Formalism and Historicity: Models and Methods in Twentieth-Century Art (October

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“LIKE NEW!!! Has a red or black remainder mark on bottom/exterior edge of pages.”
ISBN
9780262028523

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Product Identifiers

Publisher
MIT Press
ISBN-10
0262028522
ISBN-13
9780262028523
eBay Product ID (ePID)
204205265

Product Key Features

Book Title
Formalism and Historicity : Models and Methods in Twentieth-Century Art
Number of Pages
592 Pages
Language
English
Topic
History / Contemporary (1945-), Criticism & Theory, American / General, Aesthetics, European
Publication Year
2015
Illustrator
Yes
Genre
Art, Philosophy
Author
Benjamin H. D. Buchloh
Book Series
October Bks.
Format
Hardcover

Dimensions

Item Height
1.7 in
Item Weight
51.9 Oz
Item Length
9.3 in
Item Width
7.4 in

Additional Product Features

Intended Audience
Trade
LCCN
2014-022595
Dewey Edition
23
Reviews
Bucholoh's critical model, so brilliantly chronicled in Formalism and Historicity, will loom large...., One of the pleasures of reading the art historian Benjamin Buchloh is that he is the rare academic who is unafraid of loud arguments. His new book of collected essays, Formalism and Historicity , is full of searing assaults.
Grade From
College Graduate Student
Dewey Decimal
709.4
Synopsis
Essays spanning three decades by one of the most rigorous art thinkers of our time grapple with formal and historical paradigms in twentieth century art. These influential essays by the noted critic and art historian Benjamin Buchloh have had a significant impact on the theory and practice of art history. Written over the course of three decades and now collected in one volume, they trace a history of crucial artistic transitions, iterations, and paradigmatic shifts in the twentieth century, considering both the evolution and emergence of artistic forms and the specific historical moment in which they occurred. Buchloh's subject matter ranges through various moments in the history of twentieth-century American and European art, from the moment of the retour l'ordre of 1915 to developments in the Soviet Union in the 1920s to the beginnings of Conceptual art in the late 1960s to the appropriation artists of the 1980s. He discusses conflicts resulting from historical repetitions (such as the monochrome and collage/montage aesthetics in the 1910s, 1950s, and 1980s), the emergence of crucial neo-avantgarde typologies, and the resuscitation of obsolete genres (including the portrait and landscape, revived by 1980s photography). Although these essays are less monographic than those in Buchloh's earlier collection, Neo-Avantgarde and Culture Industry , two essays in this volume are devoted to Marcel Broodthaers, whose work remains central to Buchloh's theoretical concerns. Engaging with both formal and historical paradigms, Buchloh situates himself productively between the force fields of formal theory and historical narrative, embracing the discrepancies and contradictions between them and within individual artistic trajectories. Contents Formalism and Historicity (1977) - Marcel Broodthaers: Allegories of the Avant-Garde (1980) - Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting (1981) - Allegorical Procedures: Appropriations and Montage in Contemporary Art (1982) - The Museum Fictions of Marcel Broodthaers (1983) - From Faktura to Factography (1984) - Readymade, Objet Trouv , Id e Re ue (1985) - The Primary Colors for the Second Time: A Paradigm Repetition of the Neo-Avantgarde (1986) - Cold War Constructivism (1986) - Conceptual Art 1962-1969: From the Aesthetics of Administration to the Critique of Institutions (1989) - Residual Resemblance: Three Notes on the Ends of Portraiture (1994) - Sculpture: Publicity and the Poverty of Experience (1996), Essays spanning three decades by one of the most rigorous art thinkers of our time grapple with formal and historical paradigms in twentieth century art. These influential essays by the noted critic and art historian Benjamin Buchloh have had a significant impact on the theory and practice of art history. Written over the course of three decades and now collected in one volume, they trace a history of crucial artistic transitions, iterations, and paradigmatic shifts in the twentieth century, considering both the evolution and emergence of artistic forms and the specific historical moment in which they occurred. Buchloh's subject matter ranges through various moments in the history of twentieth-century American and European art, from the moment of the retour l'ordre of 1915 to developments in the Soviet Union in the 1920s to the beginnings of Conceptual art in the late 1960s to the appropriation artists of the 1980s. He discusses conflicts resulting from historical repetitions (such as the monochrome and collage/montage aesthetics in the 1910s, 1950s, and 1980s), the emergence of crucial neo-avantgarde typologies, and the resuscitation of obsolete genres (including the portrait and landscape, revived by 1980s photography). Although these essays are less monographic than those in Buchloh's earlier collection, Neo-Avantgarde and Culture Industry , two essays in this volume are devoted to Marcel Broodthaers, whose work remains central to Buchloh's theoretical concerns. Engaging with both formal and historical paradigms, Buchloh situates himself productively between the force fields of formal theory and historical narrative, embracing the discrepancies and contradictions between them and within individual artistic trajectories. Contents Formalism and Historicity (1977) . Marcel Broodthaers- Allegories of the Avant-Garde (1980) . Figures of Authority, Ciphers of Regression- Notes on the Return of Representation in European Painting (1981) . Allegorical Procedures- Appropriations and Montage in Contemporary Art (1982) . The Museum Fictions of Marcel Broodthaers (1983) . From Faktura to Factography (1984) . Readymade, Objet Trouve, Idee Re ue (1985) . The Primary Colors for the Second Time- A Paradigm Repetition of the Neo-Avantgarde (1986) . Cold War Constructivism (1986) . Conceptual Art 1962-1969- From the Aesthetics of Administration to the Critique of Institutions (1989) . Residual Resemblance- Three Notes on the Ends of Portraiture (1994) . Sculpture- Publicity and the Poverty of Experience (1996)
LC Classification Number
N6758.B833 2015

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