Word: frieding
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Different colors have different densities, feel nearer, more vibrant or softer than others; as in Olitski's subtle color washes. Those are predominently on a flat surface. The importance of the surface in contemperary art is brilliantly discussed by Fried in the "nexus o formal "nexus of formal issues" contained...
Noland's Mach 2 (and all of Stella's pictures) illustrates Fried's second key "formal issue," the growing dependence of the shape of the composition and the shape of the canvas in the surface unity. The edge of the canvas is one of the limits (not boundaries) of the...
Michael Fried's essay deserves the attention of the viewers. It yields a greatly increased sense of what is "going on" in Stella, Noland, and Olitski and how they follow preceding abstract paintings by Jackson Pollock, Barnett Newman, and Morris Louis. The key ideas and the observations contained in Fried...
Fried finds the basis of modern art in the changed relationship between artists and society: "the alienation of the artist from the general preoccupations of the culture in which he is embedded." A consciousness of art history conspires to make the modern artist highly self-critical, content with a particular...
The force of this exhibition and the essay is directed toward a particular type of modern art and a particular type of criticism. Fried handles abstract art masterfully as a critic but maintains a critical bias in his "historical generalizations. He treats as historically insignificant many excellent contemporary painters who...