Painting as Model

Informed by both structuralism and poststructuralism, these essays by art critic and historian Yve Alain Bois seek to redefine the status of theory in modernist critical discourse. Warning against the uncritical adoption of theoretical fashions and equally against the a priori rejection of all theory, Bois argues that theory is best employed in response to the specific demands ...

Informed by both structuralism and poststructuralism, these essays by art critic and historian Yve Alain Bois seek to redefine the status of theory in modernist critical discourse. Warning against the uncritical adoption of theoretical fashions and equally against the a priori rejection of all theory, Bois argues that theory is best employed in response to the specific demands of a critical problem. The essays lucidly demonstrate the uses of various theoretical approaches in conjunction with close reading of both paintings and texts.Yve-Alain Bois was a founder of the French journal Macula and a Fellow at the Centre National de la Recherche Scientifique, Paris. He is currently Professor of the History of Art at Harvard University.

伊夫-阿兰•博瓦，当代著名艺术史家、艺术批评家,美国艺术与科学院院士，美国哲学学会会员，普林斯顿大学“高级研究中心”历史研究学院教授、《十月》(October)杂志编辑。其研究专长是欧洲的现代主义经典艺术家和美国的战后艺术。

他策划过一系列产生重大影响的艺术展,如“蒙德里安：回顾展”（1994）、“马蒂斯和毕加索：文雅的竞争”（1996）。

他著作等身，其中《作为模型的绘画》（Painting as Model，1990）、合著《无形式:读者手册》（Formless: A User’s Guide，1997）、合著《1900年以来的艺术》（Art Since 1900，2005）影响深远。