Foster's book Modernism, Antimodernism, and Postmodernism
Foster's book Modernism, Antimodernism, and Postmodernism serves as an excellent example of the breadth and complexity of art history. It is assumed that history is the study of artifacts as they are shown in the historical context of the development of art and its genre, design, and format. Paintings, sculptures, architectural designs, and other tiny works of art are examples of how art is represented. Connoisseurs, critics, and historians are the three categories of historical art that can be used to analyze how art has evolved. Art is a form of mechanizing life, where diverse fields of abstraction are pivotal in the understanding of art as seen during the Latin America Concrete Art exhibition (Foster).
Analysis
The author introduces this article with some form of historical contexts of art. The article presents an understanding embodying elementary abstractions of art with several examples of art representations given; paintings, sculptures etc. The article is well articulate with the author enticing readers to go back into those times of art and the resistant of it to change in the modern world. The article also indicates some form of scattering of the spiritual stance of man. The three divisions of the study of art generate thoughts, ideas, and thoughts on art (Foster).
Rosalind Krauss
Summary
Grid represents a distinct nature of art, which asserts that art can be traced back from France, Russia, and Holland. The grid provides a description of modern art, and as the will to silence which is hostile to narrative, literature, and discourse. He tries to bring a distinction between the art of vision and language, which has tried to wall visual arts into realms of visual art and defends against intrusions of speech. The grid describes art as a form that is impervious to change and is as important today as it used to be many years ago. The article further indicates that grid functions can be temporal or spatial, in which case both are results of aesthetic decree (Krauss).
Analysis
Looking at this article, the author is clear in what he tries to distinguish, the nature, pattern, genre, and the format in which art is presented in the modern times. He asserts that, on the temporal dimension, a grid, which is an emblem of modernity, is just ubiquitous in arts of the current century, which is just nowhere at all. What the author tries to figure out is the chain of reactions leading to the modern nature of art (Krauss).
Juan Ledezma
Summary
Exhibition provides visual formation of different objects or things that exist and can be used to present art in a manner people are brought together during the exhibition. Thus, it is a communal integrative form of art in the form of sight. Exhibition presents the signs of the universal order that inform all existing things and redeploys them on the basis of the principles of form, construction, and idea. An exhibition brings to visitors the attention to form arguments. In this case, it is also responsible for the determination of cultural identities and the concreteness of art in the eyes of the viewers (Juan).
Analysis
In this article, the author describes an exhibition as a form of art that is based on sight and often have people coming together to view. The author uses the exhibition of Latin America to derive a cohesive understanding of the exhibition as art. He explains the use of the abstract photography strategy to invert the expansive sense behind pictorial abstraction. During exhibitions, people often come together, and different cultural identities are evidence that form part of artistic presentations of modernism. The author uses a comprehensive style to elicit attention from the readers on the different contributions of the exhibition as art (Juan).
References
Foster, Hal. Art Since 1900: Modernism, Antimodernism, Postmodernism. 3rd Edition. New York: Thames and Hudson, 1945.
Juan, Ledezma. “The Sites of Abstraction .” The sites of Latin America abstraction (2007): 28-43.
Krauss, Rosalind. “Grids.” The MIT Press 9 (1979): 50-64.
