To avoid being any longer confined within the circle of apparently resolved issues, art history must forever be harking back (in the critical sense) to its own history. One of the key trends defining our view of the origins of contemporary art and the abstract picture is undoubtedly Cubism. And it is described in many a study and monograph. These days, publications appear to announce (albeit somewhat coyly, for the time being) a critical re-reading of Cubism and abstract art, in a much wider ..
With regard to the upsurge of recent books, whose sole shared aim is to deal with the (vast) subject...
Four catalogues and compilations published this year once again raise the issue of the linkage betwe...
Contemporary art is still worrying philosophers. But the questions have shifted: as the “public” no ...
Cubisme et culture refers as much to the French colonial adventure, when its authors, Antliff and Le...
What is to be done with contemporary artists, as they are known, when time has passed? Do we talk in...
It is in the nature of histories of modern and contemporary art to be regularly rewritten, and their...
In this paper I argue that the development of cubism by Picasso and Braque at the beginning of the t...
Up until now we have been missing a comprehensive study of postwar French art criticism that has vie...
The intent of the thick issue Peinture pratique théorique is praiseworthy. It involves prompting a “...
When we are preparing a new issue of Critique d’art, we still have only quite a vague idea about whi...
The monographic exhibition organized by the museum of modern and contemporary art in Nice would seem...
The current publishing scene is simultaneously offering French readers a series of works with dispar...
In 1991, the Archives de la critique d’art brought together various publishersand the contemporary a...
For a few years now, exhibitions and publications devoted exclusively to painting have been multiply...
That many-facetted character Brian O’Doherty (critic, artist, arts administrator, writer, media pers...
With regard to the upsurge of recent books, whose sole shared aim is to deal with the (vast) subject...
Four catalogues and compilations published this year once again raise the issue of the linkage betwe...
Contemporary art is still worrying philosophers. But the questions have shifted: as the “public” no ...
Cubisme et culture refers as much to the French colonial adventure, when its authors, Antliff and Le...
What is to be done with contemporary artists, as they are known, when time has passed? Do we talk in...
It is in the nature of histories of modern and contemporary art to be regularly rewritten, and their...
In this paper I argue that the development of cubism by Picasso and Braque at the beginning of the t...
Up until now we have been missing a comprehensive study of postwar French art criticism that has vie...
The intent of the thick issue Peinture pratique théorique is praiseworthy. It involves prompting a “...
When we are preparing a new issue of Critique d’art, we still have only quite a vague idea about whi...
The monographic exhibition organized by the museum of modern and contemporary art in Nice would seem...
The current publishing scene is simultaneously offering French readers a series of works with dispar...
In 1991, the Archives de la critique d’art brought together various publishersand the contemporary a...
For a few years now, exhibitions and publications devoted exclusively to painting have been multiply...
That many-facetted character Brian O’Doherty (critic, artist, arts administrator, writer, media pers...
With regard to the upsurge of recent books, whose sole shared aim is to deal with the (vast) subject...
Four catalogues and compilations published this year once again raise the issue of the linkage betwe...
Contemporary art is still worrying philosophers. But the questions have shifted: as the “public” no ...