In May 1969, Charles Harrison reviewed Morris Louis’ exhibition at the Waddington Galleries in London. Months later, he helped to install the exhibition When Attitudes Become Form at the Institute of Contemporary Arts. Harrison also wrote the catalogue text, published in Studio International. Those two texts marked a significant point in Harrison’s career. They were indicative of his disillusionment with modernist criticism, and of his burgeoning interest in the work of post-minimal and conceptual art. In this respect, the two essays mark a transition from modernism to post-modernism in the space between a formalist analysis of the art object and a more dispersed field of artistic practice, where a changed relationship between art practice, criticism, and curating was taking place. However, in the 2000s, Harrison came to reflect upon this cardinal moment. Harrison referred to his recollected experiences of the late 1960s as a ‘cherished moment of involuntary realism’, opening up issues around art writing which remain pertinent to the practice of art history.

中文翻译：

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我们珍视的非自愿现实主义时刻：查尔斯·哈里森、现代主义和艺术写作

1969 年 5 月，查尔斯·哈里森在伦敦沃丁顿画廊回顾了莫里斯·路易斯的展览。几个月后，他在当代艺术学院帮助安装了《当态度成为形式》展览。哈里森还撰写了目录文本，发表在国际工作室。这两篇文章标志着哈里森职业生涯中的一个重要时刻。它们表明了他对现代主义批评的幻想破灭，以及他对后极简主义和概念艺术作品的浓厚兴趣。在这方面，这两篇文章标志着从现代主义到后现代主义的过渡，介于对艺术品的形式主义分析和更加分散的艺术实践领域之间，艺术实践、批评和策展之间的关系正在发生变化。地方。然而，在 2000 年代，哈里森开始反思这个重要时刻。哈里森将他回忆的 1960 年代后期的经历称为“不由自主​​的现实主义的珍贵时刻”，开启了与艺术史实践相关的艺术写作问题。