Three American Painters: Then and Now
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A reconsideration of the significance of Michael Fried's early critical writing, as articulated in his introduction for the publication that accompanied the 1965 exhibition Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella and a visual summation of the artists, many of them photographers, endorsed by Fried over the six decades since. This is the catalogue intended to accompany the canceled exhibition that had been scheduled to take place in summer 2024, Three American Painters, Then and Now, which was to be: first, a recreation of the 1965 exhibition curated by critic and…mehr

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Produktbeschreibung
A reconsideration of the significance of Michael Fried's early critical writing, as articulated in his introduction for the publication that accompanied the 1965 exhibition Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella and a visual summation of the artists, many of them photographers, endorsed by Fried over the six decades since. This is the catalogue intended to accompany the canceled exhibition that had been scheduled to take place in summer 2024, Three American Painters, Then and Now, which was to be: first, a recreation of the 1965 exhibition curated by critic and art historian, Michael Fried, and second, a survey of the artists, many of them photographers, that Fried has critically endorsed since then. Likewise, the essays collected in this book recognize a through line from Post-Painterly abstraction of the 1960s to the contemporary artists, who, according to Fried, impose their artistic intentions with a similar rigor and self-criticality. The art produced by these contemporary artists shares something with the motivations of modernist painting in the 60s and 70s, described by Fried in 1965 as "akin to the complexity of moral experience - that is, of life itself, but life lived as few are inclined to live it: in a state of continuous intellectual and moral alertness." At a moment when literally authorless AI-generated prose is proliferating, the question of what constitutes a work of art and the role that the artist plays in that determination has taken on a renewed urgency. Fried's abiding emphasis on artistic intent thus both retains and regains its relevance.
Autorenporträt
Eik Kahng is an independent curator and art historian. She has held curatorial positions at the Dallas Museum of Art, the Walters Art Museum, and the Santa Barbara Museum of Art. Although known primarily as a specialist of 18th- and 19th-century French painting, she has organized shows that range widely from early European modernism to the present. Todd Cronan is Professor of Art History at Emory University. He is the author of several books that range in topic from French painting to modern photography to mid-century architecture. He is a founder and the editor-in-chief of nonsite.org. Michael Fried is Emeritus Professor of Humanities and History of Art and a member of the Academy at Johns Hopkins University. He is the author of numerous books and essays in art criticism, art history, and literary studies as well as several books of poems. Gordon Hughes is an Associate Professor in the Department of Art History at Rice University. Ph.D. in art history from Princeton, he originally trained as an artist and holds an MFA from the University of Illinois at Chicago. He is the author of Resisting Abstraction: Robert Delaunay and Vision in the Face of Modernism (2014). Charles Palermo is a professor of art history at William & Mary. He is the author of numerous essays on Modern Art and Literature and of two books, Fixed Ecstasy: Joan Miró in the 1920s (2008) and Modernism and Authority: Picasso and His Milieu around 1900 (2015). James Welling is a widely published, exhibited, and collected photographer living in New York and a Lecturer with the status of Professor at Princeton University. His writings on photography have appeared in The Brooklyn Rail, Camera Austria, and Aperture Magazine.