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Invisible colors : a visual history of titles / John C. Welchman.

By: Material type: TextTextPublisher: New Haven, Conn. : Yale University Press, [1997]Copyright date: ©1997Description: x, 452 pages : illustrations ; 24 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 0300065302
  • 9780300065305
Other title:
  • Invisible colours
  • Invisible colours : A visual history of titles
Subject(s): DDC classification:
  • 701.4 20
LOC classification:
  • N7560 .W45 1997
Contents:
Acknowledgments -- Introduction -- 1. Reckoning with the Title and Its Sites -- I. Poetic Intensity and Social Extension: Expanded Fields for the Title -- II. Zero Names: "Absences and Over-Nourishing Signs" -- III. Titular Transformations: "Beyond Recognition" -- 2. Monet and the Development of a Nominative Effectualism -- I. "Explanations," Poems, and "Real Allegory" -- II. Claude Monet: "A Succession of Astonishing Effects" -- 3. Symbolism I: Redon, Gauguin, Signac -- I. Introduction: Titles, Institutions, and Analogues -- II. Odilon Redon: "Vagueness, Indeterminacy, Equivocation" -- III. Paul Gauguin: "Not a Title, but a Signature" -- IV. Paul Signac and Alphonse Allais: Exhibitions, Numbers, and "Incoherents" -- 4. Symbolism II: James McNeill Whistler: The Elaboration and Contraction of the Title -- 5. Nominalist Order and Disorder: Form, Violence, and Revisionism -- I. Paul Cezanne: "Do Not Remain a Creature without a Name" -- II. Cubic Language and the Philosophical Brothel -- III. Suprematism, Unovis, and "5 x 5 = 25" -- 6. Composition I: Naming the Non-Iconic in the Work of Piet Mondrian and Wassily Kandinsky -- I. Piet Mondrian: "It Is Above All Composition That Must Suppress the Individual" -- II. Life and Death Sentences: Compositional Theory in Matisse, Malevich, and the United States -- III. Wassily Kandinsky: "Reason, the Conscious, the Deliberate, and the Purposeful" -- 7. Dada and Surrealism: Alchemies of the Word -- I. Max Ernst: Titles and the "No Longer" of Painting -- II. Marcel Duchamp: "Prime Words" and Inscriptions -- III. Francis Picabia: Names, Bodies, Diagrams, and Counter-Identities -- IV. Notes on Surrealist Titling: Magritte, Miro, Tanguy, Matta -- 8. Composition II: Sounds, Silences, and "Cognitive Naming" -- I. Towards a Genealogy of the Counter-Composition -- II. Abstract Expressionism: "Something[s] Extra" -- III. Neo-Dada, Assemblage, Happenings: Making "In Spite of Composition" -- IV. Tropic Writing: Rethinking the Titular Metaphors of Late Modernism -- V. Conclusion: Titles after Composition -- 9. "Labelless Labels": Notes on the Postmodern Title -- I. Switching from the 1960s: Smithson, Morris, and Conceptual Art -- II. Naming through Institutions and Expressions -- III. "On the Other Side of the Proper Name": Untitling, Anonymity, Gender, and Power -- Epilogue: "A Museum of Language in the Vicinity of Art" -- Notes -- Index.
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Includes bibliographical references (pages 368-419) and index.

Acknowledgments -- Introduction -- 1. Reckoning with the Title and Its Sites -- I. Poetic Intensity and Social Extension: Expanded Fields for the Title -- II. Zero Names: "Absences and Over-Nourishing Signs" -- III. Titular Transformations: "Beyond Recognition" -- 2. Monet and the Development of a Nominative Effectualism -- I. "Explanations," Poems, and "Real Allegory" -- II. Claude Monet: "A Succession of Astonishing Effects" -- 3. Symbolism I: Redon, Gauguin, Signac -- I. Introduction: Titles, Institutions, and Analogues -- II. Odilon Redon: "Vagueness, Indeterminacy, Equivocation" -- III. Paul Gauguin: "Not a Title, but a Signature" -- IV. Paul Signac and Alphonse Allais: Exhibitions, Numbers, and "Incoherents" -- 4. Symbolism II: James McNeill Whistler: The Elaboration and Contraction of the Title -- 5. Nominalist Order and Disorder: Form, Violence, and Revisionism -- I. Paul Cezanne: "Do Not Remain a Creature without a Name" -- II. Cubic Language and the Philosophical Brothel -- III. Suprematism, Unovis, and "5 x 5 = 25" -- 6. Composition I: Naming the Non-Iconic in the Work of Piet Mondrian and Wassily Kandinsky -- I. Piet Mondrian: "It Is Above All Composition That Must Suppress the Individual" -- II. Life and Death Sentences: Compositional Theory in Matisse, Malevich, and the United States -- III. Wassily Kandinsky: "Reason, the Conscious, the Deliberate, and the Purposeful" -- 7. Dada and Surrealism: Alchemies of the Word -- I. Max Ernst: Titles and the "No Longer" of Painting -- II. Marcel Duchamp: "Prime Words" and Inscriptions -- III. Francis Picabia: Names, Bodies, Diagrams, and Counter-Identities -- IV. Notes on Surrealist Titling: Magritte, Miro, Tanguy, Matta -- 8. Composition II: Sounds, Silences, and "Cognitive Naming" -- I. Towards a Genealogy of the Counter-Composition -- II. Abstract Expressionism: "Something[s] Extra" -- III. Neo-Dada, Assemblage, Happenings: Making "In Spite of Composition" -- IV. Tropic Writing: Rethinking the Titular Metaphors of Late Modernism -- V. Conclusion: Titles after Composition -- 9. "Labelless Labels": Notes on the Postmodern Title -- I. Switching from the 1960s: Smithson, Morris, and Conceptual Art -- II. Naming through Institutions and Expressions -- III. "On the Other Side of the Proper Name": Untitling, Anonymity, Gender, and Power -- Epilogue: "A Museum of Language in the Vicinity of Art" -- Notes -- Index.

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