In his introduction Harry Cooper reminds the reader of the fundamentals of the debate over cubism as laid down in the late twentieth century in exhibitions at the Musée national Picasso, Paris (1987) and at the Museum of Modern Art, New York (1989), after which the lines of criticism were pretty firmly drawn between semiotic or formalist readings and sociopolitical interpretations. The cubism of Braque and Picasso was the privileged ground of contention, and so it is not surprising that a quarter of a century later classic works by these two artists continue to fascinate and remain at the center of discussion. The choice of speakers and topics for the seminars at CASVA was intended to encourage exchange among members of a new generation. We were also grateful for the presence of Yve-Alain Bois at the first meeting on October 2013, for he was a major contributor to the earlier debates.--Provided by publishe
In his introduction Harry Cooper reminds the reader of the fundamentals of the debate over cubism as laid down in the late twentieth century in exhibitions at the Musée national Picasso, Paris (1987) and at the Museum of Modern Art, New York (1989), after which the lines of criticism were pretty firmly drawn between semiotic or formalist readings and sociopolitical interpretations. The cubism of Braque and Picasso was the privileged ground of contention, and so it is not surprising that a quarter of a century later classic works by these two artists continue to fascinate and remain at the center of discussion. The choice of speakers and topics for the seminars at CASVA was intended to encourage exchange among members of a new generation. We were also grateful for the presence of Yve-Alain Bois at the first meeting on October 2013, for he was a major contributor to the earlier debates.--Provided by publisher.