Art History as Social Praxis: The Collected Writings of David Craven brings together more than thirty essays that chart the development of Craven's voice as an unorthodox Marxist who applied historical materialism to the study of modern art.
Art History as Social Praxis: The Collected Writings of David Craven brings together more than thirty essays that chart the development of Craven's voice as an unorthodox Marxist who applied historical materialism to the study of modern art.
David Lee Craven, Ph.D. (1979), University of North Carolina, was Distinguished Professor at University of New Mexico and passed away in 2012. He was an art historian who displayed rare intellect and industry. In his lifetime Craven wrote more than fifteen monographs and exhibition catalogues on such diverse topics as Diego Rivera, Abstract Expressionism, Rudolf Baranik and art associated with Latin American revolutions. In addition to being a dedicated professor and inspirational lecturer, he published over 150 essays, articles and reviews in such academic journals as Art History, Kritische Berichte and Third Text and mass-circulation publications such as Arts Magazine and Tema Celeste; further, his writings have appeared in dozens of anthologies, encyclopaedias and newspapers. Brian Winkenweder, Ph.D. (2004), Stony Brook University is Professor of Art History at Linfield College, McMinnville, Oregon. He co-edited Dialectical Conversions: Donald Kuspit's Art Criticism with David Craven (Liverpool University Press, 2011). He also published 'David Craven's Future Perfect' at the online journal Third Text.
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Acknowledgements List of Sources Introduction: David Craven, Democratic Socialism and Art History Artists 1 Mondrian De-Mythologised: Towards a Newer Virgil 2 Charles Biederman and Art Theory 3 Marcel Duchamp and the Perceptual Dimension of Conceptual Art 4 Robert Smithson’s ‘Liquidating Intellect’ 5 Richard Serra and the Phenomenology of Perception 6 Hans Haacke and the Aesthetics of Dependency Theory 7 Norman Lewis as Political Activist and Post-Colonial Artist 8 René Magritte and the Spectre of Commodity Fetishism Art Critics 9 Ruskin vs. Whistler: The Case against Capitalist Art 10 The Critique-Poésie of Thomas Hess 11 John Berger as Art Critic 12 Meyer Schapiro, Karl Korsch, and the Emergence of Critical Theory 13 Clement Greenberg and the ‘Triumph’ of Western Art 14 Aesthetics as Ethics in the Writings of Robert Motherwell and Meyer Schapiro Critical Theory 15 Prerequisites for a New Criticism 16 Herbert Marcuse on Aesthetics 17 Corporate Capitalism and South Africa 18 Popular Culture versus Mass Culture 19 Hegemonic Art History 20 Art History and the Challenge of Post-Colonial Modernism 21 C.L.R. James as a Critical Theorist of Modernist Art 22 Present Indicative Politics and Future Perfect Positions: Barack Obama and Third Text Latin America 23 Formative Art and Social Transformation: The Nicaraguan Revolution on Its Tenth Anniversary (1979–1989) 24 Cuban Art and the Democratisation of Culture 25 The Latin American Origins of Alternative Modernism 26 Post-Colonial Modernism in the Work of Diego Rivera and José Carlos Mariátegui 27 Realism Revisited and Re-Theorised in ‘Pan-American’ Terms Abstract Expressionism 28 Abstract Expressionism, Automatism, and the Age of Automation 29 Abstract Expressionism and Third World Art: A Post-Colonial Approach to ‘American’ Art 30 New Documents: The Unpublished F.B.I. Files on Ad Reinhardt, Mark Rothko and Adolph Gottlieb 31 A Legacy for the Left: Abstract Expressionism as Anti-Imperialist Art 32 Postscript. Different Conceptions of Art: An Outline Bibliography Index
Acknowledgements List of Sources Introduction: David Craven, Democratic Socialism and Art History Artists 1 Mondrian De-Mythologised: Towards a Newer Virgil 2 Charles Biederman and Art Theory 3 Marcel Duchamp and the Perceptual Dimension of Conceptual Art 4 Robert Smithson’s ‘Liquidating Intellect’ 5 Richard Serra and the Phenomenology of Perception 6 Hans Haacke and the Aesthetics of Dependency Theory 7 Norman Lewis as Political Activist and Post-Colonial Artist 8 René Magritte and the Spectre of Commodity Fetishism Art Critics 9 Ruskin vs. Whistler: The Case against Capitalist Art 10 The Critique-Poésie of Thomas Hess 11 John Berger as Art Critic 12 Meyer Schapiro, Karl Korsch, and the Emergence of Critical Theory 13 Clement Greenberg and the ‘Triumph’ of Western Art 14 Aesthetics as Ethics in the Writings of Robert Motherwell and Meyer Schapiro Critical Theory 15 Prerequisites for a New Criticism 16 Herbert Marcuse on Aesthetics 17 Corporate Capitalism and South Africa 18 Popular Culture versus Mass Culture 19 Hegemonic Art History 20 Art History and the Challenge of Post-Colonial Modernism 21 C.L.R. James as a Critical Theorist of Modernist Art 22 Present Indicative Politics and Future Perfect Positions: Barack Obama and Third Text Latin America 23 Formative Art and Social Transformation: The Nicaraguan Revolution on Its Tenth Anniversary (1979–1989) 24 Cuban Art and the Democratisation of Culture 25 The Latin American Origins of Alternative Modernism 26 Post-Colonial Modernism in the Work of Diego Rivera and José Carlos Mariátegui 27 Realism Revisited and Re-Theorised in ‘Pan-American’ Terms Abstract Expressionism 28 Abstract Expressionism, Automatism, and the Age of Automation 29 Abstract Expressionism and Third World Art: A Post-Colonial Approach to ‘American’ Art 30 New Documents: The Unpublished F.B.I. Files on Ad Reinhardt, Mark Rothko and Adolph Gottlieb 31 A Legacy for the Left: Abstract Expressionism as Anti-Imperialist Art 32 Postscript. Different Conceptions of Art: An Outline Bibliography Index
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