Informed by both structuralism and poststructuralism, these essays by art critic and historian Yve Alain Bois seek to redefine the status of theory in modernist critical discourse. Warning against the uncritical adoption of theoretical fashions and equally against the a priori rejection of all theory, Bois argues that theory is best employed in response to the specific demands of a critical problem. The essays lucidly demonstrate the uses of various theoretical approaches in conjunction with close reading of both paintings and texts.
In Formless: A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless, charting its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production.
Chronicles the history of modern art during each year of the twentieth and twentieth-first centuries through essays that explore a ground-breaking work, publication, exhibition opening, or other significant event.
Published on the occasion of of the exhibition Amy Sillman : the ALL-OVER, on view at Portikus, Frankfort, July 2-September 11, 2016, curated by Fabian Schöneich.
The work of Eva Hesse (1936-1970), one of the greatest American artists of the 1960s, continues to inspire and to endure in large part because of its deeply emotional and evocative qualities. Her latex and fiberglass sculptures in particular have a resonance that transcends the boundaries of minimalist art in which she had her roots. Hesse's breakthrough solo exhibition--"Chain Polymers at the Fischbach Gallery in New York in 1968--was a turning point in postwar American art. "Eva Hesse: Sculpture focuses on the artist's large-scale sculptures in latex and fiberglass and provides a rare opportunity to look at Hesse's artistic achievement within the historical context of her life in never-before-seen family diaries and photographs. Essays consider Hesse's art from a variety of angles: Elisabeth Sussman discusses the sculptures shown in the 1968 solo exhibition; Fred Wasserman delves into the Hesse family's life in Nazi Germany and in the German Jewish community in New York in the 1940s; Yve-Alain Bois examines Hesse's works within the context of the art and aesthetic theories of the 1960s; and Mark Godfrey analyzes the importance of Hesse's celebrated hanging sculptures of 1969-70. In addition to color reproductions of the artist's sculpture, the book features a copiously illustrated chronology of the artist's life.
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