American critic Michael Fried, in the essay «Art and Objecthood» (1967), apotheosized «art» in contrast to «theatricality» — another version of Greenberg's elevation of formal art over literary art, more particularly of Cubism
over Dadaism — arguing that «it is by virtue of their presentness and instantaneousness that modernist painting and sculpture defeat theater.»
Not exact matches
That show marked a shift from the idea of a constructivist, analytical and technological Colombo, attributed to him
over the years by various Italian critics, to one that placed more emphasis on his dadaist - surrealist links, which were formulated by the artist himself as a part of a thesis on Max Ernst and
Dadaism, completed as part of his diploma at Milan's Accademia di Brera in 1959.
Over the next decade his diverse work varied in terms of content, medium, and technique as he was inspired by surrealism,
dadaism, and minimalism.