Download PDF by Stephen Bann, William Allen: Interpreting Contemporary Art (Critical views)
By Stephen Bann, William Allen
The translation of latest artwork has continuously offered the critic with the toughest problem; but this day, as new and sometimes bewildering developments and routine come to the fore with dizzying pace, a severe engagement with the works of our personal time is very very important. each one contributor to studying modern artwork has checked out his selected portray, sculpture, photo or deploy with a conviction that the workOCOs personal value might be stronger by way of what's written approximately it. From the French critic Marcelin Pleynet, writing a couple of portray via Robert Motherwell, to the English artist and critic Victor Burgin, who chooses a photo via Helmut Newton, the diversity of contributions covers a extensive foreign box, touching upon nearly the entire most important art-forms of the current day. an individual looking a better substance in writings at the paintings of the final 20 years, going past the most important serious orthodoxies of contemporary years, and who needs to appreciate extra in regards to the profound hyperlinks which unite the paintings of our personal interval with that of the previous, will locate this e-book filled with valuable insights into the kaleidoscope of latest art."
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Extra info for Interpreting Contemporary Art (Critical views)
Are we to think that these patches of colour play the same role in the history of art as the ink blots of the Rorschach test play in the history of psychology? Would that not be in fact a way of excluding 12 MARCELIN PLEYNET Robert Motherwell, Elegy to the Spanish Republic No. 6 cm. The Metropolitan Museum of Art, New York. such pictures from the history of art and assimilating them more essentially to the history of psychology? So what kind of a statement is embodied in this picture which Robert Motherwell painted in 1972?
However, the matter cannot rest there. The artist's affirmation that he has recourse to French language and literature because his tastes and his scholastic studies impelled him to read and more or less devote himself to a certain number of writers and poets remains a little short as an explanation. However familiar Robert Motherwell may be with French literature, it remains inevitable that French should be a foreign language for him: an 'other' language, just as literature always remains an 'other' language for the painter - a language other than the one in which he expresses himself, that is, the language of painting.
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.
Interpreting Contemporary Art (Critical views) by Stephen Bann, William Allen