Imagining the Present
Context, Content, and the Role of the Critic
Edited by Richard Kalina
Series Editor: SAUL OSTROW
Routledge – 2006 – 328 pages
Bringing together twenty-nine of Lawrence Alloway’s most influential essays in one volume, this fascinating collection provides valuable perspectives on the art and visual culture of the second half of the twentieth century.
Lawrence Alloway ranks among the most important critics of his time, and his contributions to the spirited and contentious dialogue of his era make for fascinating reading.
These twenty-nine provocative essays from 1956 to 1980 from the man who invented the term ‘pop art’ bring art, film, iconography, cybernetics and culture together for analysis and investigation, and do indeed examine the context, content and role of the critic in art and visual culture.
Featuring a critical commentary by Richard Kalina, and preface by series editor Saul Ostrow, Imagining the Present will be an enthralling read for all art and visual culture students.
Preface Saul Ostrow Commentary Richard Kalina 1. Quick Symbols 2. Technology and Sex in Science Fiction: A Note on Cover Art 3. Design as a Human Activity 4. Personal Statement 5. The Arts and the Mass Media 6. The Long Front of Culture 7. City Notes 8. Artists as Consumers 9. Junk Culture 10. Pop Art since 1949 11. Six Painters and the Object 12. The American Sublime 13. The Critic and the Visual Arts 14. Art and the Communications Network 15. Systemic Painting 16. Art and the Expanding Audience 17. Pop Art: The Words 18. The Spectrum of Monochrome 19. Position Paper 20. Anthropology and Art Criticism 21. Systems of Cross-Reference in the Arts: On Translation 22. On Style. An Examination of Roy Lichtenstein’s Development, Despite a New Monograph on the Artist 23. Photo-Realism 24. The Function of the Art Critic 25. Artists as Writers, Part One: Inside Information 26. Realism as a Problem 27. De Kooning: Criticism and Art History 28. The Complex Present 29. Problems of Iconography and Style
Richard Kalina is a painter, critic, and Professor of Art at Fordham University in New York. He is a Contributing Editor at Art in America. He writes on Pop Art, Minimalism and Postminimalism, Conceptual Art, Abstract Expressionism, and issues relating to contemporary abstraction