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| Named Person: | Robert Ryman; Robert Ryman |
|---|---|
| Material Type: | Internet resource |
| Document Type: | Book, Internet Resource |
| All Authors / Contributors: |
Suzanne Perling Hudson |
| ISBN: | 9780262012805 0262012804 |
| OCLC Number: | 233485460 |
| Notes: | "An October book." |
| Description: | xvi, 313 p. : ill. (some col.) ; 24 cm. |
| Contents: | Primer -- Paint -- Support -- Edge -- Wall. |
| Responsibility: | Suzanne P. Hudson. |
| More information: |
Reviews
Publisher Synopsis
"This is an indispensable study of Ryman's painting, distinguished by its brilliant and original analysis of Ryman's pragmatism. Hudson pries Ryman's work from the silent critical interstices to which it has too often been relegated--stuck between warring critical parties; pinched between postwar art movements that cannot securely encompass it. In doing so, she reveals the non-interchangeable specificity of each and every Ryman painting, showing how each emerges from its own procedural and material moment, how each has a history even as each refuses to contribute to traditional art-historical narrative." --Jennifer L. Roberts, Gardner Cowles Associate Professor of History of Art and Architecture, Harvard University "Adopting as her lodestar the artist's assertion that the question that engages him is not what to paint but how to paint, Suzanne Hudson incisively addresses 'meaning insofar as it attends method' in Ryman's work over the past five decades. As she explores the extraordinary level of formal invention he has brought to bear on this bedeviling question, she persuasively grounds his practice in a form of Dewey-derived Pragmatism, and thereby brilliantly circumvents the twin shoals of 'antiaesthetic historicism and anticonceptual hedonism' on which most previous commentators have foundered." --Lynne Cooke, curator, DIA Art Foundation "In Robert Ryman: Used Paint, Suzanne P. Hudson detaches the painter's 'white' paintings from the usual stylistic and polemical framings. Her focus is Ryman's practice (its recycling and recombination of the painter's concerns: support, paint, edge, wall) and its emergence in the pedagogical milieu of modernism's temple, the Museum of Modern Art. Hudson's Ryman is both pragmatic and pragmatist, a devotee of Dewey and James, D'Amico and Barr: a Ryman for whom idea and action, the what and how of painting, are inextricable terms. In these pages we encounter a Ryman who staves off doubt through the assertion of belief, a belief in painting not as medium or essence but as a cognitive and bodily activity. Her account persuades." --James Meyer, Winship Distinguished Associate Professor of Art History, Emory University Read more...
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- June 2009 - New Books(104 items)
by ArtLib updated 2009-06-30
