Index of Visual Artworks Discussed and/or Reproduced in the Text

Crowther, Paul

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Index of Visual Artworks Discussed and/or Reproduced in the Text

Paul Crowther

The Language of Twentieth-Century Art: A Conceptual History

Index of Visual Artworks

Author

Paul Crowther

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00150.016

Stable URL: https://aaeportal.com/?id=-15436

Index of Visual Artworks Discussed and/or Reproduced in the Text

Atkinson, T. and Baldwin, M., Air Show 178–9

Bainbridge, D., Crane 177

Balla, G., Dynamism of a Dog on a Leash 68

Boccioni, U., The City Rises 58, 69

States of Mind II – They Who Go 60

Unique Forms of Continuity in Space 63, 69

Braque, G., Gran Nu 34–8, 39

Violin and Palette 39

Candlestick 42

Carra, C., Leaving the Theatre 58

Funeral of the Anarchist Galli 60

Dali, S., The Persistence of Memory 88

David, J.-L., Death of Marat 38

Duchamp, M., Nude Descending a Staircase 40–1

Fountain 171

Finlay, I. H., All Greatness Stands Firm In The Storm 184

Utterances of Louis-Antoine Saint-Just 185

Corday, Lux 185

Halley, P., Two Cells with Circulating Conduit 197

Hatoum, M., Corps d’Etranger 180

Irwin

216

Ingres, J.-A., Odalisque 39

Kandinsky, W., Cossacks 29

Koons, J., Rabbit 194

New Hoover Celebrity IV 194

Kosuth, J., Modus Operandi 183

Kruger, B., Your gaze hits the side of my face 180

Lambert, G., Moorland Landscape 20

Mach, D., Polaris 213

101 Dalmations 219

Magritte, R., Time Transfixed 114

The Human Condition 116

Malevich, K., Lamp (Musical Instrument) 70

Suprematist Composition: White on White 79, 85

Supremus No. 57 79

Black Square 85

Miro, J., Person Throwing a Stone at a Bird 124–5

Mondrian, P., Composition in Oval 131

Composition No. 6 137

Composition with Colour Planes on White Ground 139

Draughts Board Composition, light colours 140

Composition with Red, Yellow and Blue 141

Composition with Red, Yellow and Blue 144

Composition with Two Lines 147

Newman, B., Onement 1 155–7, 159, 160

Vir Heroicus Sublimis 157–8

Who’s Afraid of Red, Yellow, and Blue? 159

Chartres 159

Jericho 159

The Moment I 161

Oblak, M., Matrix of the System 223

Oval Painting 224

Jewellery 225

Parker, C., Matter and What it Means 209–10

Cold Dark Matter – An Exploded View 210–11

Picasso, P., Les Demoiselles d’Avignon 33–44, 39–40

Pollock, J., The Moon Woman Cuts the Circle 119

Summertime 120

Full Fathom Five 125

Potrč, M., Kampala 218

Rothko, M., Untitled 229–31

Ruisdael, J. van, Landscape with a Waterfall 20

Russolo, L., Houses + Lights + Sky 60

Severini, G. Dynamic Hieroglyphic of the Bal Tabarin 61

Titian, Charles V 15

VSSD, (About) The Soul 207–9

Warhol, A., Brillo Boxes 2, 194, 199

Marilyn 194, 199

Liz 194, 199

Campbell’s Soup Can 194, 199

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BOOKThe Language of Twentieth-Century Art: A Conceptual History

Paul Crowther

https://doi.org/10.37862/aaeportal.00150

Stable URL: https://aaeportal.com/?id=-15420

Recent theory has tended to understand the meaning of art primarily as a function of original contexts of production and reception or in its relation to fashionable notions of gender, multiculturalism, and "scopic regimes." These approaches, however, fail to negotiate adequately art’s transhistorical and transcultural significance, a shortcoming that is particularly serious in relation to twentieth-century works because it confines their significance to contexts that are regulated by the specialist interests of a narrow managerial class of curators, critics, and historians. In this important book, Paul Crowther provides a radical reinterpretation of key phases and figures in twentieth-century art, focusing on the way artists and critics negotiate philosophically significant ideas.

Crowther begins by discussing how and why form is significant. Using Derrida’s notion of "iterability"—a sign’s capacity to be used across different contexts—he links this possibility to key reciprocal cognitive relations that are the structural basis of self-consciousness. He then argues that while such relations are necessarily involved in any pictorial work, they are especially manifest in aesthetically valuable representation, and even more so in those twentieth-century works that radically transform or abandon conventional modes of representation. The involvement of key reciprocal relations gives such works a transhistorical and transcultural significance. To show this, Crowther investigates the theory and practice of important artists such as Malevich, Pollock, Mondrian, and Newman, and major tendencies such as Futurism, Surrealism, and Conceptual Art. By linking them to reciprocal relations, he is able to illuminate a language of twentieth-century art that cuts across those boundaries set out by such conventional notions as modern, avant-garde, and postmodern.

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Author

Paul Crowther

PublisherYale University Press

Print publication date December 1997 (in print)

Print ISBN 9780300072419

EISBN 9780300233551

Illustrations 50 b/w illus.

Print Status in print

Publisher (in print)

WorldCat

Google Books

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