Key Writers on Art: The Twentieth Century (Routledge Key Guides)
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Key Writers on Art: The Twentieth Century offers a unique and authoritative guide to modern responses to art. Featuring 48 essays on the most important twentieth century writers and thinkers and written by an international panel of expert contributors, it introduces readers to key approaches and analytical tools used in the study of contemporary art. It discusses writers such as Adorno, Barthes, Benjamin, Freud, Greenberg, Heuser, Kristeva, Merleau-Ponty, Pollock, Read and Sontag.
(quoted in Problems of Art; emphasis added). In contrast, a work of art does not point beyond itself to something known by other means, for what is expressed in a work of art ‘cannot be grasped apart from the sensuous or poetic form that expresses it’ (Problems of Art), even if the work itself seems to be imbued with a significance that reaches beyond the mere physical Susanne K.Langer 159 datum with which we are presented. For these reasons, Langer realized that ‘expressive form’ was a
this racial idiom as a means of fostering group pride and self-respect, he also aimed to create a race tradition in African-American art. He argued that African-American self-expression requires a collective endeavour by artists interested in genuine Negro portraiture. The Negro Renaissance had succeeded in creating a group of African-American artists who had a common bond of raceconsciousness in their work. Artists such as Aaron Douglas, Edouard Scott, Laura Wheeler Waring, Hale Woodruff,
the turbulent characters of the Greeks, blue for the more cerebral spirit of the Trojans—and proper names, sometimes in lists, sometimes randomly strewn over the canvas. The hanging is as formal and structured as the paintings are not, with three canvases on each of the longer walls, Greeks on one side, Trojans on the other. This grouping of six begins with the Vengeance of Achilles and ends with the Shades of Eternal Night, the third of the Trojan trio. On the shorter wall flanking the entrance
art at the University of Reading. Recent publications include ‘Hidden spaces and public places: women, memory and contemporary monuments—Jenny Holzer and Rachel Whiteread, Secret Spaces and Forbidden Places: Rethinking Culture’ (2000), and ‘Memorizing the Great War: Stanley Spencer at Burghclere’, Art History (2000). She has curated exhibitions and is currently working on a book, Witnessing, Testimony and Remembrance. Modern Art, Britain and the Great War. Charles Nussbaum is associate professor
his audience, at the risk of their displeasure, the secrets of their own hearts.’ And prophecy, as Collingwood might have put it, is an activity of which there can be no technique. Biography Robin George Collingwood Born Cartmel Fell, Lake District, 22 February 1889, son of William Gershom Collingwood, writer, archaeologist and antiquary, and Edith Mary Collingwood, painter and musician. He studied philosophy at Oxford between 1908 and 1912, was elected fellow of Pembroke College in 1912, and of