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    The document discusses Michael Fried's influential art criticism from the 1960s and 1970s that helped define concepts of modernism. His writings critiqued artists like Pollock, Louis, Noland and established terms for understanding high modernism. Fried also provides context in a new introductory essay about how he became a critic and his intentions regarding his critical work.

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    Peggy Guggenheim ur

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    The document discusses Michael Fried's influential art criticism from the 1960s and 1970s that helped define concepts of modernism. His writings critiqued artists like Pollock, Louis, Noland and established terms for understanding high modernism. Fried also provides context in a new introductory essay about how he became a critic and his intentions regarding his critical work.

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    © All Rights Reserved
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    21 views3 pages

    Peggy Guggenheim Ur

    Uploaded by

    Oolimpijac
    The document discusses Michael Fried's influential art criticism from the 1960s and 1970s that helped define concepts of modernism. His writings critiqued artists like Pollock, Louis, Noland and established terms for understanding high modernism. Fried also provides context in a new introductory essay about how he became a critic and his intentions regarding his critical work.

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    of 3

    Peggy Guggenheim: Art Addict

    Arabian Nights: 

    Apichatpong werqsete

    Much acclaimed and highly controversial, Michael Fried's art criticism defines the contours of late
    modernism in the visual arts. This volume contains twenty-seven pieces, including the influential
    introduction to the catalog for Three American Painters, the text of his book Morris Louis, and the
    renowned "Art and Objecthood." Originally published between 1962 and 1977, they continue to
    generate debate today. These are uncompromising, exciting, and impassioned writings, aware of their
    transformative power during a time of intense controversy about the nature of modernism and the aims
    and essence of advanced painting and sculpture. 

    Ranging from brief reviews to extended essays, and including major critiques of Jackson Pollock, Morris
    Louis, Kenneth Noland, Jules Olitski, Frank Stella, and Anthony Caro, these writings establish a set of
    basic terms for understanding key issues in high modernism: the viability of Clement Greenberg’s
    account of the infralogic of modernism, the status of figuration after Pollock, the centrality of the
    problem of shape, the nature of pictorial and sculptural abstraction, and the relationship between work
    and beholder. In a number of essays Fried contrasts the modernist enterprise with minimalist or literalist
    art, and, taking a position that remains provocative to this day, he argues that minimalism is essentially a
    genre of theater, hence artistically self-defeating.

    For this volume Fried has also provided an extensive introductory essay in which he discusses how he
    became an art critic, clarifies his intentions in his art criticism, and draws crucial distinctions between his
    art criticism and the art history he went on to write. The result is a book that 

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