COLUMNS

  • Design, Nature, and Revolution: Toward a Critical Ecology

    Tomás Maldonado, Design, Nature, and Revolution: Toward a Critical Ecology, trans. Mario Domandi (New York, NY: Harper and Row, 1972) 139 pages, hardbound.

    Design, Nature, and Revolution is a brilliant example of how to handle large-scale ideas in compact arguments. In form it consists of a text, pages 1–77, followed by 55 pages of (easily legible) footnotes. The first half of the book has an admirable momentum; the second half is a dilating compendium of reflections and references. The book is important for its examination of the scope of design, in the sense of “an art at the service of

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  • Six Years: The Dematerialization of the Art Object from 1966 to 1972

    Lucy Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972 (New York: Praeger), 272 pages, 128 black-and-white illustrations.

    A point has been reached, with the publication of Lucy Lippard’s book The Dematerialization of the Art Object from 1966 to 1972, where certain propositions can no longer go unquestioned. The understanding of the importance of these propositions will come only from an investigation of the internal contradictions of the book itself which, in turn, will reveal its hidden theoretical and ethical implications. As is often the case, the covert meaning of

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  • Realism

    Linda Nochlin, Realism (London: Pelican Books, 1971), 283 pages, 134 black-and-white illustrations.

    "ALL THAT WAS SOLID and established crumbles away, all that was holy is profaned, and man is at last compelled to look with open eyes upon his conditions of life and true social relations,” wrote Marx in the Communist Manifesto.1 How this new consciousness, a product of the revolution of 1848, became a substantive part of artistic self-expression is the subject of Linda Nochlin’s Realism. Like Nochlin’s other writings, but unlike most art-historical studies, Realism is distinguished by the author’s

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  • I Fumetti di Mao

    THE “COMIC” WAS NEVER less comic. It is a profound (although historically explicable) paradox that the word “comic” attaches to the phenomenon known as the comic strip only in English-speaking countries, where strips have long been the least comic of all. But if we expand the meaning of the term to encompass not only the funny but also what is intended to be broadly recreational, “comic” is no misnomer in the West. Those American strips which are the least outwardly comic in style and content, and which appear to take themselves so very seriously, are conceived and consumed as escapist entertainment.

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  • Art & Language

    Terry Atkinson, David Bainbridge, Michael Baldwin, Harold Hurrell, Joseph Kosuth, Art & Language (Cologne, Germany: Du Mont, 1972).

    Quadruplicity drinks procrastination.

    —Bertrand Russell

    Despite the rather thrasonical aspects of the “air-conditioning” situation, it might be said to siphon off as a protasis for an inverted Eurekaism.

    —Terry Atkinson and Michael Baldwin

    It is appropriate that to speak of Art & Language is to immediately get entangled in a word confusion: Art & Language is the name of a group of artists whose main activity is the publication of a journal titled Art-Language; the

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  • Other Criteria: Confrontations with Twentieth Century Art

    Leo Steinberg, Other Criteria, Confrontations With Twentieth Century Art (New York: Oxford University Press), 1972, 436 Pages, 278 Black-and-white Illustrations.

    You can, as an artist, try to say something big about life; or be content to make the stuff in your hands come to life. And this humbler task is the greater, for all else merely follows.

    —Other Criteria

    AS A BOOK MODE, the collection of a critic’s occasional essays tends to be unjustly neglected or condescended to. Prejudices in these matters run in favor of the substantial thesis, the monograph, the survey, the in-depth or the full-scale,

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  • The Genius of the Future

    Anita Brookner, The Genius Of The Future (New York: Phaidon Press, 1971), 16 pp. black-and-white illustrations, 172 pp.

    MY EXPECTATIONS OF ANITA BROOKNER’S The Genius of the Future were high because her subject, art criticism, has emerged recently as an object of study. To the writing of criticism has been added self-awareness of the act of writing and, as a result, some currently practicing critics have become aware both of present problems and of earlier art criticism as a subject. A study of Diderot, Stendhal, Baudelaire, Zola, the Goncourts, and Huysmans as art writers sounds like a marvelous

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  • L’Esprit Nouveau

    L’ESPRIT NOUVEAU, Complete Edition, reprinted by Da Capo Press, NY, 1969. Eight volumes.

    In France, as throughout most of Europe, a new spirit reigned during the 1920s which embraced all areas of creative activity. The visual arts, music, literature, philosophy, and politics were but some of the diverse fields affected, and this breadth and vitality was reflected in L’Esprit Nouveau; a publication which brilliantly captured the spirit of this intellectually exciting age. Its editors, predominantly painters, understandably emphasized their chosen art, yet the subtitle justly proclaimed it “an

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  • The Americans

    THE AMERICANS, by Robert Frank. Aperture, Inc., New York (republished) 1959/1969.

    In 1956 Robert Frank, a Swiss photographer living in New York, applied to the Guggenheim Foundation for funds to photograph America. In his proposal he offered “. . . to produce a social document the visual impact of which will nullify explanation.” The grant was awarded, and after it another grant followed. For two years Robert Frank traveled throughout America photographing almost every aspect of our culture. In 1959 he published these photographs, first in Europe (Delpire Press, Les Americans) and later in America,

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  • David Smith by David Smith

    David Smith by David Smith, ed. Cleve Cray (Holt, Rinehart, N.Y., 1968), 176 pages, illustrated.

    As a compilation of statements by the artist, accompanied by many color photographs of Smith and his work, David Smith by David Smith cannot easily be categorized. There is not enough information to consider the book either biography or documentary, nor is is sufficiently systematic to be considered scholarly. Another approach might have been philosophical—an attempt to establish the artists as a speculative or analytical thinker after the fashion of Kandinsky or Sir Joshua Reynolds—but here the book

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  • History of Modern Art: Painting, Sculpture, Architecture

    History of Modern Art: Painting, Sculpture, Architecture. by H. H. Arnason, Harry N. Abrams, New York, 1968

    H. H. Arnason’s History of Modern Art is guaranteed to become a bestselling textbook. In terms of the college market, the book has all of the “proper” ingredients: it is generously illustrated with black and white reproductions and colorplates of the highest quality; it contains more information on more painters, sculptors and architects from more countries than any other single volume published to date; it pursues its subject from the beginning of the 19th century to the late 1960s; finally,

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  • Jack Burnham’s Beyond Modern Sculpture

    Jack Burnham, “Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century” (George Braziller, 1968); 402 pages, 135 illustrations in black and white.

    AFTER YEARS OF CONSIDERABLE NEGLECT, modern sculpture is beginning to experience an eager courtship by publishers anxious to present its history in the same coffee table format with cafeteria content that has afflicted modern painting. We are already wading in the first waves of books on sculpture whose covers are too far apart or which you can’t pick up once you’ve put them down. (Recently we have even been

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