| Volltext: | INDEX Abstract Expressionism, 91, 131; Rauschenberg and, 128-29; and subject enunciation, 152 Abstractionism, 46, 53, 63-64, 69, 89, 94, 95-97, 1 74-75n85, 177n3, 181 n40; and autonomy, 53, 89; Cézanne and, 44, 45, 76; early twentieth-century, 37; formalism and, 83-85; forms of, 76-77; Greenberg and, 87-89; Henning's views, 180n24; modernism and, 61-62; and subject enunciation, 151-53 Abstractionists, Happenings and, 187n36 Abstract modernism, and enunciation of subject, 144 Acconci, Vito, 135-37; Bitemarks, 136, 137; Hand to Mouth, 136 Albers, Josef, 96 Anamorphic images, 188n48 Andre, Carl, 132 Anonymity of artist, Baudelaire and, 11-12 Apollinaire, Guillaume, 47, 48, 50, 78 Appropriation of image, 1 39^10 Art: as industry, 134; least condition for, 131 ; as object, 100 Art criticism, 2-3, 60 Art history, 3^1; ideology and, 5 Artist, 6, 108, 109, 123; authorship of, 119-33; as cultural construction, 124; as function, 1 22; individuality of, avant-garde view, 125; as producing subject, 109-10, 112-41 Art objects, value of, 62-63, 94 Atget, Eugene, 169n26 Aurier, George, 70 Authorship, artistic, 124-31; deconstruction of, 131-33; Duchamp and, 119-23 Autonomy: abstraction and, 89; of 192 Index Autonomy (Continued) artist, 113; critical, 64; of modern art, 167n7; of object, 63-64, 66-69, 106-7; of subject, 143 —of image, 37, 38, 39, 44-45, 53, 79, 95, 97-98; abstraction and, 81, 83; Cubism and, 46-48; formalist criticism and, 65-69; Fried's ideas, 92; Fry and, 71-73; Krauss and, 93 Avant-garde, 2, 4, 88; aesthetic autonomy and, 97-98; and artistic authorship, 124; and artistic subjectivity, 125; Clark's views, 89; demise of, 163; Greenberg and, 85-87, 182n42 Bare white canvases, Rauschenberg and, 129-30 Barr, Alfred, 3, 61, 62, 66, 82-84; "What Is Modern Painting" 83 Barry, Judith, 156-57; Casual Shopper, 157; First/Third, 157; Vam pry, 157 Barthes, Roland, 119, 124, 126, 137,145; "What Is an Author?" 127 Baudelaire, Charles, 9-17, 60; Benjamin and, 17-23; "The Modern Public and Photography" 9, 12; "The Painter of Modern Life" 9-1 7, 19, 24; and photography, 2; views on cosmetics, 16—17 Baudrillard, Jean, 57, 59, 157 Bell, Clive, 3,45,62,68, 75, 76; "The Debt to Cézanne" 75 Benjamin, Walter, 17-23, 26, 124-27; arcades project, 21 ; "Author as Producer" 124-25; and film, 126; "Paris, Capital of the Nineteenth Century" 20; "On Some Motifs in Baudelaire" 18, 19, 26; views on daily newspaper, 1 70n38; "The Work of Art in the Age of Mechanical Reproduction" 138-39 Benveniste, Emile, 145 Berger, John, 48, 112; Success and Failure of Picasso, 114, 118-19 Bergson, Henri, 20, 22 Bernard, Emile, letter from Cézanne, 70 Bill, Max, 97 Black canvases, Rauschenberg and, 129, 130 Bladen, Ron, 132, 155 Body of artist, presence of, 135-37 Boggs, J. G. S., 105, 106 Bois, Yves-Alain, 4 Braque, Georges, 47, 48, 78 Brecht, Bertolt, 125-26 Bryson, Norman, 4 Burgin, Victor, 3 Capitalism, 109; Benjamin's views, 18, 20, 22, 169n28; minimalism and, 133; and representation, Debord's idea, 52-53 Cassatt, Mary, 33, 36; At the Opera, 34; Pollock's views, 34-35; Woman Bathing, 36 Censorship, photography and, 22-23 Cézanne, Paul, 37, 38, 42, 43-46, 62, 70, 96, 174nn77, 83, 175n88; The Bathers, 1 79n18; Bell and, 75-76; Denis' view, 69-70; and formalist modernism, 74; Fry and, 71-74; and nature, 73; sensibility of, 68 Clark, Timothy J., 3, 25, 27-32; "Clement Greenberg's Theory of Art" 89; The Painting of Modern Life, 28 Classicism, 51 Index 193 Class relations, impressionist works and, in Clark's view, 31 Collage: cubist, 46-53, 54, 147-48; and readymades, 140 Collins, Jim, 4 Composition, Seurat and, 39M0 Conceptual art, 122, 135-37 Cowie, Elizabeth, 145 Crary, Jonathan, 42; The Techniques of the Observer, 41 Criticism of modern art, 2-3, 60 Cross, Henri-Edmond, 40 Crowd interactions, image and, Benjamin's idea, 18, 21 Cubism, 37, 38, 46-53, 94, 96, 143, 146—48; Cézanne and, 74; critical rhetoric, 78-79; Picasso and, 115; Rauschenberg and, 55; and space, 54; symbolism and, 175n92 Cultural production of subjectivity, 124-31 Culture: art and, 163; Debord's model, 52-53; as ideology, Benjamin's view, 18 Currency, 1 76n108; art object as, 103 Dada, Rauschenberg and, 55 Dali, Salvador, 148-50, 189/160; The Great Paranoiac, 149 Daumier, Honoré, 11, 13 Debord, Guy, 50, 52-53; and spectacle, 54, 56, 57 Decentering of subject, 146-48 Degas, Hilaire Germain Edgar, 35, 36 de Kooning, Wilhelm, 88; Rauschenberg and, 129 Delaunay, Robert, 77, 94 Deleuze, Gilles, Anti-Oedipus, 151 Denis, Maurice, 64, 65, 67; and Cézanne's works, 69-71 ; "Definition of Neotraditionism" 68; and emotional realism, 68; and visual autonomy, 69 Derrida, Jacques, 4, 63, 93, 95; and formalism, 98-101; Of Grammatology, 98, 100-101 ; The Truth in Painting, 98-99, 101 Designation, as artistic function, 120, 121 Difference, notion of, 99 Dine, Jim, 187n36 Displacement of real, Cubism and, 50-52 Display, 19; as artistic function, 120, 121 ; Benjamin's ideas, 20 Doesburg, Theo van, 96-97 Domestic spaces, and modernity, 33-36 Duchamp, Marcel, 102-4, 105, 119-23, 125; Etant Donnés, 123; Three Standard Stoppages, 121 ; Tzanck Cheque, 103-4, 121 Duncan, Carol, 4 Endell, August, 79 Enunciated subject, 142, 143; abstraction and, 144, 151-53; cubist, 147; Dali and, 149 Enunciation, visual, 110-12, 141-43; of subject position, 1 52-53; as thematic focus, 155-57 Ephemerality, Baudelaire's ideas, 10-12, 1 7 Epinal work, 66 Espace, 6, 38, 39, 46, 81 ; Benjamin and, 23; Cézanne and, 44; Cubism and, 48, 52; and modernity, 37; Rauschenberg and, 55; Seurat and, 41,42-43 Evans, Walker, 1 38 194 Index Experience, 6; Benjamin's ideas, 18, 20, 21 ; philosophy and, 19-20; and representation, in Debord's view, 52-53; shared, modernity and, 13-14; of space, gender differences, 35 Expressionism, 88; and space, 54 Fabrication, 131, 133-34, 136, 137 Fashion: Baudelaire's ideas, 10, 15; Benjamin's views, 20 Female models, Picasso and, 116-19 Femininity, Baudelaire and, 14 Feminism: and Lacanian psychoanalysis, 190n71 ; and modernism, 27, 32-36, 158; and representation, 145; and women artists, 186n21 ; see also Women Fénéon, Félix, 40-41,42 Figuration, repression of, Greenberg and, 88-89 Flaneur, painter as, 13-14, 16, 21, 32 Flatness of modernist works, 65; Greenberg and, 87-88 Form: in abstract art, 97-98; and ideology, 163; image as, 90; as volume, Cézanne and, 70 Formalism, 2, 4, 5, 63; and abstraction, 84-85; of Fried, 90-92, 93; of Fry, 72-73; Greenberg and, 86-88, 90; of Halley's works, 57-58; of Krauss, 93; Mallarmé and, 67; and modernism, 98-100; and pictorial self-sufficiency, 95; and politics, 1 73n63; and subjectivity, 110; Zola and, 66 Formalist criticism, 61-63; transformation of, 63-107 Foucault, Michel, 109, 114, 119, 1 24, 126, 145; "The Death of the Author" 127-28; and Picasso's Velazquez adaptations, 142 Fracturing of space, 146-47 Frame: and espace, 40; function of, 67, 69; parergon concept, 99-101 ; permeability of, 96 Frascina, Francis, 4, 57 Freud, Sigmund, 111, 145 Fried, Michael, 3, 90-93, 99; "Art and Objecthood" 91, 153-55; and minimalist sculpture, 132; "Three American Painters" 91 Fry, Roger, 3, 44, 45, 62, 68; "Art and Life" 74; and Cézanne, 76; "Essay in Aesthetics" 71-74; formalism of, 98; and formalist criticism, 71-75; Fried and, 90 Gauguin, Paul, 37, 64, 70, 174n85, 175n92, 178n6, 1 79nn12, 1 7; sensibility of, 68 Gender: Duchamp and, 122-23; and modern art, 171 n51, 172n55; psychoanalysis and, 190nn70, 71 ; and subjectivity, 145 Gender bias: of Baudelaire's ideas, 14-16; of modernity, feminist views, 32-34 Gender positions, 158-61 Genius, 124; myth of, 113, 118-19; Picasso and, 112, 114; transcendent, 109 Gesture of artist, 131, 135; Duchamp and, 1 20, 121 ; by Rauschenberg, 128-30 Gleizes, Albert, 47; "Cubism" 49-50 Golding, John, 46 Graham, Dan, 155-56; "Present Continuous Past(s)" 156 Greenberg, Clement, 2-5, 61,62, Index 195 66, 74, 76, 82, 84-85, 93; "Avant-Garde and Kitsch" 84, 86; and Cézanne, 43, 45; Clark's views of, 89; and Cubism, 48; formalism of, 90, 98; and history of modern art, 94; and Manet, 65; "Modernist Painting" 2, 85, 87-88; "Towards a Newer Lao-coön" 2, 84, 86 Guattari, Felix, Anti-Oedipus, 151 Guys, Constantin, 9, 11, 13-1 7, 23; Baudelaire and, 10, 14-17; Benjamin and, 22; "Meeting in the Park" 14 Haacke, Hans, 189n66 Hall, Stuart, 4 Halley, Peter, 57-58 Happenings, 187n36 Harnett, William, 147 Haussmann, Georges-Eugène, Baron, 28, 29 Heath, Stephen, 145 Hebdige, Dick, 4 Henning, Edward, and abstraction, 180n24 Henry, Charles, 41 Herbert, Robert, 25, 42 High modernism, 4, 99 History: production of, Barry and, 157 —of modernism, 97-98; Barr and, 82-83; Foucault and, 128; rewriting of, 62 Huelback, Friedrich, 156 Huysmans, J. K. L., 67 Huyssen, Andreas, 4 Identification, 144; with image, 151-52 Identity: of artist, 109; artistic, Duchamp and, 120; gender and, 158; individual, of artist, 113; self-representation and, 10; of work, Fried's ideas, 92 Ideology: and aesthetics, 1 73r?63; culture as, Benjamin's view, 18; images and, 28; space and, 19, 20 Image: Baudrillard and, 59; Benjamin's ideas, 18, 19, 20-23; cubist, 147; displacement of real, 50-52; as domain of the real, 53; as form, 90; function of, 42, 184n5; gender categories as, 15; Manet and, 39; of modernity, construction of, 9-13, 16; as object, 96; psychoanalysis and, 111 ; and spectacle, 53, 56; as surface, 38; and visual experience, 45 —autonomy of, 37, 38, 39, 44-45, 53, 79, 95, 97-98; abstraction and, 81,83; Cubism and, 46-48; formalist criticism and, 65-69; Fried's ideas, 92; Fry and, 71-73; Krauss and, 93 Imaginary, Lacan's concept, 188n56 Immanence, in abstraction, 77-78 Impressionism, 37; Bell's views, 75-76; Clark and, 28-32, 171 n48; Individualism, 109; Marxism and, 124; repression of, 131 Individuality: avant-garde views, 126-27; Foucault's view, 128 Installations, 1 57 Intervention, art as, 127, 1 56 Involuntary memory, Bergson's model, 20 Jakobson, Roman, 145 Jameson, Frederic, 4, 151, 157 Johns, Jasper, 53-57, 91,99-100, 134-35; Flag, 54, 56 196 Index Judd, Donald, 153, 155; "Specific Objects" 131-34; Untitled, 155 Kahnweiler, Daniel, 49 Kandinsky, Wassily, 65, 68, 76, 79-80, 83, 84, 94, 96, 152, 1 78n6; Concerning the Spiritual in Art, 79; Painting #201, 152; Point and Line to Plane, 79 Kant, Immanuel, 99 Kelly, Mary, 4, 135; "Re-viewing Modernist Criticism" 131 Kitsch, 86, 106 Klee, Paul, 68, 83 Klein, Yves, 104-5 Koons, Jeff, 105-6 Kozloff, Max, 48 Krauss, Rosalind, 3, 4, 99; "Grids" 93 Kristeva, Julia, 97, 109 Kruger, Barbara, 159-61 ; I Shop Therefore I Am, 160 Kupka, Franz, 77, 81 Lacan, Jacques, 111, 145; concept of the imaginary, 188n56; and subject production, 144; and women, 190n71 Lacanian psychoanalysis, and subject, 143 Language, psychonalytic view, 111 Larionov, Mikhail, 77, 78, 81 Levine, Sherrie, 137-40 Lewitt, Sol, 132 Lhose, Richard, 97 Lichtenstein, Roy, brush mark paintings, 187n34 Linguistics, enunciation concept, 110-12 Linker, Kate, "Representation and Sexuality" 158 Lissitzky, Lazar El, The Constructor, 126 Lyric poetry, Benjamin's views, 169n28 MacDonald-Wright, Stanton, 77, 78, 81, 97 Malevich, Kasimir, 76, 94 Mallarmé, Stéphane, 64, 65, 67, 81 Manet, Edouard, 23-26, 28-29, 30, 39, 62, 178n8; The Bar at the Folies Bergère, 23-26, 146; Le Boulevard des Capucines, 30; L'Exposition Universelle de 1876, 28, 29; formalist criticism and, 65-67; Luncheon on the Grass, 23-26; Olympia, 65, 145-46; Pollock's view of, 32; and viewing subject, 145—46 Marin, Louis, 74 Marlboro Man image, 140-41 Marx, Karl, 124 Marxism: and cultural analysis, 19; and modernism, 18, 27-32 Mass culture, postwar, 56 Mass media, art and, 163 Mastery, 128; visual, 111 Materiality, 99; and imagery, 95; of signification, 96 Meaning, 100; production of, 94; source of, 98 Medium, resistance of, Greenberg's view, 86-87 Merleau-Ponty, Maurice, 92-93 Metzinger, Jean, 47; "Cubism" 49-50 Minimalism, 57, 131-34, 136-37; Fried and, 153-55 Modern Art: Kelley's view, 131 ; subjectivity and, 108 Modernism, 57, 123, 145-48, 167n8, 181 n38; abstraction and, 177n3; Benjamin and, 23; capi- Index 197 talist, 20; Cézanne and, 1 79n18; Clark's views, 89; codification of, 82; criticism of, 2-4; Denis and, 69; Duchamp and, 119-20; feminism and, 158; formalist, Cézanne and, 74-75; and formalist criticism, 61-63; Greenberg and, 87-88; history of, 3-4, 97-98; and identification, 144; of Manet, 65; nonfigurative abstraction and, 91 ; Picasso and, 114; Rauschenberg and, 128-29; as received tradition, 1-3, 27; reconceptualism of, 162-64; and representation, 5; Seurat and, 41, 174n82; space of, 6, 34-35; style categorization, 82; and subject, 184n4 Modernist, Baudelaire as, in Benjamin's view, 20 Modernity, 26-27, 93, 101, 167n8; Baudelaire and, 10-18; Benjamin and, 18, 23; Clark's views, 89; Cubism and, 50-51 ; feminist views, 32-36; formalist narrative, 97; and gender, 171 n51 ; Greenberg and, 86; Krauss' views, 93; Manet and, 65; and minimalism, 57; observation of, 16; photography and, 22; Picasso and, 116; and representation, 8-17; Seurat and, 43; space of, 60; spectacle of, 28-31,41 ; and subjectivity, 108-61 ; as urban space, 9-37 Modern life, 20, 23; images of, 12-13; representation of, 8-60 Mondrian, Piet, 77, 79-81, 94; "Plastic Art and Pure Plastic Art" 80 Monet, Claude, 173n66; Le Boulevard des Capucines, 30 Morisot, Berthe, 33, 35, 36; Pollock's views of, 34 Morris, Robert, 153, 154, 155 Mukarovsky, Jan, 94, 98 Mulvey, Laura, 145 Museum of Modern Art, 82 Nature: Cézanne and, 73; Denis' view, 67-68; Seurat and, 40 Negation, modernity and, Clark's idea, 89 Neoplasticism, 62, 80-81 Newman, Barnett, 88, 152, 153 Newman, Michael, 4 "The New Plastic in Painting" Mondrian, 80 Noland, Kenneth, 90, 91 Nonfigurative abstraction, Fried and, 91 Nonobjective canvases, 76-77 Object: art work as, 47, 50-51, 102, 153; autonomy of, 63; boundedness of, 101 ; ontology of, 6, 61-107; production of, 107; readings of, 100; self-sufficient, 94; woman as, 158-59 Oldenburg, Claes, 187n36 Olitski, Jules, 90, 91 Ontology of object, 6, 61-107 Originality, 113, 128; impossibility of, 137-41 Orphic Cubism, 62, 77, 81 Orton, Fred, 135 Owens, Craig, 139-40 Painters, women as, 33-36 Painting, and construction of modernity, 9-10 Paradigmatic artist, Picasso as, 112-19 Paranoiac hallucination, Dali and, 148-50 Parergon concept, 99-101 198 Index Paris: modernism and, 18; nineteenth- century images of, 27-32; representation of, 52 Peeters, Clara, 147 Perception, 95; Cubism and, 96 Performance art, 135-37; of Graham, 155-56 Perloff, Marjorie, 4 Perspectival space, 188n46; and identification, 144 Photography: Baudelaire and, 9, 12-13; Benjamin and, 22, 26, 138-39, 171 n43; Manet's paintings and, 25 Picasso, Pablo, 49, 67, 78, 102-5, 138; adaptations of Las Meninas (Velazquez), 114-16, 142; Demoiselles, 11 7, 148; Girl Before a Mirror, 116-17; as paradigmatic artist, 112-19; Still Life with Chair Caning, 46, 47-51, 54, 147-48; Woman with a Fan, 117, 118 Pictorial self-sufficiency, 90, 94, 95, 97-98, 99 Plastic form, Mondrian's ideas, 80 Pointillism, 43 Point of view, 111-12 Politics, art and, 163; abstract art and, 85-89, 97-98; Benjamin's view, 124-25 Pollock, Griselda, 4, 27, 32-36, 112-13, 171n51 Pollock, Jackson, 88, 91, 122 Pop Art, 91, 134-35 Postimpressionism, 48, 95-96; Cubism and, 46—47 Postmodernism, 3, 106, 158, 162; and value, 105-6 Postpainterly abstraction, 91 Poststructuralist criticism, 109; and formalism, 62 Power: gender and, 160-61 ; structure of, 115 Presence, visual, 76-81,94, 180n23; Fried's idea, 90, 92, 154; Greenberg and, 87; Krauss' ideas, 93; metaphysics of, 99-100 Presentation, Cubism and, 47, 49, 96 Presentational art, 78-79 Presentness, Fried's idea, 154 Preziosi, Donald, 97 Prince, Richard, 137-38, 140-41 Produced subject, 143; viewer as, 110, 141-61 Producing subject, artist as, 108, 109-10, 112-41, 141 Production of images, Benjamin's ideas, 20-21 Production of painting, abstraction and, 91 Prostitutes, images of, 15-16 Psychoanalysis: and cultural analysis, 19; and subjectivity, 108-11, 143, 184n4 Public spaces, and gender images, 15-16 Rauschenberg, Robert, 53-57, 91, 128-31,140; and artistic authority, 128; Charlene, 55; collages of, 150-51 ; Factum I and II, 150-51 ; Reservoir, 55; Retroactive I, 150 Rayonism, 77, 81,95 Readymades, 140; Duchamp and, 121, 122 Reality, Mondrian's ideas, 80-81 Received tradition, modernism as, 1-3; reworking of, 27,162-64 Redon, Odilon, 64, 175n92, 178n6 Reification, Cubism and, 49 Renoir, Pierre Auguste, 31, 36 Index 199 Rephotographing, 138-40 Representation, 4-6, 60, 137, 140; abstraction and, 81, 95; autonomy of, 44-45; avant-garde and, 125; Bell's views, 75; Benjamin and, 18-20; and class divisions, 31-32; Cubism and, 78; experience and, in Debord's view, 52-53; formalist criticism and, 67, 76; fragmentation of, 146-48; Fry's ideas, 71-72; function of, 6; gender and, 34-35, 158; Greenberg and, 88, 182n43; modernism and, 2; and modernity, 8-1 7; psychoanalysis and, 111, 118; of space, 37; subjectivity and, 108-9, 110, 142 Representational space, see Espace Reverdy, Pierre, 47, 78-79 Rewald, John, 41,42 Rodchenko, Alexsander, 138 Role of artist, 138, 141 ; avant-garde view, 125; Lissitzky and, 126; in minimalism, 132 Romanticism, 51 ; Bell and, 75 Rorimer, Anne, 156 Rose, Jacqueline, 143 Rosier, Martha, 188n45 Rothko, Mark, 88, 91, 152-53 Russell, John, 42 Russian Suprematism, 62 Saussure, Ferdinand de, 87 Schapiro, Meyer, 28, 42, 82, 114, 117-18 Schizophrenic subject, 150-51, 157 Science; Fry and, 74; Seurat and, 174n77; and visual experience, 41 Sculpture: Fried's view of, 92; minimalist, 131-34, 153-55 Sélavy, Rrose, 122 Self, 110; artist as, 113-14, 118-19 Self-creation, painting as, 116-18 Self-definition, Kruger and, 160 Self-production: performance art as, 137; Sherman and, 159 Self-sufficiency, pictorial, 94, 95, 97-98 Serra, Richard, 132, 155; Tilted Arc, 155 Seuphor, Michel, 61,66, 82 Seurat, Georges, 37, 38—43, 173n64, 174nn76, 77, 82; Le Cirque, 40, 42; and espace, 46; Grand Jatte, 40; The Parade, 40 Sherman, Cindy, 158-59; Untitled Film Stills, 1 59 Shock, Benjamin's idea, 18-21, 27; in Manet's painting, 26 Signature, function of, Duchamp and, 120-22 Significant form, Bell's idea, 75-76 Signification, Derrida and, 100-101 Silverman, Kaja, 143 Simulacrum: Baudrillard's idea, 57, 59-60; Halley's work and, 58-59 Situationists, 52 Social change, art and, 28; avant-garde views, 125, 127; Benjamin's view, 127 Social space, 8-9; of modernity, 10 Solomon-Godeau, Abigail, 138 Space: Benjamin's ideas, 19; Cézanne and, 43^14; concepts of, 6, 60; elimination of, 54-55; fashion and, 10; fragmentation of, 146-48, 150; and gender images, 15-16; Greenberg and, 88; Impressionist painting and, 29-30; in Manet's works, 24-26; 200 Index Space (Continued) modernism and, 6; perspectival ordering of, 188n46; Pollock's ideas, 33-34; representation of, 8-9, 37; of simulacrum, 58-59 Spectacle: image and, 45, 53, 54; Johns' work and, 54; modernity and, 28-31,41 ; simulacrum and, 60; society of, Debord's idea, 52-53, 56-57 Spectator position, abstraction and, 152 Spectatorship, 41 ; vampiristic subject and, 157 Split subject of modernism, 184n4 Stella, Frank, 58, 90,91,92, 99-100; The Marriage of Reason and Squalor, 92 Still, Clyfford, 152, 153 Structural linguistics, 178n5; and produced subject concept, 143 Subject: in Cubism, 78; decentering of, 146-48; enunciated, 141-42; fragmentation of, 150; image and, in Benjamin's view, 23; modernity and, 101 ; split, of modernism, 184n4; as viewer, 110-12 Subjectivity, 6, 138; cultural production of, 124-31; gender and, 158-59,190n71 ; Marxist idea, 124; minimalism and, 133; and modernity, 108-61; Rauschenberg and, 128; theatrical ization of, 153-55 Subject matter in abstraction, 83-84 Subject positions, 108, 112; enunciated, 142 Subject production, processes of, 144-45 Surface, 96; construction of, Seurat and, 39-40; Greenberg and, 87; as image, 38 Surrealism, 122, 149-50, 169r 26, 176n109 Suturing process, 112 Symbolist art, 64, 95, 96, 175n92, 178n6 Symbolist painters, 43, 48, 51 ; sensibility of, 68 Synchromism, 81,95 Tagg, John, 4 Theatricality, 132, 153-55; Graham and, 156 Tradition: codification of, 3; Manet's Luncheon on the Grass and, 24-25; modernism as, 1 Transcendent genius, 109, 124, 141 Transgression, value and, 103, - 106 "True" experience, 19; Bergson's view of, 22 Truth, visual, 38-39, 41^15; Picasso and, 49 Unified subject, 142, 143; abstraction and, 152 Urban space, modernity as, 9-37 Urinal exhibited by Duchamp, 120-21 Valery, Paul, 38 Value of art works, 62-63, 66-67, 94, 102-7; formalist critics and, 76 Vampiristic subject, 156-57 Van Gogh, Vincent, The Outskirts of Paris, 30 Velazquez, Diego, Las Meninas, Picasso's adaptations, 114-16, 142 Video art, 156-57 Viewer: minimalist sculpture and, Index 201 153-55 —as subject, 108, 109, 110-12, 141-61 ; Duchamps and, 123; gender and, 158; in Graham's work, 156 Viewing subject, production of, 112 Visual art, 61-62; and ideology, 6; and subjectivity, 108 Visual experience: Benjamin's idea, 21 ; Seurat and, 41 Visual images, 27-28; and representation of space, 8-9 Visual object: autonomy of, 66-69; value of, 63 Visual truth, Cézanne and, 44, 96 Warhol, Andy, 104, 105, 134 Warhol Factory, 134 Weston, Edward, 138, 139-40 Wodiczko, Kryzsztof, 189n66 Women: Baudelaire's ideas, 14-16; objectification of, 158-59; as painters, 33-35, 36; psychoanalysis and, 190nn70, 71 ; see also Feminism Worringer, Wilhelm, Abstraction and Empathy, 82-83 Zola, Emile, 65, 66 |
