Yves Alain Bois: Matisse and Picasso

Fiercely competitive yet amicable, Matisse and Picasso engaged in one of the most formidable artistic dialogues of this century — from the time they met in 1906 until Matisse's death in 1954.Although particularly intense moments of this relationship have already been studied, it has never been examined in its entirety. In this book, Yve-Alain Bois stages the intertwined evolution of Matisse and Picasso as an ongoing game of chess between two masters.The book concentrates on this extraordinary artistic partnership as it develops from the early Thirties on, at the time when Picasso rediscovers Matisse's sculpture and Matisse, in part responding to Picasso's challenge, definitively abandons his odalisques of the Nice period. Both artists acquired works by the other and throughout the Thirties each artist attempted to translate the idiom of the other into his own. Although separated during the War, Matisse and Picasso nevertheless resume their barter of paintings and never stop thinking about each other's work.The post-war period is the most tender in their long friendship. Geographically close at last, they meet often and exhibit together. Picasso's 1946 creations at Antibes have an impact on Matisse while Picasso admires Matisse's spectacular interiors of 1947-48. Even if he is irritated by Matisse's Vence Chapel, Picasso's answer in Vallauris will be a Temple of his own — that is, a form of homage to his artistic friend and rival. Picasso's best tribute to Matisse, however, will come in the series of paintings he realizes shortly after his death, notably the series of the Women of Algiers and of The Studio of 1955-56.The book is published in conjuction with an exhibition atthe Kimbell Museum of Art, Fort Worth, Texas.

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Selected Other Writings Available as PDF
Formless: A User's Guide (with Rosalind Krauss)
El Lissitzky: Radical Reversibility
The De Stijl Idea

Selected Lectures & Panel Discussions
The Difficult Task of Erasing…Twentieth Century Art
The Life And Death of Objects (Panel)
Picasso and Abstraction: Encounters and Avoidance


Lucy Lippard: Six Years

In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period

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PDF: Escape Attempts (excerpt from Six Years)

Other Writings Available as PDF:
Get the Message: A Decade of Social Change
The Lure of the Local
Trojan Horses: Activist Art and Power
Sweeping Exchanges: The Contributions of Feminism to the Art of the 1970s

Selected Lectures:
Ghosts, The Daily News, and Prophecy: Critical Landscape Photography
Changing: On Not Being an Art Critic
Lecture at the New School
Exhibition Histories at the Whitechapel Gallery

Luce Irigaray: Speculum of the Other Woman

Speculum of the Other Woman by Luce Irigaray is incontestably one of the most important works in feminist theory to have been published in this generation. For the profession of psychoanalysis, Irigaray believes, female sexuality has remained a "dark continent," unfathomable and unapproachable; its nature can only be misunderstood by those who continue to regard women in masculine terms. In the first section of the book, "The Blind Spot of an Old Dream of Symmetry," Irigaray rereads Freud's essay "Femininity," and his other writings on women, bringing to the fore the masculine ideology implicit in psychoanalytic theory and in Western discourse in general: woman is defined as a disadvantaged man, a male construct with no status of her own.

In the last section, "Plato's Hystera," Irigaray reinterprets Plato's myth of the cave, of the womb, in an attempt to discover the origins of that ideology, to ascertain precisely the way in which metaphors were fathered that henceforth became vehicles of meaning, to trace how woman came to be excluded from the production of discourse. Between these two sections is "Speculum"–ten meditative, widely ranging, and freely associational essays, each concerned with an aspect of the history of Western philosophy in its relation to woman, in which Irigaray explores woman's essential difference from man.

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Interview: Of Relations and Rights
PDF: The Sex Which is Not One

Working With Luce Irigaray
About the Project (A Note from Luce Irigaray): Since 2003, I hold a seminar with researchers doing their PhD on my work. This way, they have the opportunity to receive personal teaching from me and to exchange ideas, methods and experiences between them.
The framework of the seminar is as follows: A group of fifteen researchers stay one week on the university campus. The timetable includes a presentation by each on the aspect of their PhD which most focuses on my work, a discussion of this presentation by the group, my comments and my answers to questions, and also sessions devoted to an explanation of some key words chosen by the participants. Personal meetings with me are organized on the last day.
The participants in the seminar have come from different regions of the world, they belong to different cultures, traditions and fields of research. In each of these fields, diverse domains, approaches and methods are represented. To date, the participants came from Australia, Vietnam, Korea, China, India, Sri Lanka, South Africa, New Zealand, Canada, Latvia, Spain, Italy, Ireland and from various universities of the U.S.A. and the U.K.
This website intends to make known the work of young researchers who participated in the seminar through summaries of their research, news about the evolution of their career, and dialogues that they continue holding with me. It also aims at maintaining and developing the link among researchers of one year’s seminar and broadening it to every researcher who took part in the seminar.

Hal Foster: Recodings: Art, Spectacle, Cultural Politics

For the past few decades Hal Foster’s critical gaze has encompassed the increasingly complex machinery of the culture industry. His observations push the boundaries of cultural criticism to establish a vantage point from which the seemingly disparate agendas of artists, patrons, and critics have a telling coherence. Recodings has become the classic “primer in poststructuralist debate” (Village Voice). The essays present a constellation of concerns about the limits and myths of postmodernism, the uses and abuses of historicism, the connections of recent art and architecture with media spectacle and institutional power, and the transformations of the avant garde and of cultural politics generally.

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Other Writings by Hal Foster (selection)
PDF: The Anti-Aesthetic: Essays on Post-Modern Culture
PDF: The Return of the Real
PDF: The ABCs of Contemporary Design
PDF: The Artist as Ethnographer?
PDF: An Archival Impulse
PDF: The Crux of Minimalism
PDF: The Archive Without Museums

Lectures (selection)
Culture Now
Contemporary Art and Mimetic Excess
Architecture and Art: If you Build it Will They Come? (The Future of Museum Architecture)

Griselda Pollock: Differencing the Canon

In this book, art historian Griselda Pollock makes a compelling intervention into a debate at the very centre of feminist art history: should the traditional canon of the 'Old Masters' be rejected, replaced or reformed? What 'difference' can feminist 'interventions in art's histories' make? Should we simply reject the all-male succession of 'great artists' in favour of an all-woman litany of artistic heroines? Or should we displace present gender demarcations and allow the ambiguities and complexities of desire to shape our readings of art?
Differencing the Canon moves between feminist re-readings of the canonical modern masters – Van Gogh, Toulouse-Lautrec and Manet – and the 'canonical' artists of feminist art history, Artemisia Gentileschi and Mary Cassatt. Pollock avoids both an unnuanced critique of masculine canons and an unquestioning celebration of women artists. She draws on psychoanalysis and deconstruction to examine the project of reading for 'inscriptions in the feminine', and asks what the signs of difference might be in art made by an artist who is 'a woman'.

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Others Writings by Griselda Pollock
PDF: Visions & Differences
PDF: Modernity and the Spaces of Femininity

Via MOMA: The Feminist Future: Griselda Pollock (Panel Discussion)
Via YouTube:Griselda Pollock Lecture Series and Practitioner in Residence at Camberwell College of Arts
Via YouTube: Griselda Pollock Lecture: Time, Space and the Archive

bell hooks: Teaching to Transgress

Cultural theorist hooks means to challenge preconceptions, and it is a rare reader who will be able to walk away from her without considerable thought. Despite the frequent appearance of the dry word “pedagogy,” this collection of essays about teaching is anything but dull or detached. hooks begins her meditations on class, gender and race in the classroom with the confession that she never wanted to teach. By combining personal narrative, essay, critical theory, dialogue and a fantasy interview with herself (the latter artificial construct being the least successful), hooks declares that education today is failing students by refusing to acknowledge their particular histories. Criticizing the teaching establishment for employing an over-factualized knowledge to deny and suppress diversity, hooks accuses colleagues of using “the classroom to enact rituals of control that were about domination and the unjust exercise of power.” Far from a castigation of her field, however, Teaching to Transgress is full of hope and excitement for the possibility of education to liberate and include. She is a gentle, though firm, critic, as in the essay “Holding My Sister’s Hand,” which could well become a classic about the distrust between black and white feminists. While some will find her rejection of certain difficult theory narrow-minded, it is a small flaw in an inspired and thought-provoking collection.

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Via YouTube: Lectures and Panel Discussions
bell hooks Institute

Craig Owens: Beyond Recognition

Perhaps more than any other recent writer, Craig Owens explored the relations among the discourses of contemporary art, sexuality, and power. His familiarity with the New York art world and its practitioners in the 1970's and 1980's makes his writing an unparalleled guide to one of the most riveting periods of contemporary culture. (From Amazon)

Craig Owens (1950-1990) was a critic who wrote and lectured extensively on contemporary art. He showed particular interest in the issues of photography, postmodernism, feminism, and Marxist thought. A former associate editor for October and Craig Owens (1950-1990) was a critic who wrote and lectured extensively on contemporary art. He showed particular interest in the issues of photography, postmodernism, feminism, and Marxist thought. A former associate editor for October and senior editor for Art in America, as well as professor of art history at Yale University and Barnard College, his writings were collected in Beyond Recognition: Representation, Power, and Culture (1994). Owens died of an AIDS-related illness in 1990.

“I’m arguing for an art that is culturally relevant. I’m arguing for an art that does not remain content to address the problems of 19th Century society. I expect art to mediate my cultural experience,” Owens says in this interview with Lyn Blumenthal.

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John Dewey: Art as Experience

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

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Hyperallergic Article: Revisiting John Dewey's Art as Experience
Patricia Goldblatt (from Education and Culture, 2006): How John Dewey's Theories Underpin Art & Education
Recorded Lecture: History of Philosophy: John Dewey (Wheaton College)