COLUMNS

  • Books

    Image of the People: Gustav Courbet and the Second French Republic, 1848-1851

    Image of the People: Gustav Courbet and the Second French Republic, 1848-1851, T. J. Clark. Greenwich, Connecticut: New York Graphic Society Ltd., 1973, 208 pages, seven colorplates, 43 black-and-white illustrations, bibliography, hardbound.

    It is T. J. Clark’s intention, in Image of the People, to write a genuine social history of art. He rejects a prevailing tendency of art-historical monographs, in which, typically, an introductory chapter lays in the historical background with a broad brush, against which the author proceeds to delineate particular works as demonstrations of an artist’s

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  • Books

    On Quality in Art

    Jacob Rosenberg, On Quality in Art (Princeton, N.J.: Bollingen Series, Princeton University Press, 1967).

    —————————

    The problem is that I am, in a sense, speaking to Jacob Rosenberg, but if he is speaking to me, he doesn’t know it, or he didn’t know it until now. And of course there is a certain unfairness to this sort of dialogue, all of it in my favor; for in a sense, I choose what he says, though my choice of what I may have him say is restricted to the 232 pages of his text (plus his introduction).

    1. “Artistic value” or “quality” in a work of art

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  • Books

    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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  • Books

    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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  • Books

    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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  • Books

    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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  • Books

    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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  • Books

    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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  • Books

    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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  • Film

    The Venice Film Festival

    THE GREAT OCTOPUS, THE Venice Film Festival, whose tentacles pull in every film except the Baillie-Lehr-Snow structuralism, which is just too radical, takes place in a building as bland and depressingly familiar as Volker Schlondorff’s Strohfeuer. Neither the film palace nor the film (a young woman’s bid for freedom from her marital grind, but Schlondorff doesn’t give her a fighting chance) has a hint of Venice’s eccentric grandeur. There’s nothing Italian about the brand new two-story mausoleum which has to be perked up with massive freestanding bouquets of gladiolas (visiting sex bombs like

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  • Film

    Esthetic Polarity in Independent Cinema and Wintersoldier

    Any formulation of esthetic polarity in the independent cinema would most likely counterbalance social or political documentary with technologically oriented color abstract film. Although both forms create expectations of total immersion into the surface of the screen (the former emotional, the latter sensual in effect), the documentary is predicated on a naturalistically photographed image, a unity between subject and operational space, and the activation of all extrareferential material inherent in that space—usually by way of a spoken soundtrack (I am here excluding the travelogue and

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