List of illustrations

  • Moorland Landscape with a Rainstorm
  • Landscape with a Waterfall
  • Cossacks
  • Les Demoiselles d'Avignon
  • Gran Nu
  • Candlestick
  • The City Rises
  • States of Mind II—They Who Go
  • Funeral of the Anarchist Galli
  • Dynamic Hieroglyphic of the Bal Tabarin
  • Unique Forms of Continuity in Space
  • Dynamic Hieroglyphic of the Bal Tabarin
  • Lamp (Musical Instrument)
  • Supremus No. 57
  • The Persistence of Memory
  • Time Transfixed
  • The Human Condition
  • Moon Woman Cuts the Circle
  • Summertime
  • Vir Heroicus Sublimis
  • Untitled (Your gaze hits the side of my face)
  • Utterances of Louis-Antoine Saint-Just
  • Corday, Lux
  • All Greatness Stands Firm in The Storm
  • (About) The Soul
  • (About) The Soul
  • Matter and What It Means
  • Cold Dark Matter – An Exploded View
  • Polaris
  • L z+s D
  • Kampala
  • Matrix of the System
  • Oval Painting
  • Jewellery
  • Untitled
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Description: The Language of Twentieth-Century Art: A Conceptual History
Contents
PublisherYale University Press
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Description: The Language of Twentieth-Century Art: A Conceptual History
This is the third book in a series addressing the interrelations of art, philosophy, experience, and history. The other works are my Critical Aesthetics and Postmodernism, and Art and Embodiment: From Aesthetics to Self-Consciousness, both Clarendon Press, Oxford, 1993. The...
PublisherYale University Press
Description: The Language of Twentieth-Century Art: A Conceptual History
There are as many meanings to twentieth-century art as there are contexts of production, reception and dissemination. In this work, however, I shall argue that there is a specific dimension of meaning which is fundamental. This is not a fashionable view. One reason why it is not is due to the hegemony of the ‘New Art History’. At the time of its...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
To understand the key achievements of twentieth-century art it is first necessary to understand some of the philosophical ramifications of pictorial representation. This is both an exciting and difficult task – exciting because such representation embodies relations which are fundamental to self-consciousness, and difficult because of the broad philosophical...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
There is a large literature on the interpretation of Cubism, much of which invokes philosophers such as Kant, Bergson and Nietzsche. I have explored this literature in ‘Cubism, Kant, and Ideology’, Word and Image, 2: 3, 1987, pp. 195–201. See also Lynn...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
Few art movements have suffered more from stereotypical presentation than Italian Futurism, and Marinetti’s bombastic propaganda has succeeded too well in declaring the Futurist obsessions with speed, violence and Modernity. But, of course, there is much more to the movement than that. The obsession with speed, violence and Modernity is not simply pursued for...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
Of all twentieth-century artists’ writings on art, those of Malevich are the most difficult to comprehend. The most easily accessible authoritative work is Charlotte Douglas, Malevich, Thames and Hudson, London, 1994. Someting of the diversity of interpretative...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
Surrealism grew as a systematic response to the moral and social disasters of the First World War, and to the lack of positive social change after these disasters. It had one immediate cultural precedent, namely those complex tendencies focused in the Dadaist movement between 1916 and 1920. This movement is usually characterized in terms of its critical, destructive...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
Of all twentieth-century art, Mondrian’s work appears to be the most amenable to description in terms of purely formal transformation. After early figurative phases, familiarity with Cubism leads to gradual abstraction away from natural form. The major transition points are the pieces of 1913 and 1914 (with titles centring on ‘Composition’), the...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
Barnett Newman’s work – with its superficial affirmation of the two-dimensionality of pictorial space – is so often taken as an exemplar of the formalist tendency in art that one wonders what other aspects to his work there could possibly be. That there are other aspects is shown by his frequent comments...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
In this book so far I have examined the interchange between philosophical ideas and the theory and practice of specific art movements and artists. I have also isolated the iterable surpluses which arise from this interchange. It is now time to gather together the salient points of the discussion. I shall also determine the exact sense in which the art discussed can...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
In the first two parts of this book, I have argued that conventional representation and twentieth-century art constitute iterable visual codes. The former is latently informed by those reciprocal relations and capacities which constitute the existential subconscious, whilst the latter posits these more directly. Since at least the late 1960s, both codes have...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
Many post-modern artists have utilized particular philosophical ideas, but as in all times and places, contemporary artists also exist in a climate of ideas. Often a body of creative work will be shaped – consciously or not – by patterns of theory or a general sensibility that characterizes an epoch or society as a whole. There is a strong case for...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
As we have seen throughout this book, what is semantically fundamental to radical twentieth-century tendencies is consistency between the artwork and the existential subconscious. This subconscious is organized by a principle of reciprocity which continues the basic interaction of body and world. The principle of reciprocity plays a role which parallels that of...
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
In this book I have argued for the iterability of art, founded on a reciprocity between body and world. The thesis has been explored in relation to specific twentieth-century movements and artists and their philosophies. A brief restatement of my theme now will allow us to conclude with a consideration of some of its broader ramifications.
PublisherYale University Press

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Description: The Language of Twentieth-Century Art: A Conceptual History
General Index
PublisherYale University Press
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Description: The Language of Twentieth-Century Art: A Conceptual History
Photograph Credits
PublisherYale University Press
The Language of Twentieth-Century Art: A Conceptual History
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