Michael Martin Fried is a modernist art critic and art historian. He studied at Princeton University and Harvard. Much acclaimed and highly controversial, Michael Fried’s art criticism defines the contours of late modernism in the visual arts. This volume contains. Fried, Michael, () “Art and objecthood” from Battcock, Gregory, Minimal art: a critical In this essay Michael Fried criticizes Minimal Art—or as he calls it.
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Fried’s contribution to art historical discourse involved the debate over the origins and development of modernism. Along with Fried, this debate’s interlocutors include other theorists and critics such as Clement GreenbergT.
Art and Objecthood
Clarkand Rosalind Krauss. Since the early s, he has also been close to philosopher Stanley Cavell. Fried describes his early career in the introduction to Art and Objecthood: Essays and Reviewsobhecthood anthology of his art criticism in the 60s and 70s. Although he majored in English at Princeton it was there that he became interested in writing art criticism.
On “Art and Objecthood” by Michael Fried | Han at KNUA, Korea’s nat’l university of the arts
Inhe wrote a letter to Clement Greenberg expressing his admiration for his writing and first met him in the Spring of that year. In Hilton Kramer offered him the post of London correspondent for the journal Arts.
In the late summer ofFried returned to the U. S, where he combined studying for a Ph.
File:Fried Michael Art and Objecthood Essays and Reviews pdf – Monoskop
D in art history at Harvard with writing art criticism, initially for Art Internationaland curating the exhibition Three American painters: In his essay, “Art and Objecthood,” published inFried argued that Minimalism ‘s focus on the viewer’s experience, rather than the relational properties of the work of art exemplified by modernism, made the work of art indistinguishable from one’s general experience of the world.
Minimalism or “literalism” as Fried called it offered an experience of “theatricality” or “presence” rather than “presentness” a condition that required continual renewal.
The essay inadvertently opened the door to establishing a theoretical basis for Minimalism as a movement based in a conflicting mode of phenomenological experience than the one offered by Fried. In “Art kbjecthood Objecthood” Fried criticised the “theatricality” of Minimalist art. He introduced the opposing term “absorption” in his book, Absorption and Theatricality: Painting and Beholder in the Age of Diderot.
In a reading of works by prominent art photographers of the last 20 years Bernd and Hilla BecherJeff WallAndreas GurskyThomas Demand among objecghood Fried asserts that concerns of anti-theatricality and absorption are central to the turn by recent photographers towards large-scale works “for the wall. From Wikipedia, the free encyclopedia.