| Artwriting is the product of my efforts as philosopher and art critic to understand the development of recent American art criticism.1 When I was a graduate student, Richard Wollheim awakened my interest in aesthetics and in the work of Adrian Stokes. Stokes encouraged that interest, as have Ian and Ann Stokes Angus. In the late 1970s I began writing criticism under the influence of Joseph Masheck, then editor of Artforum; he has continued to support my work generously. |
| Mark Roskill patiently informed me about art history, read many drafts of this manuscript, and persuaded me that it would become a book. The philosopher Alexander Nehamas has been a friendly critic of much of my work. Sir Ernst Gombrich and Clement Greenberg have made brief, pungent comments on my interpretations of their texts; Michael Podro, Stephan Bann, and Norman Bryson have influenced my thought. Marianne Novy has helpfully argued with me, and I have taken someno doubt, too fewsuggestions from her. I thank also Elizabeth Frank, Leslie Strickland, my family, and the artists who have talked to me, some on many occasions: Thomas Bang, Jake Berthot, Howard Buchwald, William Coldstream, Maureen Connor, John Duff, Elizabeth Dworkin, Jean Feinberg, Craig Fisher, Sharon Gold, Richard Hennessy, Christopher Hewat, Stewart Hitch, R. B. Kitaj, Frances Lansing, Jonathan Lasker, Catherine Lee, Vered Lieb, Thomas Nozkowski, Harvey Quaytman, David Reed, Joyce Robins, Sean Scully, Barbara Westman, and Thornton Willis. |
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