ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 8/13/2020

Annie Leibovitz on Henri Cartier-Bresson and 'Le Grand Jeu'

DATE 8/11/2020

Francesca Woodman: On Being an Angel, color photograph with tripod

DATE 8/10/2020

Artbook @ Hauser & Wirth Los Angeles Bookstore presents a virtual launch event for 'Mungo Thomson: Mail'

DATE 8/10/2020

Visit us at the Atlanta Summer Gift & Home Market 2020

DATE 8/9/2020

BACK IN STOCK! The landmark first major monograph on nonagenarian surrealist Luchita Hurtado

DATE 8/7/2020

Tosh Berman on 'The World's Worst: A Guide to the Portsmouth Sinfonia'—a new adventure in its highest form

DATE 8/5/2020

Taking inspiration from John Baldessari

DATE 8/3/2020

In 'Jordan Casteel: Within Reach,' fundamental and expansive humanity

DATE 8/2/2020

Pat de Groot captures nothing or everything in summertime staff favorite, 'Landscape Painting Now'

DATE 8/1/2020

Artbook @ Hauser & Wirth Los Angeles Bookstore presents a virtual launch event for 'The World's Worst: A Guide to the Portsmouth Sinfonia'

DATE 7/31/2020

From hair lacquer to whiskey and sweat in Karlheinz Weinberger, 'Together & Alone'

DATE 7/29/2020

Symbols are like doors to other dimensions in 'Hilma af Klint: Artist, Researcher, Medium'

DATE 7/28/2020

On Marcel Duchamp's birthday, a spectacular treat

DATE 7/26/2020

Back in Stock! 'William Eggleston: Election Eve'

DATE 7/24/2020

Questions of power and identity in 'Samuel Fosso: Autoportrait'

DATE 7/21/2020

July 22, 1971, from 'Bernadette Mayer: Memory'

DATE 7/18/2020

Darkness and hope in 'Philip Guston Now'

DATE 7/17/2020

Carlo McCormick on 'Writing the Future: Basquiat and the Hip-Hop Generation'

DATE 7/16/2020

5 Essential Books on Jean-Michel Basquiat

DATE 7/15/2020

In 'The Atmosphere of Crime,' Gordon Parks foreshadows the brutality of today's prison system and current demands for equal rights, access and justice

DATE 7/13/2020

In 'Lines,' Shantell Martin seeks to understand "who we are at the core, as people"

DATE 7/12/2020

In celebration of Buckminster Fuller's 125th birthday, a new facsimile of the cult cookbook, 'Synergetic Stew'

DATE 7/12/2020

Celebrate the radical optimism of Buckminster Fuller during the month of his birth 125 years ago!

DATE 7/9/2020

Jeff Divine's 70s Surf Photographs tell it like it was

DATE 7/7/2020

Profound questions about space, time and material in Julia Christensen's 'Upgrade Available'

DATE 7/5/2020

'John Cage: A Mycological Foray—Variations on Mushrooms' is here at last!

DATE 7/4/2020

On Independence Day 2020, we remember Robert Frank, "tragic poet" and author of the seminal photography book "The Americans"

DATE 7/3/2020

Relaxed mastery in the "Afternoon Paintings" of Stanley Whitney

DATE 7/1/2020

RIP Milton Glaser

DATE 6/30/2020

See Book Reviews, Trailers and Flip-Through Videos on our new YouTube Channel!

DATE 6/26/2020

Ecstasy and celebration in 'Mechanical Fantasy Box: The Homoerotic Journal of Patrick Cowley'

DATE 6/25/2020

'Berenice Abbott: Portraits of Modernity' is a Pride Month Pick from Fundacíon Mapfre

DATE 6/19/2020

Pieces of life and shards of history in 'Melvin Edwards: Lynch Fragments'

DATE 6/19/2020

“That’s what art is; we’re the art!”

DATE 6/17/2020

Kader Attia represents the unrepresented in 'Landing Strip'

DATE 6/15/2020

240 pages of remarkable trans art in 'Kiss My Genders'

DATE 6/14/2020

'Alvin Baltrop: The Piers' is a Staff Pick for Pride Month

DATE 6/12/2020

Nicole R. Fleetwood on Mickalene Thomas's world making

DATE 6/11/2020

In 'Ellen Gallagher: Accidental Records' radical aesthetic possibilities emerge from seismic cracks in the surface of things

DATE 6/8/2020

Power and Poetry: Kareem Abdul-Jabbar on Gordon Parks and Muhammad Ali

DATE 6/5/2020

Taking inspiration in the quilts, paintings and political posters of Faith Ringgold

DATE 6/3/2020

David Hammons in 'Soul of a Nation'

DATE 6/1/2020

Celebrate LGBTQ Pride!

DATE 5/31/2020

Summertime Fun Staff Picks

DATE 5/30/2020

Powerful 'Bernadette Mayer: Memory' is new from Siglio Press

DATE 5/28/2020

Staff favorite 'Hello Muddah, Hello Faddah' evokes sunscreen and wood cabins, feathered hair and tube socks

DATE 5/27/2020

Beautiful and voyeuristic. Tosh Berman reviews 'Weegee's Naked City'

DATE 5/24/2020

Memorial Day Staff Pick: Ice Cream Headaches

DATE 5/23/2020

Summertime Staff Favorite 'Cape Cod Modern' is back in stock!

DATE 5/21/2020

'Oscar Wilde's Italian Dream' is new from Damiani

DATE 5/18/2020

In 'JB Blunk,' art, life and spirituality fully merge


BOOKS IN THE MEDIA

CORY REYNOLDS | DATE 4/7/2020

Read an excerpt from new release 'The Outwardness of Art: Selected Writings of Adrian Stokes'

This week, Ridinghouse releases The Outwardness of Art: Selected Writings of Adrian Stokes, the first comprehensive selection of writings by the noted British art theorist known for his synthesis of aesthetics and psychoanalysis. The product of more than a decade of devout research by editor Thomas Evans, it is the first broad introduction in almost half a century. Below is an excerpt from Evans' Introduction.

Read an excerpt from new release 'The Outwardness of Art: Selected Writings of Adrian Stokes'

OUTWARDNESS AND OTHERNESS

What is meant by "outwardness," in Stokes’s conception? The earliest inklings of the theme of outwardness are to be found in his first books, The Thread of Ariadne (1925) and Sunrise in the West (1926), as the opening essay in this collection shows. There it arises through the related term, Hegelian in origin, of "otherness":

Nothing that is significant, however much its content may point to "otherness," no sentiment evoked by the contemplation of matter, no sailor’s soul that cries the bitterness and ungovernable non-humanity of the sea, no unconsidered outburst, no poetry can be spared by prose embroidering subtlety, stringing interconnection, indeed, the more "otherness" and distinctness appreciated, the more indispensable are the meanings to prose, since that very intensity makes possible a correlative intensity of antithetical significance. (1)

In these highly speculative early books, this notion of otherness is tied to the dialectical motions of consciousness: that is to say, identity cannot come to rest within itself but is perpetually reconstituted by its negation of another entity, which it folds into consciousness to produce what Hegel calls a "reflection in otherness within itself," or "pure self-recognition in absolute otherness." (2) This is the meaning of the Hegelian phrase, frequently to be encountered in Stokes’s essays, of "identity in difference." "A This is posited," Hegel writes in The Phenomenology of Spirit (1807), "but it is rather an other that is posited, or the This is superseded: and this otherness, or the setting-aside of the first, is itself in turn set aside, and so has returned into the first." (3) In these formulations of subjecthood, later adapted and reprised by the British philosopher F.H. Bradley (through whom Stokes probably first encountered them) and grounding his assertion of the interdependence of opposites, Stokes found an articulation of the contradictory character of thought itself. As Hegel writes in the Preface to the Phenomenology, "having its otherness within itself, and being self-moving, is just what is involved in the simplicity of thinking itself." (4)

As this theme is developed, a transition ensues in Stokes’s thinking from the mid-1920s to the early 1930s – that is, from Sunrise in the West and The Thread of Ariadne to The Quattro Centro and Stones of Rimini – in which a broad, ontological conception of outwardness is now linked to aesthetics, specifically to carving in sculpture. By "carving," Stokes refers to art in which the stone is "revealed" rather than "forced into expression" (which is more or less what "modelling" does, he implies). The carving mode, according to Stokes, is especially able to express the fundamental otherness of the world, its indifference to the coercions of self-consciousness: "The essence of stone is its power to symbolize objectivity," he writes in Stones of Rimini. Stone can be coerced against this "essence," of course, and Stones of Rimini contains Stokes’s famous "classification of Quattro Cento sculpture in terms of technique" and the specialist meaning he had given to the term "Quattro Cento" in his preceding book The Quattro Cento:

Wherever you find relief forms, be they ornament or figure, arabesque or swag, wherever you find these shapes, whatever their position, turning to show to you their maximum, like flowers that thrust and open their faces to the sun, wherever that is the salient point about them, then that sculpture is Quattro Cento as I define it. (5)

Here, then, is Stokes’s aesthetic of "outwardness": an art that is turned outward to show to you its maximum, in a recognition, a mimesis and a celebration of the obdurate otherness of the world. The analogy with the opening of flowers, incidentally, evokes Stokes’s term "stone-blossom" as a sculptural effect associated with outwardness, although outwardness itself is not made contingent upon the mimesis of nature. At this juncture in Stokes’s writing, the celebratory tenor of this definition is foremost, stemming from his distinctly modernist and Nietzschean veneration of pagan vitality, of which the Tempio Malatestiano in Rimini, by his account, was the apotheosis.

With exhilarating focus, Stokes proceeds to undergird his subsequent treatments of sculpture, architecture and painting with this fixation, which also defines his praise of the "turned out" body in ballet, where "nothing is withdrawn, drawn inwards or hidden: everything is, artificially if you like, put outwards." Ballet, unlike expressionistic modern dance, is "classical," and the ideals of "classical" art (given, as always, its particular inflection) will later be recruited for the buttressing of this aesthetic. In [an] aforementioned section on Cézanne from Inside Out, for example, Stokes writes:

Classical art springs from a precise love and a passionate identification with what is other, insisting upon an order there, strong, enduring and final as being an other thing, untainted by the overt gesture, without the summary treatment, without the arrière pensée of "Thinking makes it so." (6)

THOMAS EVANS is the editor of Tolling Elves and other publications, director of Pedestrian Thought Theaters and the author of Furniture without Rest.

NOTES:
(1) Adrian Stokes, Sunrise in the West, Harper & Brothers, New York and London, 1927, p.94.
(2) G.W.F. Hegel, Phenomenology of Spirit, trans. A.V. Miller, Oxford University Press, 1977, Oxford, p.10.
(3) Ibid., p.64.
(4) Ibid., p.34.
(5) Adrian Stokes, Stones of Rimini, Faber & Faber, London, 1934, p.151.
(6) Adrian Stokes, Inside Out, in Critical Writings of Adrian Stokes, vol.2, Thames & Hudson, London, 1978, p.174.


Read an excerpt from new release 'The Outwardness of Art: Selected Writings of Adrian Stokes'
Read an excerpt from new release 'The Outwardness of Art: Selected Writings of Adrian Stokes'
Read an excerpt from new release 'The Outwardness of Art: Selected Writings of Adrian Stokes'
Read an excerpt from new release 'The Outwardness of Art: Selected Writings of Adrian Stokes'
Read an excerpt from new release 'The Outwardness of Art: Selected Writings of Adrian Stokes'
Read an excerpt from new release 'The Outwardness of Art: Selected Writings of Adrian Stokes'
Read an excerpt from new release 'The Outwardness of Art: Selected Writings of Adrian Stokes'

The Outwardness of Art: Selected Writings of Adrian Stokes

The Outwardness of Art: Selected Writings of Adrian Stokes

RIDINGHOUSE
Pbk, 6 x 8.5 in. / 592 pgs.

$27.50  free shipping




ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
75 Broad Street, Suite 630
New York NY 10004
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2017 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com