Joseph Masheck wants to take art, historical and modern, as a field of lively interrelations (as if in "random-access memory" retrieval), rather than just second the motion that art history should be nonlinear; and he takes the task of art criticism to be theory in practice. Thus significant new art is represented in the thirty essays in Modernities , besides already "classic" modern architecture, sculpture, and photography, and contemporary painting by artists. Alternating between a comprehensive sense of art history and ...
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Joseph Masheck wants to take art, historical and modern, as a field of lively interrelations (as if in "random-access memory" retrieval), rather than just second the motion that art history should be nonlinear; and he takes the task of art criticism to be theory in practice. Thus significant new art is represented in the thirty essays in Modernities , besides already "classic" modern architecture, sculpture, and photography, and contemporary painting by artists. Alternating between a comprehensive sense of art history and engagement with the new and unplumbed contemporary arts, he considers himself a kind of aesthetic double agent. Because Masheck is concerned with the concrete standing of artworks, he speculates on how works of art, including Marcel Duchamp's "ready-mades," relate to other things. More general themes range from the origin of the modern sense of form in prehistoric art to the historical underpinnings of expressionism and on to latter-day "graffiti" culture.
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Add this copy of Modernities: Art-Matters in the Present to cart. $5.06, good condition, Sold by Project HOME rated 5.0 out of 5 stars, ships from Philadelphia, PA, UNITED STATES, published 1993 by Penn State University Press.
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Very Good in Very Good jacket. Size: 6x0x9; The binding is tight, corners sharp. Text and images unmarked. The dust jacket shows some very light handling, in a mylar cover. 8vo. 304pp.
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