The book Art and Objecthood: Essays and Reviews, Michael Fried is published by University of Chicago Press. Michael Fried is an art historian and critic best known for his essay, “Art and Objecthood” first published in in Artforum. He was educated. Much acclaimed and highly controversial, Michael Fried’s art criticism defines the contours of late modernism in the visual arts. This volume contains.
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Fried’s contribution to art historical discourse involved the debate over the origins and development of modernism. Along with Fried, this debate’s interlocutors include other theorists and critics such as Clement GreenbergT. Clarkand Rosalind Krauss. Since the early s, he has also been close to philosopher Stanley Cavell. Fried describes his early career in the introduction to Art and Objecthood: Essays and Reviewsan anthology of his art criticism in the 60s and 70s.
Although he majored in English at Princeton it was there that he became interested in writing art criticism.
Inhe wrote a letter to Clement Greenberg expressing his admiration for his writing and first met him in the Objectohod of that year. In Hilton Kramer offered him the post of London correspondent for the journal Arts.
In the late summer ofFried returned to the U. S, where he combined studying for a Ph.
D in art history at Harvard with writing art criticism, initially for Art Internationaland curating the exhibition Three American painters: In his lbjecthood, “Art and Objecthood,” published inFried argued that Minimalism ‘s focus on the viewer’s experience, rather than the relational properties of the work onjecthood art exemplified by modernism, made the work of art indistinguishable from one’s general experience of the world.
Minimalism or “literalism” as Fried objecthpod it offered an experience of “theatricality” or “presence” rather than “presentness” a condition that required continual renewal. The essay inadvertently opened the door to establishing a theoretical basis for Minimalism as a movement based in a conflicting mode of phenomenological experience than the one offered by Fried.
In “Art and Objecthood” Fried criticised the “theatricality” of Minimalist art.
On “Art and Objecthood” by Michael Fried | Han at KNUA, Korea’s nat’l university of the arts
He introduced the objjecthood term “absorption” in his book, Absorption and Theatricality: Painting and Beholder in the Age of Diderot.
In a reading of works by prominent art photographers of the last 20 years Bernd and Hilla BecherJeff WallAndreas GurskyThomas Demand among others Fried asserts that concerns of anti-theatricality and absorption are central to the turn by recent photographers towards large-scale works “for the wall.
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