The book Art and Objecthood: Essays and Reviews, Michael Fried is published by University of Chicago Press. Much acclaimed and highly controversial, Michael Fried’s art criticism defines the contours of late modernism in the visual arts. This volume contains. Fried, Michael, () “Art and objecthood” from Battcock, Gregory, Minimal art: a critical In this essay Michael Fried criticizes Minimal Art—or as he calls it.
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Fried’s contribution to art historical objedthood 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 Objectbood. 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 Spring 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.
Art and Objecthood: Essays and Reviews, Fried
S, where he combined studying for a Ph. D in art history at Harvard with writing art criticism, initially for Art Internationaland curating the obbjecthood Three American painters: In his essay, “Art and Objecthood,” published inFried argued that Minimalism ‘s focus on the viewer’s experience, rather than the relational properties of objecthkod work of art exemplified by modernism, made the work of art indistinguishable from one’s general experience of the world. Minimalism or “literalism” as Fried called it offered an experience of “theatricality” or “presence” rather than “presentness” a condition that required friee 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. He introduced the opposing 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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