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Texts on (texts On) Art
Literary Nonfiction. Art Criticism. TEXTS ON (TEXTS ON) ART collects art historian Joseph Masheck's essays on the interplay of texts and art, texts and texts, and art and art into an imaginative volume that speaks to the range and depth of textual and visual intersections in the history of art. Demonstrating an enormous scope of knowledge and research, Masheck delves into Alois Riegl's art historical grammar, the unlikely connection between Henri Matisse and American painter Albert Pinkham Ryder, Duchamp's playful riff on the face of Mona Lisa and (maybe?) George Santayana, Le Corbusier's influence on Breton's novella Nadja, spirituality and caricature in Ad Reinhardt's work, Florenskian icons in Lacanian theory, Mike Bidlo's Warholian Brillo Boxes, and more. Together the essays comprise a wide-ranging and penetrating inquiry into the influence of history upon art, and art upon its history.
'Beat' to Beatific
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Modernities
Joseph Masheck wants to take art, historical and modern, as a field of lively interrelations (as if in "random-access memory" retrieval), rather than just second the motion that art history should be nonlinear; and he takes the task of art criticism to be theory in practice. Thus significant new art is represented in the thirty essays in Modernities, besides already "classic" modern architecture, sculpture, and photography, and contemporary painting by artists. Alternating between a comprehensive sense of art history and engagement with the new and unplumbed contemporary arts, he considers himself a kind of aesthetic double agent. Because Masheck is concerned with the concrete standing of artworks, he speculates on how works of art, including Marcel Duchamp's "ready-mades," relate to other things. More general themes range from the origin of the modern sense of form in prehistoric art to the historical underpinnings of expressionism and on to latter-day "graffiti" culture.
Faith in Art
Metaphysical thought has been excluded from much of the discourse on modern art, especially abstract painting. By connecting ideas about faith with the initiators of abstract painting, Joseph Masheck reveals how an underlying religiosity informed some of our most important abstract painters. Covering Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, and El Lissitzky, Masheck shows how 'revealed religion' has been an underlying but fundamental determinant of the thinking and practice of abstract painting from its originators down to the present. He contextualizes their art within some of the historical moments of the early 20th century, including the Russian revolution and the Stalinist period, and explores the appeal of certain themes, such as the Passion of Christ. A radical new theorization of the influence of religion over visual art, Faith in Art asks why metaphysics has been eliminated from the discussion where it might have something to say. This is a new way of thinking about a hundred years of abstract painting.
Watson Gordon Lecture 2017
In this book, Joseph Masheck re-examines the spiritual in Mondrian's art and proposes a parallel between the equilibrium found in his paintings and his writings on theological justification. The artist's Calvinist Christianity is considered in respect to the balanced, asymmetrical works of his 'classic' phase of the 1920s and 1930s, and potential parallels with the writings of an important Dutch theologian of the Neo-Calvinist movement are explored. Finally, the author follows Mondrian's classic phase into the 1930s and beyond, in this extraordinary and inspiring reassessment of one of the fathers of abstract art. AUTHOR: Joseph Masheck is Professor of Art History at Hofstra University, New York. He was formerly Editor-in-chief of Artforum and has taught at Columbia, Harvard and Fordham Universities. His previous books include Marcel Duchamp in Perspective (Da Capo, 2002), C's Aesthetics: Philosophy in the Painting (Slought Foundation, 2004), Texts on (Texts on) Art (The Brooklyn Rail Black Square Editions, 2011) and Adolf Loos: The Art of Architecture (I. B. Tauris, 2013). SELLING POINT: * A fresh look at Mondrian by a renowned art historian 23 colour images
Marcel Duchamp in Perspective
Best known for cheeky conceptual works -- like his signed urinals ("R. Mutt") and his graffitioed Mona Lisa -- Marcel Duchamp (1887–1968) was also an extraordinary painter and sculptor ("Nude Descending a Staircase") who changed the language of twentieth-century art and reigns with Picasso and Matisse as one of its greatest influences. Joseph Masheck has compiled a sampler of the best writing on Duchamp, with pieces that include Duchamp's obituary from Artforum, written by Jasper Johns; Octavio Paz on the ready-mades; a Duchamp post-mortem by Hans Richter; Donald Judd's investigation of Rrose Sélavy; a "Counter-Avant-Garde" by Clement Greenberg; a consideration by Guillaume Apollinaire; and John Cage's "26 Statements on Marcel Duchamp." Illustrated with photographs of Duchamp's seminal pieces, and updated with a substantial preface that offers new scholarship as well as a fascinating consideration of why Duchamp's popularity has exponentially increased since this book first appeared, this is an essential volume for the Duchamp devotee. -- From product description.
Building-Art
Building-Art: Modern Architecture Under Cultural Construction is an anthology of essays by noted critic Joseph Masheck. Considering topics in nineteenth and twentieth century architecture, its theory and practice, as well as selected achievements by such great modernists as Le Corbusier, Ludwig Mies van der Rohe, and Louis Kahn, Masheck also analyzes important monuments and architectural ideas of such artists as Giorgio di Chirico and Tony Smith. Contextualizing and culturally speculative, these studies address such issues as the distinction between architecture and "mere" building, and architecture and engineering, frequently drawing the reader into architectural problems that have persisted for at least two centuries. Demonstrating a concern with on-going modernism, Masheck's essays guide the reader through the anti-modernist polemics of the 1970s and 1980s, which are particularly relevant in light of Postmodernism's demise. Joseph Masheck, editor-in-chief of Artforum from 1977-1980, is Associate Professor of Art History and coordinator of the graduate humanities program at Hofstra University. He is the author of several books and many articles.
On the Strange Place of Religion in Contemporary Art
Can contemporary art say anything about spirituality? Answering this question and more, On the Strange Place of Religion in Contemporary Art explores the curious disconnection between spirituality and current art.
