Michael Fried is an art historian and critic best known for his essay, “Art and Objecthood” first published in in Artforum. He was educated. Art and Objecthood by Michael Fried, , available at Book Depository with free delivery worldwide. Michael Fried's “Art and Objecthood,” published 50 years ago this year, is an inaugural text. It has a status very few writings on art have, being.


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Add to basket Add to wishlist Description Michael Fried's often controversial art criticism michael fried art and objecthood the contours of late modernism in the visual arts.

In opposition to that, the minimalist art work emphasizes the whole of the object, it has no or only a few separate parts, that are often organised in repetetive serial patterns that show no hierarchy. For Fried, this goes along with the intention of its producers.

He writes about Donald Michael fried art and objecthood and Robert Morris, two minimalists whose texts he quotes on many occasions As a result, and, contrary to modernist painting, shape as a medium of expression is no longer independent from the outer form of the art object.

Shape now coincides with the object, with its physical extension. As Fried puts it For him, objecthood remains alien to art: What especially irritates Fried is the way in which the minimal art object rejects the codification of its visual elements as the modernist art work does.

It denies the flatness that Clement Greenberg has pointed out to be the essence of modernist painting. The realistic painting is aiming at an iconic relation: By gradually increasing its iconicity, the painting shares more and more characteristics of the depicted scene itself.

The paradox horizon of the iconic relation would be that the painting becomes the depicted, or — more probable — that the beholder forgets that he or she is in front of a painting and by doing so, also forgetting the code michael fried art and objecthood organizes the representation.


Whereas the realistic painting tends to obliterate the knowledge about its two-dimensionality, the modernist painting is interested in just those qualities the realistic painting wants to obliterate, especially the colours, the shapes, the size, and the way the shapes correspond with the rectangular plane.

Thus, it tends towards a preference of the symbolic.

Art and Objecthood : Essays and Reviews

From the great variety of possible perception only the purely visual are selected and codified. Operating in the michael fried art and objecthood of the visual code, it is the aim of the painter to explore the possible syntactic relations of the visual elements and to work on establishing these codifications.

michael fried art and objecthood By this, the modernist painting also produces an impression of pictorial depht, because it constitutes its arthood not by such qualities as spaciousness, opacity, or extension the colour has besides its chromatic attributes.

It is just the colour as colour, not as pigment, that serves as a medium of painting.

Art and Objecthood : Michael Fried :

The modernist painting does not establish the illusion of a three-dimensional space behind the surface as the realistic does; but by abstracting from the qualities of the pigment, it evokes the illusion that michael fried art and objecthood actual surface of the painting is behind the painting as object.

It is by denying this exclusion of the uncodified characteristics that the minimalist object discovers its objecthood.

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And this is accomplished by stressing those spacious and physical characteristics that the art work shares with objects of daily life.

Consequently, reception includes also the situation in which the minimalistic art work is located. Though as much as this situation includes the art work, it also contains the viewer.

There is nothing within his field of vision — nothing that he takes note of in any way — that, as it were, michael fried art and objecthood its irrelevance to the situation, and therefore to the experience, in question.

MichelsonKraussMeyer As Benjamin Buchloh said to Fried in a discussion:


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