Richard Shiff
Biographic Data
| ID | 255470 |
|---|---|
| NAME | Richard Shiff |
| GIVEN NAMES | Richard |
| FAMILY NAME | Shiff |
| SIGNATURE | SHIFF R |
| AFFILIATIONS | The University of Texas at Austin |
| VERIFIED | No |
| TOTAL WORKS | 23 |
| TOTAL CITATIONS | 8 |
| AUTHOR COUNT | 23 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1978 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Feeling Is First
Within the fields of aesthetics and psychology, there is a long tradition of arguing that affect precedes cognition. A verbalized thought following upon a feeling and associated with it does not translate the feeling precisely or adequately. In fact, as C. S. Peirce would argue, the thought itself projects its own affect, which is independent of its logic. The essence of affect or feeling will always elude linguistic capture. This essay argues th…
Brushstroke and Emergence: Courbet, Impressionism, Picasso by James D. Herbert
Review Article| January 01 2020 Brushstroke and Emergence: Courbet, Impressionism, Picasso by James D. Herbert Herbert, James D., Brushstroke and Emergence: Courbet, Impressionism, Picasso (Chicago: University of Chicago Press, 2015), 149 pp. Richard Shiff Richard Shiff Search for other works by this author on: This Site Google Common Knowledge (2020) 26 (1): 172–175. https://doi.org/10.1215/0961754X-7900012 Cite Icon Cite Share Icon Share Twitte…
Original, copie, simulacre: Aspects du multiple
La théorie est théorique, hypothétique : elle devrait hésiter, douter, et non pas polémiquer. La polémique fait généralement appel aux oppositions et pose ces conditions-limites comme si elles étaient plus réelles qu’imaginaires. De telles fictions structurent le conflit idéologique, et offrent souvent un avantage stratégique. Cependant, en tant que constructions conceptuelles, les limites et les extrêmes ne mènent nulle part. Au cours des derniè…
After the Beautiful: Hegel and the Philosophy of Pictorial Modernity by Robert B. Pippin
Chance
Academics generate circles of thought. Their preferred modes of conceptualization-the intellectual constructions in circulation within academic discourse at a given moment-readily pass across disciplinary boundaries. During the past two centuries, philosophical critique and the criticism of art have a history of informing each other (Robert Pippin's After the Beautiful is a current example of the syndrome). Although the concepts of societal "mode…
Ingemination
Watch Out for Thinking (Even Fuzzy Thinking)
This article, a contribution to the Common Knowledge symposium "Fuzzy Studies: On the Consequence of Blur," documents how some modern artists and critics have argued against any sort of verbal thinking about art. Beyond describing works of visual art and pronouncing on their relative quality, critics often assume responsibility for explaining what a given work means. Because paintings and sculptures are less precisely codified, less articulate, t…
Cézanne's Watercolors: Between Drawing and Painting
Book Review| April 01 2010 Cézanne's Watercolors: Between Drawing and Painting Matthew Simms, Cézanne's Watercolors: Between Drawing and Painting (New Haven, CT: Yale University Press, 2008), 228 pp. Richard Shiff Richard Shiff Search for other works by this author on: This Site Google Common Knowledge (2010) 16 (2): 294–295. https://doi.org/10.1215/0961754X-2009-104 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Richard…
Something Is Happening
In The True Vine (1989), Stephen Bann assumes the role of Nietzschean ‘antiquarian’, a historian attentive to the slightest residues of material culture, the kind of historical evidence overlooked, or disregarded, by those more concerned either to monumentalize the existing historical record or fundamentally to shift its understanding. Bann's approach to history accommodates a certain modernist sense of the inexhaustible excess of meaning to be f…
Aura: Digitized Analogies
Criticism at Odds With Its Art
Suspensions of perception: Attention, spectacle, and modern culture
Handling Shocks: On the Representation of Experience in Walter Benjamin's Analogies
The latter statement, Benjamin's rumination on the philosophy of history and historical materialism, contains the German locution ins Werk zu setzen; I have translated it as 'to put in play'.3 It can, of course, be rendered more literally as 'to set to work'. The present context with Groos's writing touching upon Benjamin's induces use of the somewhat figurative (but for English speakers, entirely proper) variant. While Benjamin alludes to the or…
Rethinking Art History: Meditations on a Coy Science. Donald Preziosi
On Criticism Handling History
Cezanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art
Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cezanne's painting. He shows how Cezanne's style met the emerging criteria of a technique of originality and how it satisfied critics sympathetic to symbolism as well as to impressionism. Expanding his study of the interaction of Cezanne and his critics, Shiff considers the problem of modern art in general. He locate…
Remembering Impressions
The Original, the Imitation, the Copy, and the Spontaneous Classic: Theory and Painting in Nineteenth-Century France
Richard Shiff, The Original, the Imitation, the Copy, and the Spontaneous Classic: Theory and Painting in Nineteenth-Century France, Yale French Studies, No. 66, The Anxiety of Anticipation (1984), pp. 27-54
Representation, Copying, and the Technique of Originality
modern period as a distinct era, perhaps now past, a time characterized by an ideology and style of its own. For most of the art historians who take part in this speculation on the nature of modernism, the modern period begins well back in the nineteenth century; for some, its roots are clearly in the eighteenth century. Accounts of the rise of modernism tell a story of conflicting theories and practices: there are academics and antiacademics, pa…
Miscreation
History and Innovation
Art and Life: A Metaphoric Relationship
Seeing Cézanne
Art and Life: A Metaphoric Relationship
Handling Shocks: On the Representation of Experience in Walter Benjamin's Analogies
The latter statement, Benjamin's rumination on the philosophy of history and historical materialism, contains the German locution ins Werk zu setzen; I have translated it as 'to put in play'.3 It can, of course, be rendered more literally as 'to set to work'. The present context with Groos's writing touching upon Benjamin's induces use of the somewhat figurative (but for English speakers, entirely proper) variant. While Benjamin alludes to the or…
On Criticism Handling History
Seeing Cézanne
Art and Life: A Metaphoric Relationship
Seeing Cézanne
Miscreation
History and Innovation
The Original, the Imitation, the Copy, and the Spontaneous Classic: Theory and Painting in Nineteenth-Century France
Richard Shiff, The Original, the Imitation, the Copy, and the Spontaneous Classic: Theory and Painting in Nineteenth-Century France, Yale French Studies, No. 66, The Anxiety of Anticipation (1984), pp. 27-54
Representation, Copying, and the Technique of Originality
modern period as a distinct era, perhaps now past, a time characterized by an ideology and style of its own. For most of the art historians who take part in this speculation on the nature of modernism, the modern period begins well back in the nineteenth century; for some, its roots are clearly in the eighteenth century. Accounts of the rise of modernism tell a story of conflicting theories and practices: there are academics and antiacademics, pa…
Cezanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art
Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cezanne's painting. He shows how Cezanne's style met the emerging criteria of a technique of originality and how it satisfied critics sympathetic to symbolism as well as to impressionism. Expanding his study of the interaction of Cezanne and his critics, Shiff considers the problem of modern art in general. He locate…
Remembering Impressions
On Criticism Handling History
Rethinking Art History: Meditations on a Coy Science. Donald Preziosi
Handling Shocks: On the Representation of Experience in Walter Benjamin's Analogies
The latter statement, Benjamin's rumination on the philosophy of history and historical materialism, contains the German locution ins Werk zu setzen; I have translated it as 'to put in play'.3 It can, of course, be rendered more literally as 'to set to work'. The present context with Groos's writing touching upon Benjamin's induces use of the somewhat figurative (but for English speakers, entirely proper) variant. While Benjamin alludes to the or…
Suspensions of perception: Attention, spectacle, and modern culture
Aura: Digitized Analogies
Criticism at Odds With Its Art
Something Is Happening
In The True Vine (1989), Stephen Bann assumes the role of Nietzschean ‘antiquarian’, a historian attentive to the slightest residues of material culture, the kind of historical evidence overlooked, or disregarded, by those more concerned either to monumentalize the existing historical record or fundamentally to shift its understanding. Bann's approach to history accommodates a certain modernist sense of the inexhaustible excess of meaning to be f…
Cézanne's Watercolors: Between Drawing and Painting
Book Review| April 01 2010 Cézanne's Watercolors: Between Drawing and Painting Matthew Simms, Cézanne's Watercolors: Between Drawing and Painting (New Haven, CT: Yale University Press, 2008), 228 pp. Richard Shiff Richard Shiff Search for other works by this author on: This Site Google Common Knowledge (2010) 16 (2): 294–295. https://doi.org/10.1215/0961754X-2009-104 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Richard…
Watch Out for Thinking (Even Fuzzy Thinking)
This article, a contribution to the Common Knowledge symposium "Fuzzy Studies: On the Consequence of Blur," documents how some modern artists and critics have argued against any sort of verbal thinking about art. Beyond describing works of visual art and pronouncing on their relative quality, critics often assume responsibility for explaining what a given work means. Because paintings and sculptures are less precisely codified, less articulate, t…
Ingemination
Chance
Academics generate circles of thought. Their preferred modes of conceptualization-the intellectual constructions in circulation within academic discourse at a given moment-readily pass across disciplinary boundaries. During the past two centuries, philosophical critique and the criticism of art have a history of informing each other (Robert Pippin's After the Beautiful is a current example of the syndrome). Although the concepts of societal "mode…
Original, copie, simulacre: Aspects du multiple
La théorie est théorique, hypothétique : elle devrait hésiter, douter, et non pas polémiquer. La polémique fait généralement appel aux oppositions et pose ces conditions-limites comme si elles étaient plus réelles qu’imaginaires. De telles fictions structurent le conflit idéologique, et offrent souvent un avantage stratégique. Cependant, en tant que constructions conceptuelles, les limites et les extrêmes ne mènent nulle part. Au cours des derniè…
After the Beautiful: Hegel and the Philosophy of Pictorial Modernity by Robert B. Pippin
Brushstroke and Emergence: Courbet, Impressionism, Picasso by James D. Herbert
Review Article| January 01 2020 Brushstroke and Emergence: Courbet, Impressionism, Picasso by James D. Herbert Herbert, James D., Brushstroke and Emergence: Courbet, Impressionism, Picasso (Chicago: University of Chicago Press, 2015), 149 pp. Richard Shiff Richard Shiff Search for other works by this author on: This Site Google Common Knowledge (2020) 26 (1): 172–175. https://doi.org/10.1215/0961754X-7900012 Cite Icon Cite Share Icon Share Twitte…
Feeling Is First
Within the fields of aesthetics and psychology, there is a long tradition of arguing that affect precedes cognition. A verbalized thought following upon a feeling and associated with it does not translate the feeling precisely or adequately. In fact, as C. S. Peirce would argue, the thought itself projects its own affect, which is independent of its logic. The essence of affect or feeling will always elude linguistic capture. This essay argues th…
Art (16 works) · Art history (14 works) · Computer Science (11 works) · Philosophy (11 works) · Psychology (11 works) · Epistemology (8 works) · Library science (7 works) · Literature (7 works) · Aesthetics (6 works) · Law (6 works)