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Zusatztext "Brian O’Doherty’s precise scrutiny of this near-omnipresent mode of display—the result of a worldview in which the apparatus of exhibition was newly understood as itself the carrier of meaning—still retains disruptive power." Informationen zum Autor Brian O'Doherty , a.k.a. Patrick Ireland, is an artist and writer. His work has been shown in numerous galleries and museums in the United States and Europe. His books include Object and Idea and American Masters: The Voice and the Myth . Klappentext "These famous essays are as fresh and stimulating today as when they jumped off the pages of Artforum . Those who have not read Brian O'Doherty will relish his poetically phrased, elegantly written, and ironically tempered taunt to so many received notions about twentieth-century mainstream art."--Jan van der Marck, author of Arman " Inside the White Cube is a brilliant analysis of the sociological, economic, and aesthetic context within which we experience art. O'Doherty examines the critical relationships of context to content and with wit and irony exposes the myth of neutrality of the gallery or museum space. These essays mark a turning point in artistic perception."--Barbara Rose "Brian O'Doherty's Inside the White Cube has remained one of the most influential and oft-quoted statements of its time. With cogent critical analysis and shrewd wit, O'Doherty investigates how the gallery space, sequestering the spectator within an apparently timeless realm and before the pretense of the enshrined object, insidiously governs the viewer's consciousness, perception, and emotional response."--Howard N. Fox Zusammenfassung Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, the author raises the question of how artists must construe their work in relation to the gallery space and system. Inhaltsverzeichnis Acknowledgments Introduction by Thomas McEvilley I. Notes on the Gallery Space A Fable of Horizontal and Vertical ... Modernism ... The Properties of the Ideal Gallery ... The Salon ... The Easel Picture ... The Frame as Editor ... Photography . .. Impressionism . .. The Myth of the Picture Plane .. . Matisse .. . Hanging .. . The Picture Plane as Simile ... The Wall As Battleground and "Art" ... The Installation Shot ... II. The Eye and the Spectator Another Fable ... Five Blank Canvasses .. . Paint! Picture Plane! Objects ... Cubism and Collage ... Space ... The Spectator ... The Eye ... Schwitters's Merzbau . .. Schwitters's Performances .. . Happenings And Environments . .. Kienholz! Segal! Kaprow . .. Hanson! de Andrea ... Eye! Spectator! and Minimalism ... Paradoxes of Experience ... Conceptual and Body Art ... III. Context as Content The Knock at the Door ... Duchamp's Knock ... Ceilings ... 1.200 Bags of Coal . .. Gestures and Projects ... The Mile of String . . . Duchamp's "Body" .. . Hostility to the Audience ... The Artist and the Audience ... The Exclusive Space . . . The Seventies .. . The White Wall . . . The White Cube ... Modernist Man .. . The Utopian Artist ... Mondrian's Room ... Mondrian! Duchamp! Lissitzky ... IV. The Gallery as a Gesture Yves Klein's Le Vide ... Arman's Le Plein ... Warhol's Airborne Pillows ... Buren's Sealed Gallery ... Barry's Closed Gallery ... Les Levine's White Light ... The Christos' Wrapped Museum ... Afterword ...
