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By Brian O'Doherty

When those essays first seemed in Artforum in 1976, their effect was once quick. They have been mentioned, annotated, brought up, gathered, and translated—the 3 problems with Artforum within which they seemed became approximately very unlikely to procure. Having Brian O'Doherty's provocative essays to be had back is a sign occasion for the paintings global. This variation additionally contains "The Gallery as Gesture," a severely very important piece released ten years after the others.

O'Doherty used to be the 1st to explicitly confront a selected difficulty in postwar paintings as he sought to envision the assumptions on which the trendy advertisement and museum gallery was once dependent. focused on the advanced and complex dating among economics, social context, and aesthetics as represented within the contested house of the paintings gallery, he increases the query of the way artists needs to construe their paintings with regards to the gallery house and system.

those essays are crucial studying for somebody attracted to the heritage and problems with postwar artwork in Europe and the USA. Teeming with principles, relentless of their pursuit of contradiction and paradox, they show either the knowledge of the artist (Patrick eire) and the precision of the scholar.

With an creation through Thomas McEvilley and a brilliantly cogent afterword by way of its writer, Brian O'Doherty once more leads us at the perilous trip to middle to the paintings international: Inside the White Cube.

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