Word: criticism
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Dates: during 1960-1969
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...attention, of course, to classic as well as modern art, but it is the new and bizarre forms that pose special problems for the critic and the photographer-as we found again in working on the story about the luminists. They are very serious about their seemingly playful work, and their background is apt to be broader-or at any rate more technical-than that of the traditional artist. Their experience includes such far-away fields as nuclear physics, optics and electronics. "They are of the technical age," says Piri Halasz, who wrote the story, "but they remain artists primarily...
...liberals return the compliment. As Critic Irving Howe puts it, the New Leftists show "an unconsidered enmity toward something vaguely called the Establishment, an equally unreflective belief in the 'decline of the West,' a crude, unqualified anti-Americanism, drawn from every source...
...qualifications and more: astonishing erudition, an edgy style, the wound of Jewishness and a bow of courage. He speaks four languages. He began publishing with two commanding achievements: Tolstoy or Dostoevsky (1959) and The Death of Tragedy (1961). Now he has found the absolute essential for a critic: a commanding idea. That idea is the breakdown of language. As he puts it, the "syntheses of understanding which made common speech possible no longer work." Today, Steiner notes, vast domains of meaning are ruled by nonverbal languages such as mathematics or symbolic logic; those who live beyond the veil of science...
...historical past. They align him with lesser painters (notably Kenneth Noland), they ignore all his romantic emotionality, and they explain him largely in intellectual terms. The quality of feeling in Louis' paintings is undeniable and though the influence of the intellectual approach of Noland and the critic Clement Greenberg is clear, Louis cannot be discussed as part of that movement...
Alfred Kazin's Starting Out in the Thirties, a short autobiography of his early years, is like the more successful of these after dinner conversations. Kazin, a literary critic and historian, wasn't an influential man of the thirties and his book is no walk through the corridors and closets of power. He wasn't even an influential critic and probably, had never even been in the Hotel Algonquin. Kazin's memoirs are the acute recollections of an observant young man finding his way through the New York of the Depression...