Essays on art & language
Author(s)
Bibliographic Information
Essays on art & language
MIT Press, 2001
1st MIT Press ed
- : hc
- : pbk
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Note
Originally published as Essays on art & language. Oxford, UK : B. Blackwell, 1991
Description and Table of Contents
- Volume
-
: hc ISBN 9780262083003
Description
These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England -- and briefly in the United States -- with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s.According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art -- questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.
- Volume
-
: pbk ISBN 9780262582414
Description
Critical and theoretical essays by a long-time participant in the Art & Language movement.
These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England-and briefly in the United States-with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art-questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.
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