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9781555953928 English 1555953921 Renowned art historian/critic of modern art, Joseph Masheck was so encouraged to be a generalist by his mentor, the great architectural historian Rudolf Wittkower, that he answers to a specialty of "mostly modern." This book, a compilation of essays by colleagues near and far, has grown out of a symposium organised at Hofstra for his seventieth birthday. Appealing to "mostly modern" taste, they range over five categories: critical thought (Kant, Ruskin, Cezanne); architecture in cultural space (earliest Renaissance in Britain, Le Corbusier, the architectural imagination of Robbe-Grillet); Central and East European modernism (Latvian art, Kirchner, El Lissitzky); postwar modernism (indeterminacy in music and painting, drawing on a Mies van der Rohe wall, later critical legacy of Malevich's Black Square); and style and habitus (male 'bohemianism' in 16th-century Holland, feminist art-student 'hijinks' in turn of the century Edinburgh, and a piece by Masheck on the 1950s modernist topos of 'bad' barbarian copies of classical coins having "abstract" formal conviction). Each essay is prefaced by Masheck, so that the "mostly modern" symposium may continue to invite ongoing debate. Contents of the book and contributors: Preface: Joseph Masheck Reintroducing Joseph Masheck: Different Forms of Formalism and the Geometry of Humanism David L. Craven Critical Thought: 1. The "Space... in Which I Find Myself": Kant on the Origin of Spatial Form Terry F. Godlove; 2. Ruskin's Critical Pathos Andrew Ballantyne; 3. Cezanne's Oedipal Complex: His Father's Throne and His Lover's Son Brian Winkenweder; 4. Two Bodies Steven Henry Madoff; Architecture in Cultural Space: 5. The "Solomonic Window" in Scotland and At Large Ian Campbell; 6. Le Corbusier's Middleground Deborah Gans; 7. Adhering to the Text: Notes on the Observation and Description of a House in a Frantisek Lesak 1957. Central and East-European Modernism: 8. Nationality and Modernity in Early Twentieth-Century Baltic Art S. A. Mansbach; 9. Framing Movement: Kirchner in Berlin Charles W. Haxthausen; 10. Utopian Violence: El Lissitzky's Constructivist Victory Over the Sun Christine Poggi Postwar Modernism: 11. Revisiting Indeterminacy: On Morton Feldman, Earle Brown, and the New York Painters David Ryan; 12. Drawing on Mies's Wall in Houston Alan Johnston; 13. Afterlife of the Black Quadrilateral Marjorie Welish; Style and Habitus: 14. Men of Saturn: Styling "Bohemian" Melancholy in the Seventeenth Century Martha Hollander; 15. Modernist Art-School High Jinks in 1908 Margaret Stewart; 16. Non-Mimetic "Imitations": The Modernist Topos of Barbarian Numismatic Copies Joseph Masheck", What sorts of modernity are here to be found? The initial criticality of Kant; the ethical criticism of the Ruskin who invented the trap of the "intentional fallacy" only perhaps to step into it himself; Cézanne studied twice-once in light of Freud, and once in the shadow of Duchamp. Turner and Whistler appear, together Landseer as well as present-day Tracy Emin. Studies of favorite modern masters such as Kirchner, Malevich (with later critical estimations of his influence), and Lissitzky, as well as lesser-known Eastern European modernists. Also such matters as the "habitus" of the artist as bohemian free spirit in the times of Rembrandt and of the Suffragettes. Or the matter of "reproducibility"-whether in the architectural woodcuts of incunabula, or in the Celtic numismatic "imitations" used to advance the case for modernist formalism in the 1950s by the French man of letters André Malraux. Or the body in space-from Kant's sense of the observer physical's presence to Le Corbusier's sense of a building as site of view-and the surprisingly consistent architectural space of a Robbe-Grillet novel. Or interdisciplinarity, as in the paintings of the modernist composer Earle Brown-a contemporary Scottish artist's mural-homage to the architect Mies van der Rohe. The concept of modernity here is not only multiform, it also encourages-even demands-innovative reimagining of topics, procedures, and structures along cultural lines; Hence the present collection of essays by colleagues realizes a modernity in perpetual renewal. This is Joseph Masheck's 14th book on modern art. Others include books on Cézanne (Slought Foundation and Bryn Mawr College Visual Studies Center, 2004) and Duchamp (2nd ed., Da Capo, 2002); on the prehistory of the modernist concept of flatness in painting (Edgewise, 2010), translated into Chinese (Shanghai: Art World Magazine, 2014), and into French by Jacques Soulillou (Geneva: Musée d'Art Moderne et Contemporain, 2011); plus three books of his critical essays (Brooklyn Rail Press, 2011; Penn State Press, 1993; U. M. I. Research Press, 1984). His most recent book is a revisionist work on the architect Adolf Loos (I. B. Tauris, 2013). A selection of his earlier essays on architecture, published by Cambridge University Press (1993), was reviewed in the Times Literary Supplement. Masheck, a Guggenheim Fellow, was editor-in-chief of Artforum in the late 1970s, and is a Professor of Art History at Hofstra University and a Visiting Fellow at St. Edmund's College, Cambridge University. Book jacket.
9781555953928 English 1555953921 Renowned art historian/critic of modern art, Joseph Masheck was so encouraged to be a generalist by his mentor, the great architectural historian Rudolf Wittkower, that he answers to a specialty of "mostly modern." This book, a compilation of essays by colleagues near and far, has grown out of a symposium organised at Hofstra for his seventieth birthday. Appealing to "mostly modern" taste, they range over five categories: critical thought (Kant, Ruskin, Cezanne); architecture in cultural space (earliest Renaissance in Britain, Le Corbusier, the architectural imagination of Robbe-Grillet); Central and East European modernism (Latvian art, Kirchner, El Lissitzky); postwar modernism (indeterminacy in music and painting, drawing on a Mies van der Rohe wall, later critical legacy of Malevich's Black Square); and style and habitus (male 'bohemianism' in 16th-century Holland, feminist art-student 'hijinks' in turn of the century Edinburgh, and a piece by Masheck on the 1950s modernist topos of 'bad' barbarian copies of classical coins having "abstract" formal conviction). Each essay is prefaced by Masheck, so that the "mostly modern" symposium may continue to invite ongoing debate. Contents of the book and contributors: Preface: Joseph Masheck Reintroducing Joseph Masheck: Different Forms of Formalism and the Geometry of Humanism David L. Craven Critical Thought: 1. The "Space... in Which I Find Myself": Kant on the Origin of Spatial Form Terry F. Godlove; 2. Ruskin's Critical Pathos Andrew Ballantyne; 3. Cezanne's Oedipal Complex: His Father's Throne and His Lover's Son Brian Winkenweder; 4. Two Bodies Steven Henry Madoff; Architecture in Cultural Space: 5. The "Solomonic Window" in Scotland and At Large Ian Campbell; 6. Le Corbusier's Middleground Deborah Gans; 7. Adhering to the Text: Notes on the Observation and Description of a House in a Frantisek Lesak 1957. Central and East-European Modernism: 8. Nationality and Modernity in Early Twentieth-Century Baltic Art S. A. Mansbach; 9. Framing Movement: Kirchner in Berlin Charles W. Haxthausen; 10. Utopian Violence: El Lissitzky's Constructivist Victory Over the Sun Christine Poggi Postwar Modernism: 11. Revisiting Indeterminacy: On Morton Feldman, Earle Brown, and the New York Painters David Ryan; 12. Drawing on Mies's Wall in Houston Alan Johnston; 13. Afterlife of the Black Quadrilateral Marjorie Welish; Style and Habitus: 14. Men of Saturn: Styling "Bohemian" Melancholy in the Seventeenth Century Martha Hollander; 15. Modernist Art-School High Jinks in 1908 Margaret Stewart; 16. Non-Mimetic "Imitations": The Modernist Topos of Barbarian Numismatic Copies Joseph Masheck", What sorts of modernity are here to be found? The initial criticality of Kant; the ethical criticism of the Ruskin who invented the trap of the "intentional fallacy" only perhaps to step into it himself; Cézanne studied twice-once in light of Freud, and once in the shadow of Duchamp. Turner and Whistler appear, together Landseer as well as present-day Tracy Emin. Studies of favorite modern masters such as Kirchner, Malevich (with later critical estimations of his influence), and Lissitzky, as well as lesser-known Eastern European modernists. Also such matters as the "habitus" of the artist as bohemian free spirit in the times of Rembrandt and of the Suffragettes. Or the matter of "reproducibility"-whether in the architectural woodcuts of incunabula, or in the Celtic numismatic "imitations" used to advance the case for modernist formalism in the 1950s by the French man of letters André Malraux. Or the body in space-from Kant's sense of the observer physical's presence to Le Corbusier's sense of a building as site of view-and the surprisingly consistent architectural space of a Robbe-Grillet novel. Or interdisciplinarity, as in the paintings of the modernist composer Earle Brown-a contemporary Scottish artist's mural-homage to the architect Mies van der Rohe. The concept of modernity here is not only multiform, it also encourages-even demands-innovative reimagining of topics, procedures, and structures along cultural lines; Hence the present collection of essays by colleagues realizes a modernity in perpetual renewal. This is Joseph Masheck's 14th book on modern art. Others include books on Cézanne (Slought Foundation and Bryn Mawr College Visual Studies Center, 2004) and Duchamp (2nd ed., Da Capo, 2002); on the prehistory of the modernist concept of flatness in painting (Edgewise, 2010), translated into Chinese (Shanghai: Art World Magazine, 2014), and into French by Jacques Soulillou (Geneva: Musée d'Art Moderne et Contemporain, 2011); plus three books of his critical essays (Brooklyn Rail Press, 2011; Penn State Press, 1993; U. M. I. Research Press, 1984). His most recent book is a revisionist work on the architect Adolf Loos (I. B. Tauris, 2013). A selection of his earlier essays on architecture, published by Cambridge University Press (1993), was reviewed in the Times Literary Supplement. Masheck, a Guggenheim Fellow, was editor-in-chief of Artforum in the late 1970s, and is a Professor of Art History at Hofstra University and a Visiting Fellow at St. Edmund's College, Cambridge University. Book jacket.