Inside the White Cube

The Ideology of the Gallery Space, Expanded Edition

Brian O'Doherty, Thomas McEvilley

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English

University of California Press
14 January 2000

Theory of art; Museums & museology

"When these essays first appeared in Artforum in 1976, their impact was immediate. They were discussed, annotated, cited, collected, and translated—the three issues of Artforum in which they appeared have become nearly impossible to obtain. Having Brian O'Doherty's provocative essays available again is a signal event for the art world. This edition also includes ""The Gallery as Gesture,"" a critically important piece published ten years after the others.

O'Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system.

These essays are essential reading for anyone interested in the history and issues of postwar art in Europe and the United States. Teeming with ideas, relentless in their pursuit of contradiction and paradox, they exhibit both the understanding of the artist (Patrick Ireland) and the precision of the scholar.

With an introduction by Thomas McEvilley and a brilliantly cogent afterword by its author, Brian O'Doherty once again leads us on the perilous journey to center to the art world: Inside the White Cube."

By: Brian O'Doherty
Introduction by: Thomas McEvilley
Imprint: University of California Press
Country of Publication: United States
Edition: Enlarged edition
Dimensions: Height: 203mm, Width: 203mm, Spine: 10mm
Weight: 318g
ISBN: 9780520220409
ISBN 10: 0520220404
Pages: 120
Publication Date: 14 January 2000
Audience: General/trade , ELT Advanced
Format: Paperback
Publisher's Status: Active

"Acknowledgments Introduction by Thomas McEvilley I. Notes on the Gallery Space A Fable of Horizontal and Vertical ... Modernism ... The Properties of the Ideal Gallery ... The Salon ... The Easel Picture ... The Frame as Editor ... Photography . .. Impressionism . .. The Myth of the Picture Plane .. . Matisse .. . Hanging .. . The Picture Plane as Simile ... The Wall As Battleground and ""Art"" ... The Installation Shot ... II. The Eye and the Spectator Another Fable ... Five Blank Canvasses .. . Paint, Picture Plane, Objects ... Cubism and Collage ... Space ... The Spectator ... The Eye ... Schwitters's Merzbau . .. Schwitters's Performances .. . Happenings And Environments . .. Kienholz, Segal, Kaprow . .. Hanson, de Andrea ... Eye, Spectator, and Minimalism ... Paradoxes of Experience ... Conceptual and Body Art ... III. Context as Content The Knock at the Door ... Duchamp's Knock ... Ceilings ... 1.200 Bags of Coal . .. Gestures and Projects ... The Mile of String . . . Duchamp's ""Body"" .. . Hostility to the Audience ... The Artist and the Audience ... The Exclusive Space . . . The Seventies .. . The White Wall . . . The White Cube ... Modernist Man .. . The Utopian Artist ... Mondrian's Room ... Mondrian, Duchamp, Lissitzky ... IV. The Gallery as a Gesture Yves Klein's Le Vide ... Arman's Le Plein ... Warhol's Airborne Pillows ... Buren's Sealed Gallery ... Barry's Closed Gallery ... Les Levine's White Light ... The Christos' Wrapped Museum ... Afterword"

Brian O'Doherty, a.k.a. Patrick Ireland, is an artist and writer. His work has been shown in numerous galleries and museums in the United States and Europe. His books include Object and Idea (1967) and American Masters: The Voice and the Myth (1973, 1988).

Reviews for Inside the White Cube: The Ideology of the Gallery Space, Expanded Edition

"""Not only in the context of art institutions and gallery spaces, but also in broader territorial and political senses, the dichotomy between inside and outside has become a cornerstone of what we would now call installation art. Thus, we should not only read Inside the White Cube as the vital document of the 1970s post-studio art scene that it undoubtedly is, but also as a nodal point that connects in two directions: backwards to the modern history of art, and forwards to contemporary spatial practices."" * e-flux * ""Brian O’Doherty’s precise scrutiny of this near-omnipresent mode of display—the result of a worldview in which the apparatus of exhibition was newly understood as itself the carrier of meaning—still retains disruptive power."" * Art Journal *"