Throughout his career, Philip Guston’s work metamorphosed from figural to abstract and back to figural. In the 1950s, Guston (1913–1980) produced a body of shimmering abstract paintings that made him—along with Willem de Kooning, Jackson Pollock, and Franz Kline—an influential abstract expressionist of the “gestural” tendency. In the late 1960s, with works like The Studio came his most radical shift.
In 1961, a solo exhibition by Argentine-Italian artist Lucio Fontana met with a scathing critical response from New York art critics. Fontana (1899–1968), well known in Europe for his series of slashed monochrome paintings, offered New York ten canvases slashed and punctured, thickly painted in luridly brilliant hues and embellished with chunks of colored glass.
For more than four decades, the elusive but influential Los Angeles-based artist John Knight has developed a practice of site specificity that tests both architectural and ideological boundaries of the museum, gallery, and public sphere. Knight’s works defy notions of stylistic coherence, even, at times, of instant recognizability.
Luc Tuymans is one of the most influential figurative painters working today. Born in 1958 and based in Antwerp, he has exhibited since 1985, emerging internationally in the early 1990s as an artist who has addressed not just the continuation of painting's relevance but subjects as difficult to represent as the long-lasting traumas of war, colonialism, and everyday violence.
Over the past twenty years, the network has come to dominate the art world, affecting not just interaction among art professionals but the very makeup of the art object itself. The hierarchical and restrictive structure of the museum has been replaced by temporary projects scattered across the globe, staffed by free agents hired on short-term contracts, viewed by spectators defined by their predisposition to participate and make connections.
Jeffrey Kipnis’s writing, thinking, and teaching casts architecture as both an intellectual discourse and a lived, affective experience. His essays on contemporary architects are less about making critical judgments than about explication, exegesis, and provocation. In these eleven essays, written between 1990 and 2008, he considers projects, concepts, and buildings by some of the most recognized architects working today, with special attention to the productions of affect.
Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually present? In Semblance and Event, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of “semblance” as a way to approach this question.
For the artist Thomas Hirschhorn, writing is a crucial tool at every stage of his artistic practice. From the first sketch of an idea to appeals to potential collaborators, from detailed documentation of projects to post-disassembly analysis, Hirschhorn’s writings mark the trajectories of his work. This volume collects Hirschhorn’s widely scattered texts, presenting many in English for the first time.
The job of an art critic is to take perpetual inventory, constantly revising her ideas about the direction of contemporary art and the significance of the work she writes about. In these essays, which span three decades of assessment and reassessment, Rosalind Krauss considers what she has come to call the "post-medium condition"—the abandonment by contemporary art of the modernist emphasis on the medium as the source of artistic significance.
Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market’s fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways—as a commodity and as a tool of political propaganda.