André Malraux: The Voices of Silence (1951–)

“This is not a history of art, but a work on the sculptor’s and painter’s arts of the world by a passionate art lover. The organization is by ideas; the illustrations are drawn from all peoples, countries, and times. Each picture is placed within a page or two of its discussion in the text. As an idea develops, the places and periods of its illustrations wander. The coherence is an inward one, not one of objective order.

Malraux starts from the premise that with the broadening of our knowledge of the world, and especially by the aid of archeology and photography, the many visual arts developed by the human race in its history are now mainly known and accessible. They are as it were in one grand museum without walls–the museum of our cognizance.

Further, they are known to many creative artists, and will be known to more, and will influence them. In other words, the situation no longer exists which has characterized the appearance of most arts heretofore, namely of growing up insulated, in regional solitude and self-sufficiency. From now on, the history of human visual art will be of a new order.

Another idea Malraux develops is that while painting and sculpture do represent objects, the artist, contrary to legend and public opinion, develops his work out of his ability to see–not nature, but his predecessors, and to transcend them. Style is thus a social phenomenon, an interrelation of men through their works.” (from a review by A.L. Kroeber, American Anthropologist, 1957)

Originally published in 3 volumes as Psychologie de l’art, 1947-49, the work had been thoroughly rewritten and published as Les Voix du silence, Gallimard, 1951.

Translated by Stuart Gilbert
First published in English by Doubleday, 1953
Reprinted by Secker & Warburg, London, 1954, 661 pages
Publisher Paladin, UK, 1974, 679 pages

Reviews: Maurice Blanchot (1950/1997), William Barrett (Saturday Review, 1953).

PDF (1954, 44 MB, no OCR, IA, added on 2023-5-3)
PDF (1974, 81 MB, no OCR)

Richard Kostelanetz: Dictionary of the Avant-Gardes (1993–)

“This book elucidates, celebrates, enumerates, and sometimes obliterates achievers and achievements in the avant-garde arts. Although it runs from A to Z, it could as easily have been written from Z to A (or in any other order you might imagine) and may be read from front to back, back to front, or point to point. It is opinionated, as all good dictionaries should be, but it is also inclusive, because there can never be just one avant-garde.

Blake • Rimbaud • Apollinaire • Stein • Cage • Lichtenstein • Tatlin • Keaton • Captain Beefheart • Hologram • Text-Sound Texts • Strobe Light • Grotowski • Soho • Micropress • Electronic Music • Reinhardt • Pound • Performance • Postmodern • Duchamp • Fuller • Oldenberg • Paik • Armory Show • Reich • Cunningham • Copy Culture • Pattern Poetry • Bread and Puppet Theatre” (from the back cover)

With contributions by Richard Carlin, Geof Huth, Gerald Janecek, Katy Matheson, H.R. Brittain, John Robert Colombo, Ulrike Michal Dorda, Charles Doria, and Robert Haller.

Publisher A Capella Books, an imprint of Chicago Review Press, 1993
ISBN 1556522029
246 pages

PDF
2nd edition (2000, 47 MB, added on 2020-3-18)
New additions (2011) selected for Soanyway by Derek Horton (HTML)

Craig Dworkin: No Medium (2013)

(photo source)

“In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.

Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau’s Orphée to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg’s Erased De Kooning Drawing to the artist Nick Thurston’s erased copy of Maurice Blanchot’s The Space of Literature (in which only Thurston’s marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage’s 4’33”, Dworkin links Cage’s composition to Rauschenberg’s White Paintings, Ken Friedman’s Zen for Record (and Nam June Paik’s Zen for Film), and other works, offering also a “guide to further listening” that surveys more than 100 scores and recordings of “silent” music.

Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.”

Publisher MIT Press, 2013
ISBN 0262018705, 9780262018708
219 pages

Interview with the author (Critical Margins)
Author’s lecture at Penn Poetry & Poetics (video, 19 min)

Reviews: Johanna Drucker (Los Angeles Review of Books), Michael Leong (Hyperallergic).
Commentary: Richard Marshall (3:AM Magazine).

Publisher

EPUB