Foreword to the Second Edition | p. 10 |
Acknowledgments | p. 11 |
Preface | p. 13 |
Introduction | p. 14 |
Approaching Art as a Mode of Thought | p. 14 |
The Concept of the Avant-Garde | p. 16 |
The Critical Point of View of this Book | p. 18 |
New York in the Forties | p. 20 |
New York Becomes the Center | p. 20 |
Surrealism | p. 20 |
American Pragmatism and Social Relevance | p. 24 |
The Depression and the Works Progress Administration (W.P.A.) | p. 26 |
The Availability of European Modernism | p. 28 |
The Europeans in New York | p. 30 |
The Sense of a New Movement in New York | p. 31 |
Commonalities and Differences Among the Artists of the New York School | p. 32 |
Automatism and Action in the Art of the New York School | p. 34 |
Action and Existentialism | p. 35 |
Clyfford Still | p. 38 |
Adolph Gottlieb | p. 38 |
Franz Kline | p. 39 |
Friends in and around the New York School | p. 39 |
A Dialog with Europe | p. 42 |
Alexander Calder | p. 42 |
Calder's Early Life and Themes | p. 42 |
Calder in Paris | p. 45 |
Cosmic Imagery and the Mobiles | p. 46 |
Hans Hofmann | p. 52 |
Stylistic Lessons from Europe | p. 52 |
Hofmann's Art Theory | p. 54 |
Hofmann's Painting | p. 55 |
Arshile Gorky | p. 59 |
Gorky's Life (Real and Imagined) | p. 59 |
The Development of Gorky's Style | p. 61 |
Gorky's Late Works | p. 65 |
Robert Motherwell | p. 67 |
Intellectual Affinities with the European Moderns | p. 68 |
Recurring Themes in Motherwell's Work | p. 69 |
Teaching, Writing, and Editing in Motherwell's Early Career | p. 69 |
Motherwell's Painting | p. 70 |
Willem de Kooning | p. 74 |
De Kooning's Training and Early Career | p. 76 |
The Dissolution of Anatomy into Abstraction | p. 77 |
The Anatomical Forms Dissolve into Brushstrokes | p. 80 |
De Kooning's Abstractions of the Fifties | p. 84 |
The "Women" of the Sixties and the Late Works | p. 84 |
Existentialism Comes to the Fore | p. 86 |
Jackson Pollock | p. 86 |
Pollock's Early Life and Influences | p. 86 |
Pollock's Breakthrough of the Early Forties | p. 89 |
Pollock's Transition to a Pure Gestural Style | p. 90 |
The Dripped and Poured Canvases | p. 92 |
Pollock in the Fifties | p. 97 |
Barnett Newman | p. 98 |
The Revelation of Newman's Onement 1 | p. 100 |
The Paintings of the Late Forties | p. 102 |
Vir Heroicus Sublimis and Other Works of the Fifties | p. 103 |
The "Stations of the Cross" | p. 106 |
Mark Rothko | p. 106 |
Rothko's Formative Years | p. 107 |
Turning to Classical Myth | p. 108 |
Surrealism, Psychoanalysis, and "the Spirit of Myth" | p. 109 |
"Heroifying" the Ineffable | p. 111 |
The Murals and Other Late Work | p. 113 |
David Smith and the Sculpture of the New York School | p. 115 |
Smith's Initiation into the Art World | p. 116 |
The Aesthetic of Machines and the Unconcious | p. 118 |
The Pictograms and Hudson River Landscape | p. 121 |
An Existential Encounter with the Materials at Hand | p. 121 |
Career Success and Personal Sacrifices | p. 122 |
The Figural Presence and the Work of the Last Decade | p. 123 |
The New European Masters of the Late Forties | p. 128 |
Jean Dubuffet and Postwar Paris | p. 128 |
Dubuffet's Painting of the Forties | p. 131 |
Dubuffet's Philosophical Premises | p. 132 |
A Focus on Matter in the Fifties | p. 135 |
A Grand Style of Entropy | p. 137 |
The Existentialist Figuration of alberto Giacometti | p. 138 |
Francis Bacon | p. 142 |
Some International Tendencies of the Fifties | p. 148 |
Purified Abstraction | p. 148 |
An Encounter with the Physicality of the Materials in Europe | p. 148 |
A Material Reading of Action Painting in New York | p. 153 |
Greenberg's Definition of Modernism | p. 154 |
The Greenberg School | p. 154 |
Formalist Painting | p. 156 |
"New Images of Man" in Europe and America | p. 160 |
The Cobra | p. 160 |
The Figurative Revival of the Fifties | p. 162 |
Figurative Painting in the Bay Area | p. 169 |
Existential Imagist Art in Chicago | p. 170 |
The Beat Generation: The Fifties in America | p. 172 |
"A Coney Island of the Mind" | p. 172 |
John Cage | p. 174 |
Merce Cunningham | p. 175 |
The Cage "Event" of 1952 | p. 176 |
Gutai | p. 176 |
Robert Rauschenberg | p. 177 |
The Self as a Mirror of Life | p. 177 |
Rauschenberg's Early Career | p. 178 |
The Combine Paintings | p. 181 |
The Drawings for Dante's Inferno | p. 183 |
The End of the Combines | p. 183 |
The Silkscreen Paintings | p. 184 |
Performance and the Prints of the Later Sixties | p. 187 |
Appropriating the Real: Junk Sculpture and Happenings | p. 188 |
Junk | p. 188 |
The Genesis of the Happenings | p. 188 |
The Judson Dance Theater | p. 193 |
Fluxus | p. 193 |
Walk-in Paintings | p. 193 |
Claes Oldenburg | p. 197 |
The "Cold Existentialism" of the "Ray Gun" and The Street | p. 197 |
The Store Days | p. 198 |
Soft Sculpture | p. 199 |
Proposals for Monuments | p. 202 |
Realizing Monuments and Architectural Scale | p. 203 |
Jasper Johns | p. 206 |
"Nature" Is How We Describe It | p. 206 |
Painting as a Discourse on Language | p. 206 |
An Aesthetic of "Found" Expression | p. 208 |
Emotion and Distance | p. 209 |
Incorporating Objects: What One Sees and What One Knows | p. 209 |
The Paintings of 1959 | p. 210 |
The New Emotional Tone of the Early Sixties | p. 213 |
Explorations of Linguistic Philosophy | p. 213 |
Diver of 1962 | p. 215 |
Periscope (Hart Crane) | p. 216 |
The Perceptual Complexity of Looking | p. 217 |
The Hatch Mark Paintings | p. 217 |
Dropping the Reserve | p. 220 |
The European Vanguard of the Later Fifties | p. 222 |
Nouveau Realisme | p. 222 |
Yves Klein's Romanticism | p. 222 |
Le Vide | p. 224 |
The "Living Brush" | p. 224 |
Seeking Immateriality | p. 226 |
Klein's Demise | p. 228 |
The Nouveaux Realistes | p. 230 |
Joseph Beuys | p. 231 |
Revealing the Animism in Nature | p. 232 |
The Artist as Shaman | p. 233 |
Art as the Creative Life of the Mind | p. 234 |
British Pop: From the Independent Group to David Hockney | p. 237 |
Key Figures of the Independent Group | p. 237 |
The Exhibitions | p. 237 |
Paolozzi and Hamilton as Artists | p. 239 |
Reintegrating Popular Imagery into High Art | p. 240 |
David Hockney | p. 241 |
The Landscape of Signs: American Pop Art 1960 to 1965 | p. 244 |
The Electronic Consciousness and New York Pop | p. 244 |
A Turning Point in Theory | p. 244 |
Events that Shaped the Popular Consciousness | p. 246 |
Collaging Reality on Pop Art's Neutral Screen of Images | p. 246 |
Andy Warhol | p. 250 |
Warhol's Background | p. 251 |
Selecting Non-Selectivity | p. 251 |
Eliminating the Artist's Touch | p. 253 |
A Terrifying Emptiness | p. 253 |
The Factory Scene | p. 256 |
Business Art and the "Shadows" that Linger Behind It | p. 257 |
Roy Lichtenstein | p. 259 |
James Rosenquist | p. 261 |
H.C. Westermann, Peter Saul, and the Hairy Who | p. 267 |
H.C. Westermann | p. 267 |
Peter Saul | p. 270 |
The Hairy Who | p. 272 |
West Coast Pop | p. 277 |
Funk Art | p. 277 |
Peter Voulkos | p. 280 |
The Politicized Cultural Climate of the Sixties | p. 281 |
William Wiley | p. 281 |
Ed Kienholz | p. 283 |
L.A. Pop | p. 283 |
Robert Arneson | p. 286 |
Arneson's Break with Conventional Ceramics | p. 286 |
The Toilets | p. 287 |
A Technical Breakthrough | p. 287 |
Objects of the Mid Sixties | p. 289 |
The Self-Portraits | p. 289 |
Discovering a Political Voice | p. 291 |
Introspection via Pollock | p. 291 |
In the Nature of Materials: The Later Sixties | p. 294 |
Back to First Principles--Minimal Art | p. 294 |
Frank Stella | p. 297 |
Donald Judd | p. 299 |
Tony Smith | p. 300 |
Carl Andre | p. 301 |
Dan Flavin | p. 303 |
Robert Morris | p. 304 |
Sol LeWitt | p. 306 |
The Los Angeles Light and Space Movement | p. 307 |
Object/Concept/Illusion in Painting | p. 309 |
A Focus on Surface Handling in Painting | p. 310 |
Eva Hesse and Investigations of Materials and Process | p. 311 |
Eva Hesse | p. 312 |
The Direct Sensuality of Fiberglass and Latex | p. 313 |
Bruce Nauman and Richard Serra | p. 316 |
Bruce Nauman | p. 316 |
Richard Tuttle and Richard Serra | p. 318 |
Artists Working in the Landscape | p. 323 |
Michael Heizer | p. 323 |
Walter De Maria | p. 326 |
Robert Smithson | p. 327 |
An Accidental Rubric | p. 331 |
Arte Povera, and a Persevering Rapport with Nature in Europe | p. 332 |
Politics and Postmodernism: The Transition to the Seventies | p. 338 |
Re-Radicalizing the Avant-Garde | p. 338 |
The Critical Atmosphere of the Late Sixties | p. 338 |
Language and Measure | p. 340 |
Art from Nature | p. 342 |
Vito Acconci: Defining a Conceptual Oeuvre | p. 346 |
Body Art | p. 347 |
Ana Mendieta | p. 349 |
Lygia Clark and Helio Oiticica | p. 349 |
Performance Art | p. 351 |
Nam June Paik's Electronic Nature | p. 352 |
Direct Political Comment | p. 354 |
Marcel Broodthaers | p. 354 |
Situationism | p. 356 |
The Potential for Broader Political Action | p. 356 |
Christo and Jeanne-Claude | p. 356 |
Art in the Theater of Real Events | p. 356 |
The Shift to an Architectural Scale | p. 360 |
The Logistics of the Projects | p. 363 |
The Surrounded Islands | p. 363 |
Christo and Jeanne-Claude in the Nineties | p. 364 |
Postmodernism | p. 365 |
Sigmar Polke | p. 365 |
Gerhard Richter | p. 371 |
John Baldessari | p. 374 |
Surviving the Corporate Culture of the Seventies | p. 376 |
A New Pluralism | p. 376 |
Art and Feminism | p. 381 |
Photography in the Mainstream | p. 384 |
A Dazzling Photorealism | p. 384 |
Entering the Real Space | p. 387 |
Public Sites | p. 389 |
Appropriated Sites: Charles Simonds | p. 392 |
Gordon Matta-Clark's Site Critiques | p. 392 |
The Complexity That Is Culture | p. 393 |
Romare Bearden | p. 394 |
Bearden's Collages of the Sixties | p. 395 |
Alice Aycock | p. 398 |
Metaphor Replaces Physicality in Aycock's Work of the Eighties | p. 401 |
Philip Guston's Late Style | p. 405 |
Guston's Early Career | p. 405 |
Guston's Action Paintings of the Fifties | p. 408 |
The Reemergence of the Figure | p. 408 |
Painting at the End of the Seventies | p. 414 |
New Expressionist Painting in Europe | p. 414 |
Jorg Immendorff's Political Analysis of Painting | p. 416 |
Grappling with Identity | p. 417 |
Georg Baselitz and A.R. Penck | p. 418 |
Anselm Kiefer | p. 420 |
Italian Neo-Expressionism | p. 424 |
Francesco Clemente | p. 425 |
The Internationalization of Neo-Expressionism | p. 426 |
The Peculiar Case of the Russians | p. 428 |
Ilya Kabakov | p. 430 |
New Imagist Painting and Sculpture | p. 433 |
Elizabeth Murray | p. 439 |
The Origins of Murray's Style | p. 440 |
Pursuing the Logic of the Shaped Canvas | p. 440 |
The Eighties | p. 444 |
A Fresh Look at Abstraction | p. 444 |
American Neo-Expressionism | p. 448 |
Jonathan Borofsky | p. 452 |
Graffiti Art | p. 454 |
Keith Haring | p. 455 |
The East Village Scene of the Eighties | p. 457 |
Jean-Michel Basquiat | p. 457 |
David Wojnarowicz | p. 459 |
Post-Modern Installation | p. 463 |
Ann Hamilton | p. 464 |
Appropriation | p. 466 |
Cindy Sherman | p. 470 |
The Aesthetic of Consumerism | p. 471 |
Political Appropriation | p. 474 |
New Tendencies of the Nineties | p. 478 |
Return to the Body | p. 478 |
Transgressing Body Boundaries | p. 482 |
The Academy of the Avant Garde | p. 484 |
Cultural Identity | p. 484 |
New Uses of the Camera | p. 488 |
Art as Controversy | p. 490 |
Fashion | p. 493 |
Slippage: Pop Culture and Romantic Nature | p. 496 |
Postmodern Conceptualism | p. 499 |
Constructing the Postmodern Self | p. 500 |
To Say the Things That Are One's Own | p. 504 |
Bibliography | p. 506 |
Notes | p. 512 |
Index | p. 523 |
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