Modern Art and the Object: A Century of Changing Attitudes

By Ellen H. Johnson | Go to book overview

Notes

CHAPTER ONE
1
Picasso, quoted in Christian Zervos, 'Conversation avec Picasso', Cahiers d'art, Vol. 10, No. 10, 1935, p. 174; translated in Alfred H. Barr, Jr, Picasso — Fifty Years of his Art, London and New York 1946, p. 273.
2
Picasso, quoted in Françoise Gilot and Carlton Lake, Life with Picasso, New York 1964 (Harmondsworth 1966), p. 77.
3
Rainer Crone, Andy Warhol, London and New York 1970, p. 29.
4
Cézanne, quoted in John Rewald, Paul Cézanne, A Biography, New York 1948 (London 1974), p. 135, from Joachim Gasquet, Cézanne, Paris 1926, p. 205.
5
Cézanne, Letter CLXIX, to Emile Bernard, 26 May 1904, in John Rewald (ed.), Paul Cézanne Letters, London 1941, p. 237.
6
Cézanne, Letter CCXXX, to Roger Marx, 23 January 1905, in ibid., p. 248.
7
Picasso, quoted in Joseph A. Barry, Left Bank, Right Bank, New York 1951, p. 146.
8
Picasso, quoted in Zervos, op. cit., p. 178, translated in Barr, op. cit., p. 274.
9
Malevich, 'Suprematism', in his Non-Objective World, translated by H. Dearstyne, London and Chicago 1959, pp. 67-8.
10
Mondrian, 'De 1'art abstrait, réponse de Piet Mondrian', Cahiers d'art, Vol. 6, No. I, 1931, p. 42.
11
Kandinsky, 'On the Artist', translated by Ellen H. Johnson and Gösta Oldenburg, Artforum, Vol. II, No. 7, March 1973, p. 78.
12
Judd, 'Lee Bontecou', Arts Magazine, Vol. 39, No. 7, April 1965, p. 17.
13
Morris, in 'A Duologue' with David Sylvester, recorded by the BBC in New York, March 1967, published in Michael Compton and David Sylvester, Robert Morris, exhibition catalogue, Tate Gallery, London 1967, p. 19.
14
Judd, quoted in John Coplans, Don Judd, exhibition catalogue, Pasadena Art Museum I97I, p. 32.
15
Stella, in Bruce Glaser, 'Questions to Stella and Judd', Art News, Vol. 65, No. 5, September 1966, pp. 58-9. An interview broadcast over WBAI-FM, New York, March I964.
16
Rosenblum, Frank Stella, 'Penguin New Art' series, Harmondsworth 1971, p. 36.
17
Stella, quoted in William S. Rubin, Frank Stella, New York 1970 (London 1971), p. 58.
18
Newman, quoted in United States of America Exhibition catalogue, VIII Sâo Paulo Biennial, I965, n.p.
19
Rauschenberg, 'Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)', quoted in Alan R. Solomon, Robert Rauschenberg, exhibition catalogue, Jewish Museum, New York 1963, n.p.
20
Duchamp, in a conversation with Emily Genauer, 'The Lively Arts', New York Herald Tribune, 4 December 1960.
21
Varèse, 'Music as an Art-Science', Bennington College Alumnae Quarterly, Vol. 7, No. I, Fall 1955, p. 25.
22
Allan Kaprow, 'The Legacy of Jackson Pollock', Art News, Vol. 57, No. 6, October I958, pp. 56-7.
23
From Oldenburg's Notebooks, 1961, published in his Store Days, London and New York 1967, p. 13.
24
Published in Environments, Situations, Spaces, exhibition catalogue, Martha Jackson Gallery, New York 1961, reprinted in longer form in Oldenburg, ibid., pp. 39-42.
25
See Bokris-Wylie, 'Mayday Ray Graduates Collage', The Drummer, 15 May 1973, p. 3.
26
Scull, quoted in David L. Shirey, 'Impossible Art — What It Is', Art In America, Vol. 57, No. 3, May-June 1969, p. 34.
27
Andre, quoted in Enno Develing, Carl Andre, exhibition catalogue, Haags Gemeente Museum, The Hague 1967, p. 40.
28
Oppenheim, in L. Hershman, 'Interview with Oppenheim', Studio International, Vol. 186, No. 960, November 1973, p. 196.
29
Andre, quoted in Lucy R. Lippard, Six Years: The Dematerialization of The Art Object, London and New York 1973, p. 47, from a symposium moderated by Dan Graham with Carl Andre, Robert Barry, Lawrence Weiner, Windham College, Putney, Vermont 1968, exhibition organized by Seth Siegelaub.
30
Morris, 'Some notes on the Phenomenology of Making: The Search for the Motivated', Artforum, Vol. 8, No. 8, April 1970, p. 66.
31
Schum, in Land Art, catalogue of films, 1969, cited in Lippard, op. cit., p. 94.

-261-

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Modern Art and the Object: A Century of Changing Attitudes
Table of contents

Table of contents

  • Title Page *
  • Contents *
  • Preface to the Revised Edition 7
  • Preface 9
  • 1 - Modern Art and the Object from Nineteenth-Century Nature Painting to Conceptual Art 10
  • 2 - The Object Painted and the Painted Object in Quiet Collision 65
  • 3 'the Mountain in the Painting and the Painting in the Mountain' 78
  • 4 - The Painting Freed 97
  • 5 'I Am Nature' 110
  • 6 - Object as Art 135
  • 7 - Art as Object 171
  • 8 - The Object in Jeopardy 196
  • 9 - Women Reshaping the Object 216
  • Notes 261
  • List of Illustrations 273
  • List of Figures 280
  • Acknowledgments 281
  • Index 283
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