c\/p\u003e \u003cp\u003eEl Lissitsky and Ilya Ehrenburg: Statement by the editors of Veshch 1922.\u003c\/p\u003e \u003cp\u003eLEF editorial: 'Whom is LEF alerting?' 1923.\u003c\/p\u003e \u003cp\u003eOsip Brik: 'The So-Called \"Formal Method\" 1923.\u003c\/p\u003e \u003cp\u003eOsip Brik: 'From Picture to Calico-Print' 1924.\u003c\/p\u003e \u003cp\u003eVladimir Tatlin: 'Report of the Section for Material Culture's Research Work' 1924.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: Freedom, Responsibility and Power.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9. The Modern as Ideal.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePaul Klee: from On Modern Art 1924.\u003c\/p\u003e \u003cp\u003eAmédée Ozenfant: from Foundations of Modern Art 1928.\u003c\/p\u003e \u003cp\u003eHans Hofmann: 'On the Aims of Art' 1931.\u003c\/p\u003e \u003cp\u003eAbstraction-Création: Editorial Statements 1932 and 1933.\u003c\/p\u003e \u003cp\u003eWladyslaw Strzeminski: Statements 1932 and 1933.\u003c\/p\u003e \u003cp\u003eCarl Gustav Jung: On the concept of the 'archetype' 1934 and 1938.\u003c\/p\u003e \u003cp\u003eAlfred H. Barr Jr: from Cubism and Abstract Art 1936.\u003c\/p\u003e \u003cp\u003eHenri Matisse: Statements to Tériade 1936.\u003c\/p\u003e \u003cp\u003eNaum Gabo: 'The Constructive Idea in Art' 1937.\u003c\/p\u003e \u003cp\u003ePiet Mondrian: 'Plastic Art and Pure Plastic Art' 1937.\u003c\/p\u003e \u003cp\u003eBarbara Hepworth: 'Sculpture' 1937.\u003c\/p\u003e \u003cp\u003eAmerican Abstract Artists: Editorial Statement 1938.\u003c\/p\u003e \u003cp\u003eIbram Lassaw: 'On Inventing Our Own Art' 1938.\u003c\/p\u003e \u003cp\u003eBen Nicholson: 'Notes on Abstract Art' 1941.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10. Realism as Figuration.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eVladimir Ilyich Lenin: 'On Proletarian Culture' 1920.\u003c\/p\u003e \u003cp\u003eAKhRR: 'Declaration' 1922.\u003c\/p\u003e \u003cp\u003eAKhRR: 'The Immediate Tasks of AKhRR' 1924.\u003c\/p\u003e \u003cp\u003eDavid A. Siqueiros et al: 'A Declaration of Social, Political and Aesthetic Principles' 1922.\u003c\/p\u003e \u003cp\u003eRed Group: 'Manifesto' 1924.\u003c\/p\u003e \u003cp\u003eOtto Dix: 'The Object is Primary' 1927.\u003c\/p\u003e \u003cp\u003eARBKD (Asso): 'Manifesto' and 'Statutes' 1928.\u003c\/p\u003e \u003cp\u003eGeorge Grosz: from 'My Life' 1928.\u003c\/p\u003e \u003cp\u003eAlfred Rosenberg: from The Myth of the Twentieth Century 1930.\u003c\/p\u003e \u003cp\u003eGeorg Lukács: '\"Tendency\" or Partisanship?' 1932.\u003c\/p\u003e \u003cp\u003eCentral Committee of the All-Union Communist Party: 'Decree on the Reconstruction of Literary and Artistic Organizations' 1932.\u003c\/p\u003e \u003cp\u003eJohn Reed Club of New York: 'Draft Manifesto' 1932.\u003c\/p\u003e \u003cp\u003eDiego Rivera: The Revolutionary Spirit in Modern Art' 1932.\u003c\/p\u003e \u003cp\u003eMario Sironi: 'Manifesto of Mural Painting' 1933.\u003c\/p\u003e \u003cp\u003eAndrei Zhdanov: 'Speech to the Congress of Soviet Writers' 1934.\u003c\/p\u003e \u003cp\u003eDavid A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934.\u003c\/p\u003e \u003cp\u003eStuart Davis and Clarence Weinstock: 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of 2 Dimensions' 1935.\u003c\/p\u003e \u003cp\u003eGrant Wood: from Revolt Against the City 1935.\u003c\/p\u003e \u003cp\u003eFrancis Klingender: 'Content and Form in Art' 1935.\u003c\/p\u003e \u003cp\u003eAdolf Hitler: Speech Inaugurating the 'Great Exhibition of German Art' 1937.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11. Realism as Critique.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eLeon Trotsky: from Literature and Revolution 1922-23.\u003c\/p\u003e \u003cp\u003eAndré Breton: from the First Manifesto of Surrealism 1924.\u003c\/p\u003e \u003cp\u003eLouis Aragon: from Paris Peasant 1924.\u003c\/p\u003e \u003cp\u003eLouis Aragon et al.\u003c\/p\u003e \u003cp\u003e'Declaration of the Bureau de Recherches Surréalistes' 1925.\u003c\/p\u003e \u003cp\u003eAndré Breton: Surrealism and Painting 1928.\u003c\/p\u003e \u003cp\u003eAndré Breton: from the 'Second Manifesto of Surrealism' 1929.\u003c\/p\u003e \u003cp\u003eGeorge Grosz and Wieland Herzfelde: 'Art is in Danger' 1925.\u003c\/p\u003e \u003cp\u003eOsip Brik: 'Photography versus Painting' 1926.\u003c\/p\u003e \u003cp\u003eSergei Tretyakov: 'We are searching' and 'We Raise the Alarm' 1927.\u003c\/p\u003e \u003cp\u003eSiegfried Kracauer: from 'The Mass Ornament' 1927.\u003c\/p\u003e \u003cp\u003eOctober (Association of Artistic Labour):'Declaration' 1928.\u003c\/p\u003e \u003cp\u003eGeorges Bataille: from 'Critical Dictionary' 1929-30.\u003c\/p\u003e \u003cp\u003eGeorges Bataille: 'The Lugubrious Game' 1929.\u003c\/p\u003e \u003cp\u003eSalvador Dali: 'The Stinking Ass' 1930.\u003c\/p\u003e \u003cp\u003eGustav Klucis: 'Photomontage as a new problem in Agit Art' 1931.\u003c\/p\u003e \u003cp\u003eMax Ernst: 'What is Surrealism?' 1934.\u003c\/p\u003e \u003cp\u003eWalter Benjamin: 'The Author as Producer' 1934.\u003c\/p\u003e \u003cp\u003eBertolt Brecht: 'Popularity and Realism' 1938.\u003c\/p\u003e \u003cp\u003eFernand Léger: 'The New Realism Goes On' 1937.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12. Modernism as Critique.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eKasimir Malevich: Letter to Meyerhold 1932.\u003c\/p\u003e \u003cp\u003ePablo Picasso: 'Conversation with Picasso' 1935.\u003c\/p\u003e \u003cp\u003eHerbert Read: 'What is Revolutionary Art?' 1935.\u003c\/p\u003e \u003cp\u003eMeyer Schapiro: 'The Social Bases of Art' 1936.\u003c\/p\u003e \u003cp\u003eJan Mukařvoský: from Aesthetic Function 1934\/36.\u003c\/p\u003e \u003cp\u003eWalter Benjamin: 'The Work of Art in the Age of Mechanical Reproduction' 1936.\u003c\/p\u003e \u003cp\u003eTheodor Adorno: Letter to Benjamin 1936.\u003c\/p\u003e \u003cp\u003eErnst Bloch: 'Discussing Expressionism' 1938.\u003c\/p\u003e \u003cp\u003eAndré Breton, Diego Rivera and Leon Trotsky: 'Towards a Free Revolutionary Art' 1938.\u003c\/p\u003e \u003cp\u003eR. G. Collingwood: Good Art and Bad Art' 1938.\u003c\/p\u003e \u003cp\u003eClement Greenberg: 'Avant-Garde and Kitsch' 1939.\u003c\/p\u003e \u003cp\u003eHarold Rosenberg: 'The Fall of Paris' 1940.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: The Individual and the Social.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e13. The American Avant-Garde.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eClement Greenberg: 'Towards a Newer Laocoon' 1940.\u003c\/p\u003e \u003cp\u003eAdolph Gottlieb and Mark Rothko with Barnett Newman: Statement 1943.\u003c\/p\u003e \u003cp\u003eJackson Pollock: Answers to a Questionnaire 1944.\u003c\/p\u003e \u003cp\u003eJackson Pollock: Two Statements 1947 and 1947\/8.\u003c\/p\u003e \u003cp\u003eMark Rothko: 'The Romantics were Prompted...' 1947.\u003c\/p\u003e \u003cp\u003eMark Rothko: Statement 1947.\u003c\/p\u003e \u003cp\u003eAdolph Gottlieb: Statement 1947.\u003c\/p\u003e \u003cp\u003eBarnett Newman: 'The Ideographic Picture' 1947.\u003c\/p\u003e \u003cp\u003eBarnett Newman: 'The First Man was an Artist' 1947.\u003c\/p\u003e \u003cp\u003eClement Greenberg: 'The Decline of Cubism' 1948.\u003c\/p\u003e \u003cp\u003eBarnett Newman: 'The Sublime is Now' 1948.\u003c\/p\u003e \u003cp\u003eWillem de Kooning: 'A Desperate View' 1949.\u003c\/p\u003e \u003cp\u003eJackson Pollock: Interview with William Wright 1950.\u003c\/p\u003e \u003cp\u003eDavid Smith: 'Aesthetics, the Artist and the Audience' 1952.\u003c\/p\u003e \u003cp\u003eClyfford Still: Statement 1952.\u003c\/p\u003e \u003cp\u003eHarold Rosenberg: from 'The American Action Painters' 1952.\u003c\/p\u003e \u003cp\u003eClyfford Still: letter to Gordon Smith 1959.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14. Individualism in Europe.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWols: Aphorisms c. 1945-51.\u003c\/p\u003e \u003cp\u003eJean-Paul Sartre: from Existentialism and Humanism 1946.\u003c\/p\u003e \u003cp\u003eJean Dubuffet: 'Notes for the Well-Lettered' 1946.\u003c\/p\u003e \u003cp\u003eJean Dubuffet: 'Crude Art Preferred to Cultural Art' 1948.\u003c\/p\u003e \u003cp\u003eAntonin Artaud: from Van Gogh: the Man Suicided by Society 1947.\u003c\/p\u003e \u003cp\u003eJean-Paul Sartre: 'The Search for the Absolute' 1948.\u003c\/p\u003e \u003cp\u003eSamuel Beckett and Georges Duthuit: from Three Dialogues 1949.\u003c\/p\u003e \u003cp\u003eJacques Lacan: 'The Mirror-Phase as Formative of the Function of the I' 1949.\u003c\/p\u003e \u003cp\u003eJean-Michel Atlan: 'Abstraction and Adventure in Contemporary Art' 1950.\u003c\/p\u003e \u003cp\u003eFrancis Ponge: 'Reflections on the Statuettes, Figures and Paintings of Alberto Giacometti' 1951.\u003c\/p\u003e \u003cp\u003eAlbert Camus: 'Creation and Revolution' 1951.\u003c\/p\u003e \u003cp\u003eMichel Tapié: from An Other Art 1952.\u003c\/p\u003e \u003cp\u003eGeorg Baselitz: 'Pandemonium Manifestos' 1961-2.\u003c\/p\u003e \u003cp\u003eFrancis Bacon: Interview with David Sylvester 1962-3.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e15. Art and Society.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMaurice de Vlaminck: 'Open Opinions on Painting' 1942.\u003c\/p\u003e \u003cp\u003eFrancis Klingender: from Marxism and Modern Art 1943.\u003c\/p\u003e \u003cp\u003eRobert Motherwell: 'The Modern Painter's World' 1944.\u003c\/p\u003e \u003cp\u003eRenato Guttuso: 'Crisis of Renewal' 1944.\u003c\/p\u003e \u003cp\u003ePablo Picasso: 'Why I Joined the Communist Party' 1944.\u003c\/p\u003e \u003cp\u003ePablo Picasso: Statement to Simone Téry 1945.\u003c\/p\u003e \u003cp\u003eFrida Kahlo: On Moses 1945.\u003c\/p\u003e \u003cp\u003eLucio Fontana: 'The White Manifesto' 1946.\u003c\/p\u003e \u003cp\u003eVladimir Kemenov: from 'Aspects of Two Cultures' 1947.\u003c\/p\u003e \u003cp\u003eRobert Motherwell and Harold Rosenberg: 'The Question of What Will Emerge Is Left Open' 1947\/8.\u003c\/p\u003e \u003cp\u003eConstant: 'Our Own Desires Build the Revolution' 1949.\u003c\/p\u003e \u003cp\u003eAsger Jorn: 'Forms Conceived as Language' 1949.\u003c\/p\u003e \u003cp\u003eAndré Fougeron: 'The Painter on his Battlement' 1948.\u003c\/p\u003e \u003cp\u003eHans Sedlmayr and Theodor Adorno: from the 'Darmstadt Colloquy' 1950.\u003c\/p\u003e \u003cp\u003eGeorge Dondero: from The Congressional Record 1949.\u003c\/p\u003e \u003cp\u003eArthur M. Schlesinger Jr. from The Politics of Freedom 1950.\u003c\/p\u003e \u003cp\u003eAlfred H. Barr Jr. 'Is Modern Art Communistic?' 1952.\u003c\/p\u003e \u003cp\u003eBen Shahn: 'The Artist and the Politician' 1953.\u003c\/p\u003e \u003cp\u003eHenry Moore: 'The Sculptor in Modern Society' 1952.\u003c\/p\u003e \u003cp\u003eDavid A. Siqueiros: 'Open Letter to the Painters, Sculptors and Engravers of the Soviet Union' 1955.\u003c\/p\u003e \u003cp\u003eGeorg Lukács: 'The Ideology of Modernism' 1956.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI: The Moment of Modernism.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e16. Art and Modern Life.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eRoland Barthes: from 'Myth Today' 1956.\u003c\/p\u003e \u003cp\u003eJirô Yoshihara: Gutai Manifesto 1956.\u003c\/p\u003e \u003cp\u003eGuy Debord: Writings from the Situationist International 1957-61.\u003c\/p\u003e \u003cp\u003eAsger Jorn: 'Detourned Painting' 1959.\u003c\/p\u003e \u003cp\u003eFrantz Fanon: 'On National Culture' 1959.\u003c\/p\u003e \u003cp\u003eLawrence Alloway: 'The Arts and the Mass Media' 1958.\u003c\/p\u003e \u003cp\u003eAllan Kaprow: from Assemblages, Environments and Happenings 1959-65.\u003c\/p\u003e \u003cp\u003ePiero Manzoni: 'Free Dimension' 1960.\u003c\/p\u003e \u003cp\u003ePierre Restany: 'The New Realists' 1960.\u003c\/p\u003e \u003cp\u003eGroupe de Recherche d'Art Visuel: 'Transforming the Current Situation of Plastic Art' 1961\/2.\u003c\/p\u003e \u003cp\u003eGeorge Maciunas: 'Neo-Dada in Music, Theater, Poetry, Art' 1962.\u003c\/p\u003e \u003cp\u003eRaymond William: 'The Analysis of Culture' 1961.\u003c\/p\u003e \u003cp\u003eJohn Cage: 'On Robert Rauschenberg, Artist, and his Work' 1961.\u003c\/p\u003e \u003cp\u003eJasper Johns: Interview with David Sylvester 1965.\u003c\/p\u003e \u003cp\u003eRichard Hamilton: 'For the Finest Art, Try Pop' 1961.\u003c\/p\u003e \u003cp\u003eClaes Oldenburg: from Documents from The Store 1961.\u003c\/p\u003e \u003cp\u003eAndy Warhol: Interview with Gene Swenson 1963.\u003c\/p\u003e \u003cp\u003eRoy Lichtenstein: Lecture to College Art Association 1964.\u003c\/p\u003e \u003cp\u003eGeorge Kubler: from The Shape of Time 1962.\u003c\/p\u003e \u003cp\u003eMarshall McLuhan: from Understanding Media 1964.\u003c\/p\u003e \u003cp\u003eGerhard Richter: 'Notes 1964-5'.\u003c\/p\u003e \u003cp\u003eTony Smith: from an interview with Samuel Wagstaff Jr 1966.\u003c\/p\u003e \u003cp\u003eJasper Johns: Obituary of Marcel Duchamp 1968.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e17. Modernist Art.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAlain Robbe-Grillet: 'Commitment' 1957.\u003c\/p\u003e \u003cp\u003eDavid Smith: 'Tradition and Identity' 1959.\u003c\/p\u003e \u003cp\u003eMaurice Merleau-Ponty: from 'Eye and Mind' 1961.\u003c\/p\u003e \u003cp\u003eRoger Hilton: 'Remarks about Painting' 1961.\u003c\/p\u003e \u003cp\u003eClement Greenberg: 'Modernist Painting' 1960-65.\u003c\/p\u003e \u003cp\u003eTheodor Adorno: from 'Commitment' 1962.\u003c\/p\u003e \u003cp\u003eBarnett Newman: Interview with Dorothy Gees Seckler 1962.\u003c\/p\u003e \u003cp\u003eClement Greenberg: from 'After Abstract Expressionism' 1962.\u003c\/p\u003e \u003cp\u003eMichael Fried: from Three American Painters 1965.\u003c\/p\u003e \u003cp\u003eMichael Fried: from 'Shape as Form: Frank Stella's New Paintings' 1966.\u003c\/p\u003e \u003cp\u003eJules Olitski: `Painting in Color' 1967.\u003c\/p\u003e \u003cp\u003eStanley Cavell: 'A Matter of Meaning It' 1967.\u003c\/p\u003e \u003cp\u003eWilliam Tucker and Tim Scott: 'Reflections on Sculpture' 1967.\u003c\/p\u003e \u003cp\u003eRichard Wollheim: 'The Work of Art as Object' 1970.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VII: Institutions and Objections.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e18. Objecthood and Reductivism.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eYves Klein: from 'The Evolution of Art towards the Immaterial' 1959.\u003c\/p\u003e \u003cp\u003eCarl Andre: 'Preface to Stripe Painting' 1959.\u003c\/p\u003e \u003cp\u003eFrank Stella: Pratt Institute Lecture 1959-60.\u003c\/p\u003e \u003cp\u003eAd Reinhardt: 'Art as Art' 1962.\u003c\/p\u003e \u003cp\u003eDonald Judd: 'Specific Objects' 1965.\u003c\/p\u003e \u003cp\u003eRobert Morris: 'Notes on Sculpture 1-3' 1966-67.\u003c\/p\u003e \u003cp\u003eMichael Fried: 'Art and Objecthood' 1967.\u003c\/p\u003e \u003cp\u003eSol LeWitt: 'Paragraphs on Conceptual Art' 1967.\u003c\/p\u003e \u003cp\u003eSol LeWitt: 'Sentences on Conceptual Art' 1969.\u003c\/p\u003e \u003cp\u003eRobert Barry: Interview with Arthur R. Rose 1969.\u003c\/p\u003e \u003cp\u003eJoseph Kosuth: 'Art after Philosophy' 1969.\u003c\/p\u003e \u003cp\u003eDaniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni: Statement 1967.\u003c\/p\u003e \u003cp\u003eDaniel Buren: 'Beware' 1969-70.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e19. Attitudes to Form.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTerry Atkinson and Michael Baldwin: 'Air Show' 1967.\u003c\/p\u003e \u003cp\u003eMichelangelo Pistoletto: 'Famous Last Words' 1967.\u003c\/p\u003e \u003cp\u003eRobert Smithson: 'A Sedimentation of the Mind: Earth Projects' 1968.\u003c\/p\u003e \u003cp\u003eRobert Morris: 'Notes on Sculpture 4: Beyond Objects' 1969.\u003c\/p\u003e \u003cp\u003eArt \u0026amp; Language: Editorial introduction to Art-Language 1969.\u003c\/p\u003e \u003cp\u003eIan Burn and Mel Ramsden: 'The Role of Language' 1969.\u003c\/p\u003e \u003cp\u003eLawrence Weiner: Statements 1969-72.\u003c\/p\u003e \u003cp\u003eVictor Burgin: 'Situational Aesthetics' 1969.\u003c\/p\u003e \u003cp\u003eJohn A. Murphy: Sponsor's statement for 'When Attitudes become Form' 1969.\u003c\/p\u003e \u003cp\u003eGermano Celant: from Art Povera 1969.\u003c\/p\u003e \u003cp\u003eEva Hesse: Interview with Cindy Nemser.\u003c\/p\u003e \u003cp\u003eJoseph Beuys: 'Not just a few are called, but everyone' 1972.\u003c\/p\u003e \u003cp\u003eLea Vergine: from 'The Body as Language' 1974.\u003c\/p\u003e \u003cp\u003eBruce Nauman: Interview with Michele De Angelus 1980.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e20. Political Aspects.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHélio Oiticica: 'Appearance of the Supra-Sensorial' 1967\/8.\u003c\/p\u003e \u003cp\u003eDan Graham: Presentation to an Open Hearing of the Artworkers Coalition 1969.\u003c\/p\u003e \u003cp\u003eMierle Laderman Ukeles: 'Maintenance Art Manifesto' c. 1969.\u003c\/p\u003e \u003cp\u003eLucy Lippard: 'Interview with Ursula Meyer' 1969 and 'Postface' 1973.\u003c\/p\u003e \u003cp\u003eArtforum: 'The Artist and Politics: a Symposium' 1970.\u003c\/p\u003e \u003cp\u003eArt Workers Coalition: Statement of Demands 1970.\u003c\/p\u003e \u003cp\u003eValie Export: 'Woman's Art' 1972.\u003c\/p\u003e \u003cp\u003eJoseph Beuys: 'I Am Searching for Field Character' 1974.\u003c\/p\u003e \u003cp\u003eHans Haacke: Statement 1974.\u003c\/p\u003e \u003cp\u003eMarcel Broodthaers: 'To be bien pensant... or not to be. To be blind' 1975.\u003c\/p\u003e \u003cp\u003eMel Ramsden: from 'On Practice' 1975.\u003c\/p\u003e \u003cp\u003eIan Burn: 'The Art Market: Affluence and Degradation' 1975.\u003c\/p\u003e \u003cp\u003eVictor Burgin: from 'Socialist Formalism' 1976.\u003c\/p\u003e \u003cp\u003eArt \u0026amp; Language: Editorial to Art-Language 1976.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e21. Critical Revisions.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eJacques Derrida: from Of Grammatology 1967.\u003c\/p\u003e \u003cp\u003eMichel Foucault: 'What is an Author?' 1969.\u003c\/p\u003e \u003cp\u003eLouis Althusser: from 'Ideology and Ideological State Apparatuses' 1970.\u003c\/p\u003e \u003cp\u003eThomas Kuhn: from 'Postscript – 1969' 1970.\u003c\/p\u003e \u003cp\u003eRoland Barthes: 'From Work to Text' 1971.\u003c\/p\u003e \u003cp\u003eRobert Smithson: 'Cultural Confinement' 1972.\u003c\/p\u003e \u003cp\u003eLeo Steinberg: from Other Criteria 1968-72.\u003c\/p\u003e \u003cp\u003eRosalind Krauss: 'A View of Modernism' 1972.\u003c\/p\u003e \u003cp\u003eJean Baudrillard: 'Ethic of Labour, Aesthetic of Play' 1973.\u003c\/p\u003e \u003cp\u003eLaura Mulvey: 'Visual Pleasure and Narrative Cinema' 1973\/75.\u003c\/p\u003e \u003cp\u003eMichel Foucault: A Lecture 1976.\u003c\/p\u003e \u003cp\u003eRosalind Krauss: 'Notes on the Index, Part I' 1976\/77.\u003c\/p\u003e \u003cp\u003eFredric Jameson: from 'Reflections on the Brecht-Lukács Debate' 1977.\u003c\/p\u003e \u003cp\u003eRaymond Williams: 'Dominant, Residual and Emergent' 1977.\u003c\/p\u003e \u003cp\u003eEdward Said: From Orientalism 1978.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VIII: Ideas of the Postmodern.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e22. The Critique of Originality.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eJean Baudrillard: 'The Hyper-realism of Simulation'1976.\u003c\/p\u003e \u003cp\u003ePierre Bourdieu: 'Being Different' 1977.\u003c\/p\u003e \u003cp\u003eCraig Owens: 'The Allegorical Impulse' 1980.\u003c\/p\u003e \u003cp\u003eRosalind Krauss: from 'The Originality of the Avant-Garde' 1981.\u003c\/p\u003e \u003cp\u003eHal Foster: 'Subversive Signs' 1982.\u003c\/p\u003e \u003cp\u003eSherrie Levine: Statement 1982.\u003c\/p\u003e \u003cp\u003eArt \u0026amp; Language: 'Letter to a Canadian Curator' 1982.\u003c\/p\u003e \u003cp\u003eBarbara Kruger: '\"Taking\" Pictures' 1982.\u003c\/p\u003e \u003cp\u003ePeter Halley: 'Nature and Culture' 1983.\u003c\/p\u003e \u003cp\u003eFredric Jameson: 'The Deconstruction of Expression' 1984.\u003c\/p\u003e \u003cp\u003eHaim Steinbach, Jeff Koons, Sherrie Levine, Philip Taaffe, Peter Halley, Ashley Bickerton: 'From Criticism to Complicity' 1986.\u003c\/p\u003e \u003cp\u003eJulia Kristeva: Interview with Catherine Francblin 1986.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e23. Figures of Difference.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eEdward Said: from 'Opponents, Audiences, Constituencies, and Community' 1981.\u003c\/p\u003e \u003cp\u003eMary Kelly: 'Re-Viewing Modernist Criticism' 1981.\u003c\/p\u003e \u003cp\u003eAna Mendieta: 'Art and Politics' 1982.\u003c\/p\u003e \u003cp\u003eKrzysztof Wodiczko: 'Public Projection' 1983.\u003c\/p\u003e \u003cp\u003eVictor Burgin: from 'The Absence of Presence' 1984.\u003c\/p\u003e \u003cp\u003eJacqueline Rose: 'Sexuality in the Field of Vision' 1984\/85.\u003c\/p\u003e \u003cp\u003eNiklas Luhmann: 'The Work of Art and the Self-Reproduction of Art' 1984-86.\u003c\/p\u003e \u003cp\u003eW. J. T. Mitchell: 'Image and Word' and 'Mute Poesy and Blind Painting' 1986.\u003c\/p\u003e \u003cp\u003eRaymond Williams: 'When was Modernism?' 1987\/89.\u003c\/p\u003e \u003cp\u003eLouise Bourgeois: Statements from an Interview with Donald Kuspit 1988.\u003c\/p\u003e \u003cp\u003eRichard Rorty: 'Private Irony and Liberal Hope' 1989.\u003c\/p\u003e \u003cp\u003eGayatri Chakravorti Spivak: 'Who Claims Alterity?' 1989.\u003c\/p\u003e \u003cp\u003eRichard Serra: The Yale Lecture 1990.\u003c\/p\u003e \u003cp\u003eMike Kelley: 'Dirty Toys: Mike Kelley Interviewed' 1991\/2.\u003c\/p\u003e \u003cp\u003eMartin Kippenberger: Interview with Jutta Koether 1991\/94.\u003c\/p\u003e \u003cp\u003ePeter Wollen: 'Into the Future: Tourism, Language and Art' 1990\/93.\u003c\/p\u003e \u003cp\u003eHomi K. Bhabha: On 'hybridity' and moving 'beyond' 1994.\u003c\/p\u003e \u003cp\u003e\u003cb\u003e24. The Condition of History.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDaniel Bell: from 'Modernism and Capitalism' 1978.\u003c\/p\u003e \u003cp\u003eJean-Francois Lyotard: 'Introduction' to The Postmodern Condition 1979.\u003c\/p\u003e \u003cp\u003eJürgen Habermas: 'Modernity - An Incomplete Project' 1980.\u003c\/p\u003e \u003cp\u003eJean-Francois Lyotard: 'What is Postmodernism?' 1982.\u003c\/p\u003e \u003cp\u003eJulia Kristeva: 'Powers of Horror' 1980.\u003c\/p\u003e \u003cp\u003eDonald Judd: from '... not about master-pieces but why there are so few of them' 1984.\u003c\/p\u003e \u003cp\u003eJoseph Beuys, Jannis Kounellis, Anselm Kiefer, Enzo Cucchi: from 'The Cultural-Historical Tragedy of the European Continent' 1986.\u003c\/p\u003e \u003cp\u003eGerhard Richter: from 'Interview with Benjamin Buchloh' 1988.\u003c\/p\u003e \u003cp\u003eGerhard Richter: Notes 1990.\u003c\/p\u003e \u003cp\u003eJeff Wall: from a discussion 1990.\u003c\/p\u003e \u003cp\u003eDiederich Diederichsen: 'Which Side are You on, Cultural Worker?' 1990.\u003c\/p\u003e \u003cp\u003eAlbert Oehlen: in conversation with Wilfred Dickhoff and Martin Prinzhorn 1991.\u003c\/p\u003e \u003cp\u003eOlu Oguibe: 'In the Heart of Darkness' 1993.\u003c\/p\u003e \u003cp\u003eIIlya Kabakov: On installations 1994 and 2000.\u003c\/p\u003e \u003cp\u003eDoris Salcedo: Interview with Charles Merewether 1999.\u003c\/p\u003e \u003cp\u003eFranco Moretti: 'MoMA2000: The Capitulation' 2000.\u003c\/p\u003e \u003cp\u003eBibliography.\u003c\/p\u003e \u003cp\u003eCopyright Acknowledgements.\u003c\/p\u003e \u003cp\u003eIndex.\u003c\/p\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":48865453048151,"sku":"9780631227083","price":29.4,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780631227083.jpg?v=1722274058","url":"https:\/\/bookcurl.com\/products\/art-in-theory-1900-2000-9780631227083","provider":"Book Curl","version":"1.0","type":"link"}