By Stephen Bann, William Allen

ISBN-10: 0064302059

ISBN-13: 9780064302050

ISBN-10: 006430387X

ISBN-13: 9780064303873

ISBN-10: 0948462140

ISBN-13: 9780948462146

ISBN-10: 0948462159

ISBN-13: 9780948462153

The translation of up to date artwork has continuously provided the critic with the toughest problem; but this present day, as new and infrequently bewildering traits and routine come to the fore with dizzying pace, a serious engagement with the works of our personal time is very important. every one contributor to analyzing modern artwork has checked out his selected portray, sculpture, picture or deploy with a conviction that the workOCOs personal value should be superior by means of what's written approximately it. From the French critic Marcelin Pleynet, writing a couple of portray through Robert Motherwell, to the English artist and critic Victor Burgin, who chooses a photo through Helmut Newton, the diversity of contributions covers a huge foreign box, touching upon almost all of the most important art-forms of the current day. a person looking a better substance in writings at the paintings of the final twenty years, going past the most important serious orthodoxies of contemporary years, and who needs to appreciate extra concerning the profound hyperlinks which unite the artwork of our personal interval with that of the earlier, will locate this publication packed with worthy insights into the kaleidoscope of up to date art."

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Extra info for Interpreting Contemporary Art (Critical views)

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I dates from 1967) and the prints which accompany Rafael Alberti's poem, 'A la pintura', giving rise to the paintings of the same title, such as A la Pintura No. 7 of 1974. MARCELIN PLEYNET I will come back to the way in which these three different moments in the work of Robert Motherwell are interlinked. For the moment, what I would like to stress, without going any further into the interpretation of the system of signs which constitutes the work, is the way in which a painting like Riverrun shares in (and is formed within) the logic of a certain number of signs which are the painter's own, with the effect that they create a resonance, they tend to establish a meaning which is the artist's own meaning.

What is needed is ... 'Io A Tillers/McCahon belongs near the centre of such a continuum. 11 The immobility of grey is desolate. The darker the grey the more preponderant becomes this feeling of desolation, and strangulation. When it is made lighter, the colour seems to breathe again, as if invested with new hope. Wassily Kandinsky, Concerning the Spiritual in Art I used grey to avoid the color situation. The encaustic paintings were done in grey because to me this suggested a kind of literal quality that was unmoved and unmovable by coloration and thus avoided all the emotional and dramatic quality of color.

For French to offer itself as an 'other' language (and for literature to be the 'other' of painting) there has to be the English language and its literature. Here Motherwell's genius is to have known spontaneously how to choose within his own language the linguistic event which serves most effectively to make art and literature operate in this way. We should note in effect that, if Motherwell frequently refers to Surrealism, to automatic writing, to his collaboration with VVV, to his meetings with Art and Literature: Robert Motherwell's 'Riverrun' 21 the Surrealist writers and painters in exile in New York, there is absolutely no trace in his work of explicit quotation from Surrealist literature.

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Interpreting Contemporary Art (Critical views) by Stephen Bann, William Allen

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