Art as Art: The Selected Writings of Ad Reinhardt
Ad Reinhardt is probably best known for his black paintings, which aroused as much controversy as admiration in the American art world when they were first exhibited in the 1950s. Although his ideas about art and life were often at odds with those of his contemporaries, they prefigured the ascendance of minimalism. Reinhardt's interest in the Orient and in religion, his strong convictions about the value of abstraction, and his disgust with the commercialism of the art world are as fresh and valid today as they were when he first expressed them.
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A Contribution to a Journal of Some Future Art Historian 1958
Black Symbol undated
On Negation undated
Imageless Icons undated
What are Artists Crimes as Artists? 1963
Creation as Content undated
Twelve Rules for a New Academy 1957
To Be Part of Things undated
Timeless ArtWords undated
Angkor and Art 1961
Art vs History 1966
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absolute abstract art abstract painting abstract-expressionist academy activity Ad Reinhardt aesthetic American Abstract Artists American Art American Painting Angkor architecture art are ugly art forms art history art museum art world art-as-art Art-as-Art Dogma art's essential artist-as-artist avant-garde bibliography black paintings black-square brush Burgoyne Diller cartoon century Chinese classic Collage color conscience consciousness corruption critics cubism curators darkness decoration empty eternal return everything everywhere exhibition expressionism expressionist formless forties FUTURE ART Gallery GLASER human icon iconoclasm idea illus imageless images impasto Islamic kind landscape late Mark Rothko matter meaning modern art Mondrian moral Motherwell Museum of Modern nature negation object painters Pepsi-Cola pure Reinhardt religion right for artists Robert Motherwell romantic Rothko Sculpture separate social someone space spiritual square stract studio surrealism surrealist symbol texture thing thirties timeless tion tradition undated notes universal word writings York School
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The Fate of the Object: From Modern Object to Postmodern Sign in Performance ...
No preview available - 1995