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8 7 Page 72 Interpretation The problem of interpretation underpinning an historical definition of art. Radical relativist approaches to interpretation (and history). An irrealist method to history outlined. Gombrich, Martin Heidegger, Jurgen Habermas, Joseph Margolis, E.D. Hirsch, Peter Caws, Claude Levi- Strauss, Jacques Derrida, Jean Baudrillard, Jean- Francois Lyotard, Michel Foucault, Hans Gadamer, James F. Harris, Harvey Siegel, Goodman 8 Page 79 Realisms A pluralistic view of stylistic realism, or realisms, demonstrated by analysis of the work of Pollock. Gombrich, Goodman, Elgin, Mitchell, Jackson Pollock, Claude Cernuschi, Irving Sandler, 9 Page 89 Painting A pluralist view of painting. The crucial difference now between the work of sole and multiple instances in depiction and art. Then looks at formalist criticism based upon theories of painting, for the formulation of Modernism, as a period style. Goodman, Wollheim, Walter Benjamin, Bell, Clement Greenberg, Immanuel Kant, Ludwig Wittgenstein, Michael Fried, Thierry de Duve, William Rubin, Frank Stella, Donald Judd. 10 Page 104 Summary The contribution made to theory here, its place within Goodman’s larger aesthetic, or irrealism.
9 The Problem with Pictures The problem with pictures is in how we make sense of them, how we recognise them and the kinds of meanings found there. There are a number of conflicting explanations and disagreements are longstanding, widespread and deep-seated. Explanations quickly appeal to fundamental ideas about our understanding of the world, its organisation and customs. In particular, pictures are bound up with the concept of art, its history and criticism, and to pursue an understanding of these, we must take a position on pictures. In art history the explanation of pictures is sought in terms of their tradition and influence. Tradition is variously described in terms of a context, as the history of a culture, or in terms of a concept, as the history of depiction or pictorial properties. Neither extreme is tenable. To explain everything in terms of context, is to drain the concept of a picture of all meaning, to result in all history and no art, while to explain everything in terms of the concept of a picture, is to drain its context of meaning, and result in all art and no history. So the problem lies in deciding how much is internal to a picture, usually termed its formal or technical properties, and how much is external, the influence of time and place. In recent times discussion generally takes as its starting point the work of E. H. Gombrich. By tracing a number of influential reactions to his work, we can appreciate firstly how the problem is compounded, how disagreements over the nature of pictures add to disagreements over art and its history, and secondly how the problem persists, how even as recent efforts enlist other disciplines to explain pictures and art, these versions no longer describe the same objects of earlier study. In truth, they are no longer versions that resolve the problem with pictures, but rather new problems that urge their substitution. Gombrich’s contribution extends from the very popular introductory history, The Story of Art, to detailed studies in the psychology of visual perception and the development of pictorial style, advanced
Page 2 and 3: 2 Depiction and Painting A Theory a
Page 4 and 5: 4 Introduction The scope and method
Page 6 and 7: 6 To note particulars of presentati
Page 10 and 11: 10 initially in Art and Illusion, a
Page 12 and 13: 12 of any likeness or resemblance a
Page 14 and 15: 14 assumes elements of one scheme o
Page 16 and 17: 16 same time he rejects any simple
Page 18 and 19: 18 arrangements of only straight li
Page 20 and 21: 20 applied Goodman’s ideas of pic
Page 22 and 23: 22 object ought to represent a pict
Page 24 and 25: 24 place and manner of storage. Exe
Page 26 and 27: 26 appreciation of two-dimensional
Page 28 and 29: 28 Neither the primitive, pre-histo
Page 30 and 31: 30 surface is altered or marked in
Page 32 and 33: 32 may be detected and displayed ac
Page 34 and 35: 34 only the crudest of ‘environme
Page 36 and 37: 36 The fold-out picture may also be
Page 38 and 39: 38 the light. But since the chemica
Page 40 and 41: 40 its location within the categori
Page 42 and 43: 42 exophthalmia, will suffice. But
Page 44 and 45: 44 In explaining how a surface must
Page 46 and 47: 46 range and or realm. 67 Irony for
Page 48 and 49: 48 time or place. A source may be a
Page 50 and 51: 50 on the perceived expressiveness
Page 52 and 53: 52 of ways, and in fact must be fur
Page 54 and 55: 54 Gombrich, his theory sells styli
Page 56 and 57: 56 or with effective understanding,
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58 the same reason that one directi
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60 nineteenth century, revising in
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62 variety of modes. Science too ha
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64 Art History As noted, Gombrich
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66 will suffice to point to the sym
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68 wonders how much pressure can th
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70 quite reach nothing, anymore tha
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72 Interpretation Attention to hist
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74 mind, as Claude Levi-Strauss fam
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76 A short defence is that the obje
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78 Also, plural right interpretatio
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80 and ‘realistic’ of photograp
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82 tonal contrasts for a given part
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84 hold for all periods, and while
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86 precedents and versions. Whether
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88 To return to the example of Poll
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90 But versatility also arises thro
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92 may find it the strictest and so
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94 But the argument is really about
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96 establishes a premise from which
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98 painting fail unless committed t
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100 scarcely the only, much less be
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102 Goliath, or Titian’s The Flay
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104 Summary A review of the controv
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106 interpretations require a right
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108 and that revision of judgements
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110 15 Page 164 Post-Modernism Cont
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112 Modernism and Abstraction Discu
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114 patterns of emigration and so o
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116 in the sorts of objects and pic
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118 be shown, abstraction not only
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120 filling colours. Ordering is al
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122 words, steers abstraction, asse
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124 not exemplified only by the exc
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126 Modernism: 1912-1950 ‘Simulta
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128 pattern of the picture plane, t
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130 Photographs and other forms of
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132 also breasts, like faces and ha
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134 confront a daunting spatial and
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136 Yet two-dimensionality lurks be
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138 Late Modernism 1950 - 1960 ‘R
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140 between pictures and other elem
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142 reciprocally mapping grades aga
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144 Rauschenberg’s further contri
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146 essentially a short-tern strate
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148 The use of blank ground or unde
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150 Post-Modernism and Pop Art Pain
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152 painting now starkly defines it
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154 print source. Either way, contr
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156 as does the work of Frenchman B
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158 prominence. 234 The passivity o
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160 insight, and occasionally these
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162 with and without sequence, by t
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164 Post-Modernism Continued Painti
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166 the thirteen most wanted men fr
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168 Chapel beneath, serves as a pro
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170 paintings the blurring becomes
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172 more into them’ than the phot
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174 As shown, where sample eliminat
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176 The End of Post-Modernism Neo-E
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178 into a single, awkward hybrid o
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180 acquires a certain half-hearted
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182 an ironic revival, a pastiche o
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184 not treatment of these, than si
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186 (1913-80) the racial satires of
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188 ‘fill’ here engage only the
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190 thick paint, give the work a st
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192 single colour or tone in order
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194 of number and relations) is to
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196 hardly novel. 289 Indeed it is
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198 Looking to the materials of pig
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200 and facture. 298 More forthrigh
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202 Taaffe (b.1955) from this time
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204 ‘Expanded Materials’ In Lat
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206 Art in London around the middle
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208 of Gift For Apollo (1959). 310
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210 and performances on the one han
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212 situations, such as a sign indi
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214 But to begin with, the minimal
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216 Indeed as dance and drama explo
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218 increasing civic co-operation,
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220 are regularly documented, photo
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222 ‘layout’, for example in th
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224 and diminutions taken here as L
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226 somewhat the reverse. The work
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228 does not rest with mere casting
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230 This convergence of projects al
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232 is not enough to simply repeat
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234 perhaps a Mondrian) to the curv
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236 Therese Oulton (b. 1953) at thi
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238 The use of stereotypical silhou
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240 a broader ‘badness’ by this
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242 Similar approaches are later ad
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244 writing presents peculiar diffi
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246 Landscape here is traced back t
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248 or aggressive to traditions or
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250 needed or enough for a period;
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252 differences to picture plane sc
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254 Interestingly, labels for compe
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256 curatorial practice and collect
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258 the brittle bodily disproportio
Page 260 and 261:
260 AMMAN, Jean-Christophe. ‘Der
Page 262 and 263:
262 BAXANDALL, Michael. Patterns Of
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264 Pop Art: U.S./U.K. Connections,
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266 CAWS, Mary Ann. The Eye in the
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268 DAMISCH, Hubert, 'Five Notes fo
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270 Art and the Aesthetic, Cornell
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272 Why Are Pictures Puzzles? On Th
Page 274 and 275:
274 FREDERIC, Paul and SEWARD, Keit
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276 ‘Selected Works by Jay De Feo
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278 ------------------------- Probl
Page 280 and 281:
280 GRIFFITHS, Paul. Cage, The Oxfo
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282 HOCKNEY, David. Pictures (selec
Page 284 and 285:
284 Shark infested waters: the Saat
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286 LANE, Michael. Structuralism: A
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288 LOVELACE, Carey. ‘Lisa Yuskav
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290 Art and the Public Sphere, Univ
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292 OLIVER, Cordelia, ‘The Second
Page 294 and 295:
294 Chuck Close, (catalogue) Hatje
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296 Frank Stella, Penguin Books, Lo
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298 --------------------------- Sal
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300 -------------------------- Pict
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302 TOMKINS, Calvin. The Bride and
Page 304 and 305:
304 WILSON, B. and WILSON, M. ‘An
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