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"A remarkable book, an excellent and innovative example of bow the major experiences of modern painting, from Matisse and Picasso to Mondrian, Newman, or Ryman require a specific use of theory to be correctly interpreted. A genuinely original contribution, in both style and approach, to a 'new history' of art which reconciles critical theory to historical research." --Louis Marin, ecole des Hautes etudes en Sciences Sociales, Paris
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Informed by both structuralism and post-structuralism, these essays by Yve-Alain Bois seek to redefine the status of theory in modernist critical discourse. Warning against the uncritical adoption of theoretical fashions and equally against the a priori rejection of all theory, Bois argues that theory is best employed in response to the specific demands of a critical problem. The essays demonstrate the uses of various theoretical approaches in conjunction with close reading of both paintings and texts.
"A remarkable book, an excellent and innovative example of bow the major experiences of modern painting, from Matisse and Picasso to Mondrian, Newman, or Ryman require a specific use of theory to be correctly interpreted. A genuinely original contribution, in both style and approach, to a 'new history' of art which reconciles critical theory to historical research." --Louis Marin, ecole des Hautes etudes en Sciences Sociales, Paris
Product Description
Informed by both structuralism and post-structuralism, these essays by Yve-Alain Bois seek to redefine the status of theory in modernist critical discourse. Warning against the uncritical adoption of theoretical fashions and equally against the a priori rejection of all theory, Bois argues that theory is best employed in response to the specific demands of a critical problem. The essays demonstrate the uses of various theoretical approaches in conjunction with close reading of both paintings and texts.
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