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Sean Scully and David Carrier in Conversation
What makes a person an artist? How do works of art and their very own, extraordinary style come into being? And how does the prominent painter view his own work? The world-famous painter Sean Scully met with the philosopher David Carrier for several in-depth interview sessions. Their conversations explore these and many more questions about Scully's life, work, and ideas. The result is a rich manuscript that very closely approaches the status of a valid autobiography. Scully provides personal insights into his life and the important sources of inspiration for his career. He discusses his own view of his entire oeuvre, of art history and his position within it. Thus, this text becomes a liter...
Principles of Art History Writing
"Principles of Art History Writing traces the changes in the way in which writers about art represent the same works. These differ in such deep ways as to raise the question of whether those at the beginning of the process even saw the same things as those at the end did. Carrier uses four case studies to identify and explain changing styles of restoration and the history of interpretation of selected works by Piero, Caravaggio, and van Eyck." -- Back cover
Museum Skepticism
DIVProminent art historian looks at the birth of the art museum and contemplates its future as a public institution./div
Wild Art
Wild Art is an incredibly brash and current collection of over 300 extraordinary artworks that are too offbeat, outrageous, kitschy, quirky, or funky for the formal art world. From pimped cars, graffiti, flash mobs, and burlesque acts, to extreme body art, ice sculpture, light shows, and carnivals, the works featured here are variously moving, funny, or shocking - and guaranteed to elicit a reaction. Authors David Carrier and Joachim Pissarro have studied alternative and underground art cultures for years. Here, they've compiled the ultimate collection of creative works that celebrate the beauty and art in anything and everything, challenging the reader's perception of what is and what isn't art.
Abstract Painting, Art History and Politics: Sean Scully and David Carrier in Conversation
The acclaimed Irish American abstractionist discusses his artistic influences and philosophy with a leading aesthetic thinker In this volume, Irish American painter Sean Scully (born 1945) meets with American philosopher and art critic David Carrier for a series of in-depth interviews on the nature of art and the artist's relationship to his own work. An early job loading trucks at a cardboard factory inspired the stacked rectangle symbolism that would become the hallmark of his career; travels to Venice also greatly influenced his use of textured brushstrokes to evoke movement and flow even within carefully structured geometric patterns. Carrier probes these central elements of Scully's art along with many more questions about art history and Scully's own position within it. The assembling of such personal insights results in a book that functions as both a collection of compelling dialogues and an autobiography of Scully. Readers are able to discover Scully's art anew through his answers to Carrier's incisive questions.
Artwriting
"Artwriting is concerned with texts of recent art critics. The analysis draws on Arthur Danto's theory of interpretation and upon three connected conceptual points: the need to properly identify an artwork; the possibility of conflicting interpretations; and the use of rhetoric in interpretation." -- Overture.
Poussin's Paintings
Employing the methodologies of the new art history as well as some tools provided by poststructuralism, historiography, and analytic philosophy, Poussin's Paintings offers a novel approach to the art of Poussin. David Carrier begins with a comprehensive analysis of Poussin's self-portraits, which provides the starting point for a critical discussion of the traditional strategies of Poussin scholarship and for an evaluation of the status of this artist. Carrier shows that Poussin can be properly understood only by seeing how his visual and political culture differs from ours. Carrier examines the traditional approaches of Poussin scholars, noting the limitations of their views and showing how...
A World Art History and Its Objects
Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it is even possible to do so. He also engages the political and moral issues raised by the idea of a multicultural art history. Focusing on a consideration of intersecting artistic traditions, Carrier negotiates the way meaning and understanding shift or are altered when a visual object from one culture, for example, is inserted into the visual tradition of another culture. A World Art History and Its Objects proposes the use of temporal narrative as a way to begin to understand a multicultural art history.
Rosalind Krauss and American Philosophical Art Criticism
Rosalind Krauss is, without visible rival, the most influential American art writer since Clement Greenberg. Together with her colleagues at ^IOctober^R, the journal she co-founded, she has played a key role in the introduction of French theory into the American art world. In the 1960s, though first a follower of Greenberg, she was inspired by her readings of French structuralist and post-structuralist materials, revolted against her mentor's formalism, and developed a succession of radically original styles of art history writing. Offering a complete survey of her career and work, ^IRosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism^R comprises the first book-length study of its subject. Written in the lucid style of analytic philosophy, this accessible commentary offers a consideration of her arguments as well as discussions of alternative positions. Tracing Krauss's development in this way provides the best method of understanding the changing styles of American art criticism from the 1960s through the present, and thus provides an invaluable source of historical and aesthetic knowledge for artists and art scholars alike.
