Art in Theory 1900-1990 An Anthology of Changing Ideas Edited by Charles Harrison and Paul WoodInduction, ton weer mate copyright © Ces Haron Pad Wood 192 pbs 1992 rat plated a USA 1993 ‘Repel 193 (ee ine, 1994, 1985, 1996 0) 1997, 198, 1989 ie). ‘lake Publis ad Tom Coley Rod Onfod OR UF, UK BlackvelPbliher in 550 Man See Maiden Masha 02148, USA Al is sere Except he gna of shor usages forthe purposes {testctn sn rven to prt fs piconets ‘Steere ptm, o amid ay frm oy ny meas stole, ‘ech phorpying orig or ober without he pr prmisin| he pober xcept inte Used Stes of Ameri, esk sald subjeto ie coniton frist nu by wy of rade or terse, een resid ot or iets wiboot pbb’ pr cnn ny frm of ada reover oct tinct plated wa wot mae onion. Inching his conion being ingot on te when phe. rsh Libary Cataloguing nPubeton Data [XCiPetogue sd or his bank aula fom he Bish Libary Lira of Congress Ctging Publication Dat ‘atin ay, 19001090 Feed by Charles Haro ed Pol Wood pete alee boggles an ine Foon" tesns# (pt site pape) [a Modes 2 crtan = Peso. {Maron hare, 1942 1 Wood, aa 1988 Neaso.anist 192 om “ype in 100 12 ade {yar Tah Caran, once nda yi nd Bont Gre Beta 1 eran Li, Pad Cara ‘hiebook prin on se paper Summary of Contents The Legacy of Symbolism oT A Goes dri IL The lea ofthe Madera World ws Rationalization ad Transformation as 1h Neola an the Cal 0 One a 1 Diss and ser m6 Abwoncoon and Far ae Ua ad Contrctan Sos IV Freedom, Responsiaty and Power a (Rea a tig 1 Moser 8 Ctgve “7 The nda! and the Social se "The American Anata ss VW Modernization and Moderism a Wi nsttuons and Objections 0s ‘A Objathon and Reducti ms 3 Seas For i € hata Ace oH 1 tdeas ofthe Postmodern ws C Figur of ites toseContents Geral traduction | The Legacy of Symbolism a Cation and Origa Teale de Wyrens from Engler Dela 0 Newbie 189 Pl Gein Ceo Foi 199 ‘re Wenge ftom Ser onf Chere 193 Maurce Den Gate Roger Po) ‘conn 190, om Garin and van Gogh to NenChaicin’ 1909 Jee Meter 'Mynery and Cheon! 191 Espresion andthe Primitive » »si Contents 5 Pim Ladi Kite rope fhe re 1906 4 Mikel Woes ro tho ed Epa 1908 6 Roger Fr An Ts Ate 1908 The "Snopes" of Gemany and Te Pitre 1912 “On he Nee of Vion 1612 1 Meuaner Shree 1 Beneda Cre 15 hee Ba 1 The dea ofthe Modern World 14 Masenty "The Meola Mel Lf 1902-3 Actin andthe Spt of Capi 1904-5 3 Mir ich Lei at Orn Pry Lert 1908 fom Crate Foes 1987 §Alender at 6 Popo Tomas nes Contents th Cerin Ry oP Ping 9 Pero 14 ve moyen Pig 1914 frm In These Gres Tn’ 114 ren eatin: The New Ran Puig Me Cabin 1 fo Mae 2 Guile Spline The Catia 1 3 Gate Spline “On the Sub in Modes Pvt’ 112 4 Gaile Rpotine “The New Panag it Note 112 5) Goitone Aptis ‘fom The Cb Pee 912 6 Jugue ee ‘rset Teneni aPaiig 1912 2 Aber Glee snd Jan Menge “The Origin 0 Puinig an is Rerenttinal Vl 15 “The Baro the New Grn 113 10 Daniteny Kaecier 4 eT fC 8-28 “Pe Spi 123 | Rationalization and Transformation US NewClaicom ond the Call te Onder 4 os1 contents 2 Gaitume Apatinive “The New Spt the Pes 118 3 Owald Speer, ‘om Ta Dei 5 Lene Roweber “Trai and Cate 1919 “The Rear fhe Craft 119 7 Ca ent LC) nd Ame Oa ‘On Rape 120 1M Jum Grin ely» Qesonie 121 Dinent and Dieder ‘Due Mane 91 1908 5 Ricard Hockenbect ad Rao! Hasina ‘Wu Dua and hat dc sn Ges” 118719 Dra Mane 118 and‘ 9) Sovenberarnte Option ‘Spenkater ihe Nowmberpumpe 2b A Rs ts Ki Quine 19 ‘reve Crd! 198-20 1 Max Pade ‘rete Cr! 190, Whe Was Ey Fy ey a a a Contents 38 Whe Abiracton and Form 2 Nir sibs 3 Dest 4 Thon san Deeb trom Pip NPA 915-25, 5 Ber Monon ‘Dore on the New Pai 1919 Neato the Genel Price of Plc Bieee 120-21 ‘NenObjetve An and Suprema 191 The Destin nar te 920 9 Naum Gat don Peer “The Rec Masa vw UNovis “Proamime of Unted Nadine in Paige Vib Ste Fre 1 Manly Kandy "Ph forthe Phscopmcholp Deparment of the Ruan Aces of Ae Seer: 3 2 Ets ‘and Panga 125 Mo Chitty and Contraction ‘rare Deli’ 119 Miles Tain he nnn lvl inthe Galen’ 1919 Canoga Stat 1919 Sheen inn rapa 3031 “ee ting Group af Camsresvi’ 022 m aoContents The Soll ortal Met” 1923, “ram Pre Cale ria 1924 1 sin Tain "Repro he Sesion Gr Mail Care's Reseach Wes 1924 IV. Freedom, Responsibility and Power WA The Madras Heat 1 Water Grpie "he The a Onan othe Baus’ 123 frm On Made 1924 from Faas f Maen Ae 1928 5) am Holman ‘On the Ao Ar? 1931 6 ReninerCrson dor Semen 192 and 1933, ‘Soaemene 132 a 1935, Niet Bu fhm Conrad Ahra 1936 Strcmen Tein 136 w Naum Gate The Conarctine Me ia An 1957 15 Ancram Abert Aris "Os Inventing Our Own 1938 ‘Soom Ast Ae 194 10 Rowlin a Fgratin ma a wa a8 m 0 Conan at ‘Dect 1922 The meine Tots 0 AKBRR' 1926 5 Rel Geo Ne 1924 7 ARBRD tise) 10 Goo Laks ‘Dacre onthe Reconstruction of Literary and Artic Oreaiatins 1952 12 John esd Cah New Yer, ‘ra an 1952 "he Revlationey Spc in Modern Art 1952 16 Mae Son ‘Manito of Mort Pang 1933 15: Ani Zhan ‘Spec the Cones af Sve Wee 198¢ 1 Dad A Signer ie 4 Trmtrmaion of he Pale Ar 1936 ‘Atte Ping ers Cnc Arata trom Re gun he Cy 1988 19. Fanos Klioeser 20 Aas ser 1c Realm at rie ‘ect of he Bar de RehehsSre? 138 cl nd Ahi rine 1622 # ge e398 aComers itm he Sco Nani of Sarto 199 (Gee Grn and Win Herele We oe Seng’ a We Rae the Alar’ 127 Sepfies Kecaer from The Mae Oman 192, ‘ote (Anco frie Lato) Tom Marto and he Pinphy of Langue 128 Vr “tl Dinan” 199-8 Leer eo Ger Stem upland Rin 938 end Lage "The New Hem Goes Ox 196 Nb Mader a Gog simi Masih ‘bo Te Reva A 198 "The Sa Bs of Ae 1956 Jin Natty Fn tech anion 198 The Work of At the Age af Mechs Repro’ 1936 “Teer Aer a ” 1 Chen Grebe The Individual and the Social, 2 Jaan Pal Arewr 4 Question 144 41 Aliph Gong sl Mar Rohe wth Barnet Newman Seem 196 arnt Newman “The Deine of Cabo? 1948 10 Bier Neon 11 jon Polk ftom The Amen Aton Pere 1982 1s Gato Sa Va Inddualon in Europe 1 JemPat Sete 2 Jem Date ‘wen 2 Jee batter coments a8 cy ss on m soso Contes 5 ie Seach er he Ale 188 (6 Simul Behr and Ganges Dac tram Thr Dues 19 2 i Paseo Farman ofthe Funin ofthe 1989 8 Jems! oe hvaran an eco in Camera 18 cin nthe Satctes Fig nd Fans of Athens Gis 181 Ve Ar and Society “Open Opn on Paine 1982 4 Rabe Matera "Whe Jed the Camas Pa” 196 “The esis wf Wt Wil Emerge Te hi Ope” 14778 1 Aes Jam os 8 «0 {rom Te Copan Revd 189 15 Me At Slips ‘The Pls of Fon 50 ‘ed, Bre "Eeaumc Supyr At Ania ay’ 1953 v Modernization and Modernism VIN te and Maser Life Grr Ost ‘Weng fom he Suton lta 1957-6 Fhe Aran the Mae Med 154 The New Resi 1950 5 jun Ce © Jape Jame : Contents avest Contents 1 Roy Leena Lec te alge Art Aston 1964 16 Gece Kab fom Pa Sap of Time 1962 1S: Mast Mel ban tho Cadomantag Meds 1984 1 Tony Smith fi nee wih Samuel Wap e168 ‘VIN Modern Ae 2 Das Smut aon a iy” 1959 2 Meo Mero {ion Eye and Min’ 1961 4 Ghent Grebe. ‘Marit Puig 96-65 5 Theater Anns Inuren it Doty Gee Seer 196 7 Ghent Gender from Aer Abc Exprewionn” 1962 Nha red from Pr nro Paine 1965 fo Shape Form: Fran Sts New Panag? 1966 10 oles Ob ‘Panne Cal 1967 Shai Ce 12 Willa Tare a Ti Sex mefetnson Ser 183 1 Raturd Wale The Work of ra Ojo 1970 VI Insitutions and Objections Vile Oba ond Redaccim Sonne Leta 1950 2 Fn Sel Fras Lesr 1950-40 2 Aa Reba ™ 10 4 Dama Jo ‘Spa Objet 7 Stewie 10 se Rosth Atlee Php 69 11 Das Hatem Oar Now, Michel Parent, Nike Tne Senne 197 Vite Acie 0 Frm ir Sh 197 2 Robert Sohn i Se Bond Ob 44 ri rticton wo Lana 198 Sinemet 9 Jobe Murph Sons Stent fir ‘When Aes Boome Farm’ 198 9 Germano Gaet 10 Joep Bess Not fot 1 Fe Are Cle Dut Ese’ 1972 YMG Polat pecs 2 nine 4 HONE Ais nd Pi: yp Conan ss soThe At Mate: Anse nd Deaton’ 175 $Me een 7 ltt Langage 6 VItD Creal Reins icine osee tom Of Cooma 167 2 Mad Posau Fo Wey and a Se Apts 970 fers = 1960 (70 int own Roca! Kenoe 9 Jem Botts 10 Joie kraees From inl Plate and Nartive Chem 197/75 1 Free enn fem eens on she sbi Debate 197 z Contents a it deas of the Postmodern oem es eennrs ecpecaaee 1 osph Bee, Jamis Kemcle, Anat ter Ete Gai from The Catal Hara Trap te Eaepen Cannes 1985 9 Gotrd Reber so Earn wit Desi asi 986 IMS The Critique of Onna 1 Jen Basi 2 Chg Ovens ” | Ram Alegria lope: Tals 4 The f Pes’ 198 fe The ie fe Aa Ge 5) Shi Lecn ‘Seren 182 i Lanege ‘Notte ad Gare! 1988 9 rade Janson “The Deca of Expesin 184 10 Hem Such el Roney See Levine, Philip Ta, Pate Ha. onvs Contents 1 tie Kester ve Fo ire + See * Screens ie Mate Py ad Bld Ping 168 Bogrnhs Cony caonineen a re Acknowledgements (ue fremosethanks gp to thse numerous authors and cpyrght-hlders who hve permite ust repradce the teste ere ctude, hd oe heh whee tre hme felt the need to-do. We are als indbd tothe tanslifrs and ‘ltrs of more pes antolgis who hase been most genrou a making Iter saale tos, We have met 20 Ute resitance to bur reqs that treat own the cletion a ands aan acearte prot of or itennon. ‘This isto sy that within the limite of what could be comand in» single Solum, snd of what me cold ace within the tine at our dspostl his Book ny sepesents the sbetance of ur contrations and the nature of out sreenen Th the lng task of tracing and comping materi we hae benefited grey from the aie and sntance offends and colleagues the Open Univers tnd chewhere We woul hte purity to thank Stephen Bunn. David atcha, Tim Benn, Aathony Caso, Thomas Crm, Trish Eva, Bron) ex, Tamar Gub, Roberta Give, Andrew Hemingvay,Roslind Kraus, Fred Orton, Gili Pers, asl Smith and Sarah Wilson, We would aa ke 10 ftpess our considerate grande ro Val Glenn fr her’ week tn tracing oprighthaer and secunng permissions, to Denise Powers fr her connie ‘hon co the typing of our manuscript, to Helen Dore fr metus steton to the task of copyediting and to Jane Raberaan, Manaping Etor for ‘Blackwell Publishes, for Leping the whale projet onthe alsA Note on the Presentation and Editing of Texts Where + poblshed dacument was origi given ke, this hs generally Been ‘set for the present publition, in single qustation mark. Tits of Soak re [Bren in talc, Whees specifi ube ncton of «document has been taken, this sublease forthe extract. The te ofthe whole nok ie then sven in be inrooction to that text In the absence of original pubes me Hive gen descriptive headings without quotation marke 'The term “rom Prosedng testis that me hve taken specifi extractor eats From ng fet, without cling to represent the argue! the whole Other texts ae given in thle entey o are edited oss tinct the argumest of the whole ris the sim of this anthology thet should be witeranging. We have therefore peter the couse of including « greater umber of teats of which ‘cera must appar in abeeviaed fom, tthe couse of preseting + small umber hor emt” Tests have Bee vara eed shorten hem 0 ‘mina references which canot be explied within the space valle, and Srhre necessary to preserve the flow of argument. We have provided information Zo the sources for ample versns of all ete texts We have bo ceely Irled where texts have Been sie, The folowing caventons have been sted eroughaut. Suspended points te ued to dene the oem of word pres within 4 seaence, Suspended points within square brakes". ae sed to denote amsions ‘rmison of tore than one puagaph and may denote exckion of complete Sibaiision ofthe oral text. should be noted that a paragraph Yay end tha [2 veer ifthe a sentence of that perapaph ome or i he folowing pra i ome. A prgraph may abo stare thus [=] (Pane for moresntnces athe beginning of that paragraph hate Seen mite, fi 1 previous parsgraph hasbeen emied Note and seterence have infeed where we jue them neery tw the text punted. That shore ea grester proportion of Des nthe ltr ‘Sct afte book i pel! seiunted fr by a ncresingtendeey duro ‘oot on resaraton ay the ner part of the canary for the theory of at to be teed a am scan Subject We have gene svelded the osertion afer oatnoes, but have Supp ese references inthe intodacions to individual teat ‘We have corecedtyposaphicl crore and eros of transcription white we Ise disnered thon tthe antbalogied tery bat otherwie we hase lef ‘Morgner of pancrstion,speling and syle unchangedIntroduction “Thea of his book i 0 gui the sant of modern art an the interested gencralteader with a subs apd representative collection of relevant texts Einen from 1 wide saney of autos, The Ierture of moder ae no ‘Soran + mnsive rewurce, bur i 4 resource which presets tsa Probl othe dent who oper o prof by fe The most immediatly cde [tthe i dificly of ace On the one hand the mae development of Src is ben coop business, wo that ie atendat theory has een ‘ended thro» number of diferent lngunes. On the eher the desire foments of that declpment have often een Tesred fom pbc ew, at They to be represen the priate leer or the ephemeral fural ss the rode manifesto othe pened oak. Wha this mais sha forall ee ‘howe equipped bath with considerable linguistic bites and withthe resourets ts jor bear, ody of the lertre of modern art hae neces been Fight elective, That there exits 3 prima fice ease fo a colton Such 36 the prevent ne bas been mae cet fou in Ou own diy nork of teeing {nd writing about ao the modern period. Ke hat asoringy Ber our intention toimpove agosto the Inert of acer at, bth by render the preset ‘mae more generals sabe to suds and by providing Indaton of the ‘ature and locaton of ther relevant pains. ‘OF evure there exit varios specail collections resid 10 patclar, ‘poverents of prin snd To thi extent urs has beh # sk of Stes ‘Neverthe, his heen an ambos underating, andi canst be expected thatthe otcome wil plese al people all ofthe tne, We are svar both that the uals of such an enterprise mast depend evi pon the principles, ‘akton a hur agresmen om sch pipes bythe very mature a he ‘jet hard to secre, Antone serhng to represent the theoreti chat OF toler art must adden tro dict and ineronnected questions. Bow is rodern art tobe defined and ho isthe flo e reane stress To De Siounmerbed To cider he extensive Hes and the extended story of Imodera a i imcapbly to fe the force of guetnes rasedit pracke, fuetone about the deinson of art ec and aut the ines of Jemarestion erwen ar and ha which art ot. Tes als canon qustans abou the ‘onsrucin of Neo ariiven, abou the incerts what sch sates2 odctn| maybe seen to serve andthe Linde of ecuson which they involv. And, most ‘clingy trom the pot of view of the present projec, sir to canon the {ntenreltionchip Verwecn the one set of qucttone and the ahr Between ‘rblens of definition and problems of histovi! organization. Any history af 2 mutt estblh or usume a frm of definoon of se, while any Binary of ‘modern at mus exablich ar sme 4 definon of modernity. Any adress to ‘hese problems will eve to animate 2 range of questions where to raw the line berwen thovry snd practi, where to divide at fram language or fam erature from pits snd 3008 Modernism and modern art (Our selection i not intended o rene hese problems. On the contrary, we ‘mean to suggest tht aekoovledgement of the opennest of « range of ope ‘vertons is conden of any competent stay of moder at ad of ts theory ‘Bat we cn o let be epic abow our Rizal parameter since these ate lang decided for us by the current sate of acebeoreial debate snd specially by that interest inthe ide ofthe Postadern which Is developed ‘ce thelr 1960 The period we hae aimed ta muve, then, coinies wth the lifespan of Modemism as 4 determining i gradually Jcaing value inthe ‘theory oat We therfore commence wth the end of the nineteenth entry, {caine when moder at mas bing widely advanced a form of dependent ‘altar, etl tering pon the Word secured nt by comnectons af ees Gr of satura, but by rte ofthe very independence ofits vals Art ‘Ss then proposed san exemplary realm. What might be done, sen expec ‘acd within thir ram would fave erica bearing ponte cual condone lsc exten, but only i fra at mana 4 moral dependence fiom dese condition, "This poston, whch cn be explicitly Henied with the rton of Mod crnimm, mat ever t9 go unopposed inthe development of madera. Specie Fail, it was to be maintained in tension with the arian commitments of Reais, acordng which the practice of at costes form af prtpation or itrsenion inthe social proces If this tension wae sonia it 8a ls) ‘bjt to comin adjustment At times during the twentith cety the So pstone appear reconcile At rave moments they sper vraly toc Side These aljstments are ot simply tobe reid tof the appesances of fc however Inthe hatry of modern at such commitment 0 moral sana fom orto intervention in wider for of ail fe have mt alae ocded sth the style forms of practice to shih prpagendiss af ath peruions ve fregently redo reduce them. Such supposed sntesee me Aoutacton' fd “representation have seldom been adegute to the tah of formulating ‘elvan ditintions among the determining comastments of male af, bow ‘er familiar they my fate become inthe Berar sefling erected round ceases 02: Invacuton 3 Should be clear, then that modern et cannot simpy be equated with Moderne. Rather ‘Moserism stands om the one Rand for 2 clater of ional independent sale astcated mith the prictic of moder at and fom the othe for spilt frm of ct rentuon of the moder ar be decisive Tn sying tha we sim to survey the Ierature of moder a daring fhe leapan of Modernism, her, we mein 10 seknowledge he histone Seiflcane of ths stem of Taher apd to st the vende? coming (0 fecopnize and to understand it, We mean alow alovwledge othe positon, Incading thse explicit hose to Movermam bath at practice and repre: For ou present purposes, one sigicat feature of Modernism sa form of representation tha fsrumes crn Lins of tlie betwen art and theory tune b vieuly synonymous with Modest ecm, the development of ‘modern art hs een “imanen to practic’ and ene 4 mater of thers Te flows that theaey must ainaye be ut Hc, either ithe sense ha here ‘orl a wor x hich tempt to alam ands recount tose devslapments hich ‘rctie har aed nied inthe seme that tear ie sapecved a form SF prvleged seg into the pencolog of practic as when the act oles {rerompective acount ofthe tenons behind sme already ached Boy of work “This sa potion ~ indeed an influential frm of theory in isl — which tends wo pegs the ast 5 ungesonable auth, and to coasign thea 0 ‘the apprstun of documentary aieation Bur af course aise 80 nox sways {do wha they Send, nor i what they sy they have done alnaye hat they hve done. From aother perspective representations are aleays bu out a rvlopments wikia an ongoing cll adn’ (Bary Barnes, Ines and ihe Growth of Kwoeleie, London, 197, p19. The functions of representation fre not oe explained interme ofthe itentons fan iia ator rather they cin onl propels Be unertood in terme ofthe objectives of some soa froup. Whether o tt alate aproprte of rearing ss day posible fe view any and ll works of ata presentations in his sense. Ihe meeings ff at ae tm coneived ss forms of soil and hore meaning thee ll Beat eancomitan sia what eames up forthe count a eevant theory. or itvenes we may find oureces paying less heed to aris confessonal” ene and mae tothe ciation of en inthe wild which ther peace Inhabie If hi ot» Relist view of theory, tf at lee Swe which Commensurate with some Rea rsiqas of Mera, Tso far our selection sive the eld af modern art during the crrener oF Modem, the, has seemed appropese to represen he tnionbetceh ‘hese reo wats ofconceting of thers evento esa his tension i or OF ‘iheraions "To speak general tern tthe thor of moder awe wld Seer rer fo Sd of Ste by he oma cao of