Search Results

“... Origin​ stories of artists are ubiquitous, but those of art historians are not. Yve-Alain Bois, the pre-eminent French art historian of his generation, narrates his own beginning in this book about his key encounters with artists, theorists and curators. Born in 1952, Bois travels with his mother and little brother from a small town near Bordeaux to Paris (he thinks he was nine, she puts him at five ...”

“... majors with professors worth their salt will encounter, severally or federated, the critics Yve-Alain Bois, Benjamin H.D. Buchloh, Hal Foster and Rosalind Krauss. This quartet have been working together since the 1970s, and are currently co-editors of the journal October. Founded in 1976 and subtitled ‘Art/Theory/Criticism/Politics’, October ...”

“... 1910s. No one reading his introduction to the basics of structural linguistics and the analyses of Yve-Alain Bois (or myself) could possibly understand what led us to take this detour through the semiotic. Karmel’s own understanding is debilitated by his decision to use Picasso’s drawings as the basis of his study, for drawing’s current washes it ...”

“... as complementary, as Modern Art’s Apollonian and Dionysian faces, but the relationship was real. Yve-Alain Bois, who describes and analyses their influence on one another in Matisse and Picasso (published to accompany an exhibition early last year in Fort Worth), compares them to chess players whose game advanced as a move by one was answered ...”

“... formulations of Clement Greenberg. But their most systematic exponent in recent years has been Yve-Alain Bois, who has argued that Picasso’s development from 1907 to 1913 represents a coherent and unified evolution, marching briskly forward from an interest in African masks around 1907 to the famous maquette for Guitar of October 1912, in which a ...”