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click HERE for full pdf of Ed Ruscha - Leave Any Information at the Signal: Writings, Interviews, Bits, Pages (2002)
“Leave Any Information at the Signal not only documents the work of this influential artist as he rose to prominence but also contains his writings and commentaries on other artistic developments of the period. The book is divided into three parts, each of which is arranged chronologically. Part one contains statements, letters, and other writings. Part two consists of more than fifty interviews, some of which have never before been published or translated into English. Part three contains sketchbook pages, word groupings, and other notes that chart how Ruscha develops ideas and solves artistic problems. They are published here for the first time. The book also contains more than eighty illustrations, selected and arranged by the artist.”
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Edward Avedisian, Untitled 011, c. 1972
Edward Avedisian, Untitled 155, c. 1972
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Nightjar.
From Verzameling van uitlandsche en zeldzaame vogelen… (Collection of foreign and rare birds…) vol. 1, by Mark Catesby & George Edwards, Amsterdam, 1772.
(Source: archive.org)
click HERE to download a full pdf of Michael Fried’s Art and Objecthood: Essays and Reviews (1998)
“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 is simply indispensable for anyone concerned with modernist painting and sculpture and the task of art criticism in our time.”
Dan Rowden: Digital is not killing print; the internet is keeping it alive -
This post originally appeared in the May 2013 issue of the Emirates in-flight magazine, Open Skies. Read online.
You may have heard many times recently that print is dying. And with a group of (previously) big-money publications closing their print offering and going digital, you may…
The other point that massive traditional publishers are missing at the moment is that the side effect the ‘survival mode’ many have a adopted is causing a huge brain drain, with the talent that previously sustained them feeling suitably disillusioned enough to go it alone, developing more and more titles of their own. For the next gen of publishing creatives, taking on the responsibilities of putting together your own independent title will be the norm. There’s very little room for larger, traditional publishing houses in this senario.
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The Devil’s sooty brother.
Albert Weisgerber, from Kinder und Hausmärchen (Children’s and Household Tales), after the Grimm brothers, Vienna, 191?
(Source: archive.org)