The Language of Twentieth-Century Art a Conceptual History
- Binding: Hardcover
- Publisher: Yale Univ Pr
- Publish date: 12/01/1997
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, heis 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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