The Frame and the Mirror
On Collage and the Postmodern
Thomas P. Brockelman THE BROKEN FRAME
Whatever potential he may see for an authentic art of modernity, Harries
sees the actual course of modern art as following an unvarying course."
Such art ever more perfectly retreats in onder to compose its own
world. Thus,
[the history of modern art can be told as a story of art’s eman-
cipation from all nonaesthetic concerns. The divorce of art
from religion in the early modern period provides an obvious
introduction; the progressive attack, first on allegory, then on
representation, and finally on all meaning, might be chapters;
the emergence of the artwork as an ideally self-sufficient beau-
tiful presence that should no longer mean but simply be could
provide an effective conclusion. (Broken, p. xi)
It is in the context of this teleological view of the history of modern
art that Harries raises the question of the “broken frame”—a question
which provides the title for a series of talks about aesthetic modernism
and postmodernism that he presented in the late 1980s. The title itself
refers to a late-cighteenth-century engraving by the south German artist
Johann Esaias Nilson entitled Der liebe Morgen."\
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