“ Art is not what you see, but what you make others see”
The Writing of Cubism posits that when the art critical writings on Cubism are re-read within their original intellectual and political context, it becomes clear that the historical coincidence of the conception of Cubism on the eve of the Great War had an impact upon the verbal configuration of this new movement that was equal to, if not outweighing, the stylistic innovations and artistic experiments of the artists.
This book examines the possibilities of theorizing the Web, takes up current debates on digital discourse, and presents the work of the leading scholars of the Internet working in the current field of content production in Cyberspace.
After Postmodernism, it is now time to return to an abandoned territory in search of our own blindness. What did we not see during the age of theorizing, to what were we blind? In three substantial case studies this volume, the first of three books on Postmodernism, the author closely examines some of the remains of a lost era.
Dr. Jeanne S. M. Willette – 3/12/19
Dr. Jeanne Willette unfortunately passed away in early 2019. She supported thousands of students in their exploration of art history during her career and was a valued colleague. This site, Art History Unstuffed, was one of her major contributions to those studying this field. Without Dr. Willette this site is not being updated with new content. While her web master, with support from her two sons, continues to maintain the site for the time being, a new generation of Art Historians is needed to carry the site into the future. If you are interested in participating or have other suggestions for this site, please click here to leave a note.
Clement Greenberg and Modernist Aesthetics
Clement Greenberg was a rare character in history: the right person in the right place at the right time, writing the right things to the right people. A New York intellectual and art critic, Greenberg was uniquely positioned to be “present at the creation” of The New York School during the 1940s. Greenberg’s art critical writings made the case for the importance of American art in the history of Modernism. Perhaps his most important contribution was to introduce the Modernist aesthetic or definition of art to his American audience. His “formalist” ideas would dominate the New York Art world for decades to come.
Modernism in New York City
Why and How did the impetus for Modernist painting move from Paris to New York? This podcast traces the historical and artistic reasons that resulted in New York becoming the center of avant-garde painting the Fifties. The presence of the European exiles in the city, the availability of innovative art in the Museum of Modern Art, and the sense that European modernism was exhausted combined to give rise to a new school of art called The New York School or the Abstract Expressionism.
Art Between the Wars
Although art history usually passes over this inter-war period quickly, pausing only for Dada and Surrealism, these decades were significant for the continued development of painting. After decades of avant-garde art, Europeans began to consolidate the innovations and inventions of the new century. While the art scene in Paris returned to conservative market-based art, the experimental mind-set shifted to Berlin, the new capital of art between the wars.