WorldCat Identities

Fried, Michael

Overview
Works: 227 works in 713 publications in 6 languages and 18,073 library holdings
Genres: Criticism, interpretation, etc  Exhibition catalogs  Art  History  Interviews  Poetry  Musical settings  Song cycles  Educational films  Internet videos 
Roles: Author, Librettist, Contributor, Editor, Creator, Author of introduction, Other, Singer, Lyricist, Composer, Thesis advisor, Collector
Classifications: TR642, 759.4
Publication Timeline
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Most widely held works by Michael Fried
The next bend in the road by Michael Fried( )

9 editions published between 2004 and 2010 in English and held by 1,683 WorldCat member libraries worldwide

"In America today there is no lyric work more compelling and well made than To the Center of the Earth," Allen Grossman wrote ten years ago of Michael Fried's last collection of poetry. Fried's new book, The Next Bend in the Road, is a powerfully coherent gathering of lyric and prose poems that has the internal scope of a novel with a host of characters, from the poet's wife and daughter to Franz Kafka, Paul Cézanne, Osip Mandelstam, Sigmund Freud, Gisèle Lestrange, and many others; transformative encounters with works of art, literature, and philosophy, including Heinrich von Kl
Why photography matters as art as never before by Michael Fried( Book )

32 editions published between 2008 and 2014 in 3 languages and held by 1,309 WorldCat member libraries worldwide

From the late 1970s onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph and the viewer standing before it that until then had been the province only of painting. Fried further demonstrates that certain philosophically deep problems, associated with notions of theatricality, literalness, and objecthood, and touching on the role of original intention in artistic production, first discussed in his controversial essay "Art and Objecthood" (1967), have come to the fore once again in recent photography. This means that the photographic "ghetto" no longer exists - instead photography is at the cutting edge of contemporary art as never before. Among the photographers and video-makers whose work receives serious attention in this powerfully argued book are Jeff Wall, Hiroshi Sugimoto, Cindy Sherman, Thomas Struth, Thomas Ruff, Andreas Gursky, Luc Delahaye, Rineke Dijkstra, Patrick Faigenbaum, Roland Fischer, Thomas Demand, Candida Hofer, Beat Streuli, Philip Lorca diCorcia, Douglas Gordon and Philippe Parreno, James Welling, and Bernd and Hilla Becher. Future discussions of the new art photography will have no choice but to take a stand for or against Fried's conclusions
Writing back to modern art : after Greenberg, Fried and Clark by Jonathan Harris( )

7 editions published in 2005 in English and held by 1,219 WorldCat member libraries worldwide

Studying the art writing and critique of the three leading art writers of the latter 20th century with focus on canonical modern artists, Harris brings us this study which assesses the development of modern art writing
Absorption and theatricality : painting and beholder in the age of Diderot by Michael Fried( Book )

51 editions published between 1976 and 2017 in 3 languages and held by 1,061 WorldCat member libraries worldwide

"De quand date la peinture moderne? De David, de Manet, de Cézanne, dira-t-on ; les candidats à l'acte fondateur ne manquent pas. Michael Fried pose autrement le problème. Moins qu'aux grandes individualités, c'est à ce qu'elles eurent en commun que l'auteur s'intéresse : le courant nouveau de figuration qui très vite devint la tradition moderne et auquel ces peintres participèrent ou s'opposèrent. Cette tradition naît au XVIIIe siècle avec la critique d'art -- notamment Diderot -- et celle-ci formule une interrogation : quelle place le tableau doit-il réserver au spectateur? De Greuze à David, la peinture refuse la théâtralité. Michael Fried montre les deux moyens que Diderot expose pour combattre la fausseté de la représentation et la théâtralité de la figuration : une conception dramatique de la peinture, qui recourt à tous les procédés possibles pour fermer le tableau à la présence du spectateur, et une conception pastorale qui à l'inverse, absorbe quasi littéralement le spectateur dans le tableau en l'y faisant pénétrer. Ces deux conceptions se conjuguent pour nier la présence du spectateur devant le tableau et mettre cette négation au principe de la représentation."--Provided by publisher
Courbet's realism by Michael Fried( Book )

32 editions published between 1990 and 2006 in 4 languages and held by 1,055 WorldCat member libraries worldwide

"'This book, ' Michael Fried's work opens, 'was written not so much chapter by chapter as painting by painting over a span of roughly ten years.' Courbet's Realism is a magnificent work and its very first sentence brings us up against the qualities of mind of its author, qualities that make it as impressive as it is. It allows us to reconstruct the keen eye, the commitment to perception, the gift of rapt concentration, the conviction that great paintings are not necessarily understood easily, and the further conviction that a great painter deserves to get from us as good as he gives. By drawing on these qualities, Fried achieves something out of reach for all but a handful of his colleagues. In his writing, art history takes on some of the character of art itself. It is driven by the same stubborn resolve to open our eyes."--Richard Wollheim, San Francisco Review of Books
Manet's modernism, or, The face of painting in the 1860s by Michael Fried( Book )

22 editions published between 1987 and 2015 in 3 languages and held by 958 WorldCat member libraries worldwide

By placing the painter squarely within his generation (along with Henri Fantin-Latour, Alphonse Legros, and James McNeill Whistler, all of whom are treated at length) as well as in the context of the art-critical discourse of his time, Fried transforms our sense of Manet's artistic project. Instead of the usual emphasis on flatness and visuality, Fried focuses on aspects of Manet's work that have either been minimized or ignored: his repeated allusions to Old Master sources, his desire for "universality" as regards both national schools and individual genres, his efforts to annul the absorptive basis of the modern French tradition, his invention of a sort of portrait-tableau, above all his pursuit of facingness and strikingness as means of reconstructing the relationship between painting and beholder
The moment of Caravaggio by Michael Fried( Book )

11 editions published in 2010 in English and held by 878 WorldCat member libraries worldwide

This is an examination of one of the most important artists in the Western tradition by one of the leading art historians and critics of the past half-century. In his first extended consideration of the Italian Baroque painter Michelangelo Merisi da Caravaggio (1571-1610), Michael Fried offers a transformative account of the artist's revolutionary achievement. Based on the A.W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, this book displays Fried's unique combination of interpretive brilliance, historical seriousness, and theoretical sophistication, providing sustained and unexpected readings of a wide range of major works. The result is an electrifying new perspective on a crucial episode in the history of European painting.--[book cover]
Art and objecthood : essays and reviews by Michael Fried( Book )

27 editions published between 1997 and 2013 in 4 languages and held by 839 WorldCat member libraries worldwide

Much acclaimed and highly controversial, Michael Fried's art criticism defines the contours of late modernism in the visual arts. This volume contains twenty-seven pieces, including the influential introduction to the catalog for Three American Painters, the text of his book Morris Louis, and the renowned "Art and Objecthood." Originally published between 1962 and 1977, they continue to generate debate today. These are uncompromising, exciting, and impassioned writings, aware of their transformative power during a time of intense controversy about the nature of modernism and the aims and essence of advanced painting and sculpture. Ranging from brief reviews to extended essays, and including major critiques of Jackson Pollock, Morris Louis, Kenneth Noland, Jules Olitski, Frank Stella, and Anthony Caro, these writings establish a set of basic terms for understanding key issues in high modernism: the viability of Clement Greenberg's account of the infralogic of modernism, the status of figuration after Pollock, the centrality of the problem of shape, the nature of pictorial and sculptural abstraction, and the relationship between work and beholder. In a number of essays Fried contrasts the modernist enterprise with minimalist or literalist art, and, taking a position that remains provocative to this day, he argues that minimalism is essentially a genre of theater, hence artistically self-defeating. For this volume Fried has also provided an extensive introductory essay in which he discusses how he became an art critic, clarifies his intentions in his art criticism, and draws crucial distinctions between his art criticism and the art history he went on to write. The result is a book that is simply indispensable for anyone concerned with modernist painting and sculpture and the task of art criticism in our time
Realism, writing, disfiguration : on Thomas Eakins and Stephen Crane by Michael Fried( Book )

25 editions published between 1987 and 1989 in 3 languages and held by 800 WorldCat member libraries worldwide

Morris Louis by Morris Louis( Book )

4 editions published in 1970 in English and held by 651 WorldCat member libraries worldwide

Menzel's realism : art and embodiment in nineteenth-century Berlin by Michael Fried( Book )

12 editions published in 2002 in English and held by 650 WorldCat member libraries worldwide

"Adolph Menzel was one of the most important German artists of the nineteenth century, yet he is scarcely known outside his native land. In this book a leading art historian contends that Menzel deserves to be recognized not only as one of the greatest painters and draftsmen of his century but also as a master realist whose work engages profoundly with an extraordinary range of issues - artistic, scientific, philosophical, social. Michael Fried has written the first book in English to explore Menzel's large and fascinating oeuvre, and in so doing has made the artist's stupendous achievement accessible to a wide audience at last." -- Jaquette
What was literary impressionism? by Michael Fried( )

11 editions published in 2018 in English and held by 390 WorldCat member libraries worldwide

The most famous statement associated with the idea of literary impressionism is Joseph Conrad's from the Preface to The Nigger of the "Narcissus" (1897): "My task, which I am trying to achieve is, by the power of the written word, to make you hear, to make to feel - it is, before all, to make you see! That - and no more: and it is everything!" What exactly Conrad meant by "make you see" has, of course always been a question, but all commentators have been agreed that it chiefly concerned with making the reader visualize the scenes narrated by the writer. This book argues that what is distinctive about English-language literary impressionism - a movement or tendency the author locates chronologically between 1890 and 1914 - is not only the desire to make the reader see but also, crucially, what it is the reader is to be made to see. The authors treated in this study include Stephen Crane, Joseph Conrad (four of whose novels are analyzed in detail), Frank Norris, W. H. Hudson, Ford Madox Ford, H. G. Wells, Jack London, Rudyard Kipling, Erskine Childers, R. B. Cunninghame Graham, Edgar Rice Burroughs, and Robert Louis Stevenson.--
Anthony Caro by Anthony Caro( Book )

10 editions published in 2005 in English and held by 384 WorldCat member libraries worldwide

"Anthony Caro is widely regarded as Britain's greatest living sculptor and has enjoyed an international reputations since the early 1960s. Although best known for his work in steel, Caro has also worked in bronze, wood, lead, ceramics and paper, on both large and intimate scales. In 1960 he began making purely abstract sculptures constructed and welded in steel, comprising beams, girders and other elements painted in bright colours. The exhibition of these works at the Whitechapel Art Gallery in 1963 caused a sensation and heralded a revolution in sculpture. Within a short period conventional ideas about materials, method, surface, scale, form and space were overturned by his radical reworking of all these elements."--Jacket
Four honest outlaws : Sala, Ray, Marioni, Gordon by Michael Fried( Book )

12 editions published in 2011 in English and held by 370 WorldCat member libraries worldwide

"In this strongly argued and characteristically original book, Michael Fried considers the work of four contemporary artists--video artist and photographer Anri Sala, sculptor Charles Ray, painter Joseph Marioni, and video artist and intervener in movies Douglas Gordon. He shows how their respective projects are best understood as engaging in a variety of ways with some of the core themes and issues associated with high modernism, and indeed with its prehistory in French painting and art criticism from Diderot on. Four Honest Outlaws thus continues the author's exploration of the critical and philosophical territory opened up by his earlier book, the magisterial Why Photography Matters as Art as Never Before. It presents a vision of the most important contemporary art as not only not repudiating modernism in the name of postmodernism in any of the latter's many forms and manifestations, but also actually as committed to dialectically renewing certain crucial qualities and values that modernism and premodernism brought to the fore, above all those of presentness and anti-theatricality. Four Honest Outlaws takes its title from a line in a Bob Dylan song, "To live outside the law you must be honest," meaning in this case that each of the four artists has found his own unsanctioned path to extraordinary accomplishment, in part by defying the ordinary norms and expectations of the contemporary art world. Filled with stunning images throughout and accompanied by a DVD illustrating works by Sala and Gordon discussed in its pages, Four Honest Outlaws is sure to provoke controversy even as it makes a dramatic bid to further transform the terms in which the art of the present should be understood"--Résumé de l'éditeur
Stephen Shore by Christy Lange( Book )

6 editions published between 2007 and 2011 in English and held by 344 WorldCat member libraries worldwide

"Stephen Shore's photographs of ordinary America have had an extraordinary impact. Shore spent the 1970s crisscrossing the continent to assemble his two best known bodies of work. American Surfaces and Uncommon Places These photographs focused on the minutiae of modern life, unveiling the exceptional beauty to be found in banality and, in the process, pioneering the two most important photographic idioms of the past thirty years the diaristic snapshot (later taken up by such artists as Nan Goldin and Wolfgang Tillmans) and the monumentalized landscape (as practiced by such photographers as Thomas Struth and Andreas Gursky) Shore was also one of the first art photographers to work in colour, capturing the sky blues, mustard yellows and avocado greens of a nation whose chromatic enthusiasm occasionally outstripped its taste." "Less well known are Shore's earlier works While still in high school in the mid-1960s he undertook a three-year project shooting Andy Warhol's legendary studio, the Factory, at its creative peak, featuring a revolving cast of characters that included the Velvet Underground, Nico, Edie Sedgwick and of course Warhol himself Soon afterward, inspired by the intellectually fertile late-1950s New York art scene, Shore produced a body of conceptual work seldom exhibited but fully engaged with the revolutionary ideas shaking the foundations of modern art. These works are fascinating not only for their contribution to the redefinition of the art object but also for the way they prefigured much of Shore's work to fallow, including American Surfaces and Uncommon Places." "Since the 1970s Shore has continued to expand his repertoire, moving effortlessly between black and white and colour, landscape and portraiture, large format and small in so doing, he has proven himself to be one of contemporary art's most vital photographers As fellow photographer Joel Sternfeld writes in the Focus section, 'What may ultimately be at stake in his pictures is the pure condition of sight itself.'"--BOOK JACKET
After Caravaggio by Michael Fried( Book )

11 editions published in 2016 in English and held by 322 WorldCat member libraries worldwide

"Accessibly written, this handsomely illustrated book combines an account of works by Manfredi, Valentin, Tournier, Regnier, and Ribera with a detailed study of Cecco del Caravaggio's Resurrection (1619-20), and concludes by surveying a group of paintings by Guercino, a painter not counted among the Caravaggisti, but whose strategies in relation to the viewer aligned him with their interests. Fried moves with agility between broad and focused fields of vision. In his final remarks, he makes a compelling case for understanding these paintings in relation to the thought of Rene Descartes."--Jacket
Flaubert's "gueuloir" : on Madame Bovary and Salambô by Michael Fried( Book )

7 editions published in 2012 in English and held by 307 WorldCat member libraries worldwide

Morris Louis, 1912-1962 by Morris Louis( Book )

5 editions published in 1967 in English and held by 267 WorldCat member libraries worldwide

Three American painters: Kenneth Noland, Jules Olitski, Frank Stella by Michael Fried( Book )

12 editions published in 1965 in English and held by 257 WorldCat member libraries worldwide

Jackson Pollock : blind spots( Book )

4 editions published in 2015 in English and held by 246 WorldCat member libraries worldwide

Jackson Pollock was one of the most influential and provocative American artists of the twentieth century. This fully illustrated publication accompanies the first exhibition in over three decades of a crucial phase of his work, referred to as the Black Pourings. This controversial body of black enamel and oil paintings, which were exceptional in their absolute merging of colour and surface, are accompanied here by drawings that are regarded as his most important and productive as a draughtsman
 
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Why photography matters as art as never before
Covers
Why photography matters as art as never beforeWriting back to modern art : after Greenberg, Fried and ClarkAbsorption and theatricality : painting and beholder in the age of DiderotCourbet's realismManet's modernism, or, The face of painting in the 1860sThe moment of CaravaggioArt and objecthood : essays and reviewsRealism, writing, disfiguration : on Thomas Eakins and Stephen Crane
Alternative Names
Fried, Michael

Fried, Michael, 1939-

Fried, Michael Martin

Fried, Michael Martin 1939-

Michael Fried Amerikaans kunstcriticus

Michael Fried critico d'arte e storico dell'arte statunitense

Michael Fried léirmheastóir ealaíne Meiriceánach

Michael Fried US-amerikanischer Kunstkritiker und Hochschullehrer

Фрид, Майкл

ميخائيل فرايد

프리드, 마이클 1939-

マイケル・フリード

迈克尔·弗雷德

Languages
English (301)

French (21)

Spanish (8)

German (4)

Chinese (1)

Italian (1)