Synopsis
Book by Varnedoe, Kirk
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From Publishers Weekly
Taking on critics of all stripes, Varnedoe argues that modern art was not deterministically shaped by the grinding-wheel of social forces, new technologies or foreign influences. The flatness of Degas's pictorial space, he contends, owes less to Japanese prints or photography than to an unprecedented late-19th-century burst of experimentation with perspective. In Picasso's and Gauguin's primitivism, Varnedoe discerns a process of pulling objects out of their original contexts in order to alter our way of seeing. With reference to 286 plates (one-third in color), he shows how artists have changed the rules as he considers the devices of fragmentation (from Rodin to Pop Art) and the use of an overhead view (from Andre Kertesz's aerial photographs to Robert Smithson's Spiral Jetty earthwork). Director of painting and sculpture at New York's Museum of Modern Art, Varnedoe makes a novel case for modern art as an opening up of human potential driven by individual creativity.
Copyright 1990 Reed Business Information, Inc.
From Library Journal
This is a group of four broadly connected essays attempting to define that now-old question, What is modern art about? Varnedoe (director of painting and sculpture, Museum of Modern Art) identifies four characteristics--juxtaposition of near and far, fragmentation and repetition, primitivism, and a viewpoint from above--which he discusses in the context of art from 1870 to 1950. His insights and readings of the facts are frequently fresh and provocative, if not always convincing. Less documentary than Robert Hughes's Shock of the New , Varnedoe's essays are occasionally mixed in tone, as though given as lectures. Nevertheless, this is a serious work on modern art; recommended.
- Jack Perry Brown, Ryerson & Burnham Libs., Art Inst . of Chicago
Copyright 1990 Reed Business Information, Inc.
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Condition: Good. Many Illustrations (illustrator). Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. Seller Inventory # Z1-R-023-02120
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A FINE DISREGARD What Makes Modern Art Modern
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A Fine Disregard: What Makes Modern Art Modern
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Many Illustrations (illustrator). The chapters are: near & far; fragmentation & repetition; primitivism; the flight of the minds. Varnedoe identifies 4 crucial moments in the genesis of modern art: the birth of flat space; the replacement of complete figures by broken insistently repeated figures; the attention to the primitive; the bird's eye view. He argues that bold individual imaginations (rather than Japanese prints or photography) created this revolution. Seller Inventory # 30062856
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A Fine Disregard: What Makes Modern Art Modern (1st edition hardback in very good dust jacket)
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Thames & Hudson Ltd, 1990
ISBN 10: 0500235848
ISBN 13: 9780500235843
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Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. Many Illustrations (illustrator). 1st Edition. Published by Thames and Hudson Ltd in 1990, here is the first hardback printing of Kirk Varnedoe's A Fine Disregard: What Makes Modern Art Modern. Red cloth binding, gilt spine lettering, decoration, 316 pages plus supreme colour and b/w illustrations throughout the book is in very good condition with some spotting to the top page edges. The dust jacket is also very good. The book is extremely heavy and therefore additional postage MUST be applied to areas OUTSIDE the UK as follows: Europe £6, Rest of the World £9. UK postage is as quoted and will be tracked for this item. Seller Inventory # 12221
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