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Art since 1940 Strategies of Being

ISBN-10: 0130454699

ISBN-13: 9780130454690

Edition: 1st

Authors: Jonathan David Fineberg

List price: $67.33
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Description:

In Art Since 1940: Strategies of Being, Jonathan Fineberg presents the art of the last six decades of our century as a series of responses, made by exceptional men and women, to the conditions of life in baffling and chaotic times. This Second Edition includes a whole new chapter on the 1990s and augmented sections earlier in the book. The year 1940 marks a defining moment in 20th-century art, when many artists of the European avant-garde moved en masse to New York. The city was instantly transformed into the art capital of the world, triggering radical changes of direction as artists, both immigrant and American-born, struggled with the reshuffled facts of their existence. For these artists, says Fineberg, making art was -- as it continues to be for artists today -- a strategy of coming to terms with their moment in history. This book helps us understand these "strategies of being" of the greatest postwar artists, and by extension other artists both well-known and little celebrated. Professor Fineberg focuses on artists' lives and how they intersected with broader cultural issues. Individual artists looked at indepth include Calder, Hofmann, Gorky, Motherwell, de Kooning, Pollock, Newman, Rothko, David Smith, Dubuffet, Giacometti, Bacon, Rauschenberg, Oldenburg, Johns, Beuys, Klein, Warhol, Rosenquist, Westermann, Arneson, Hesse, Nauman, Christo, Polke, Richter, Guston, Bearden, Aycock, Kiefer, Clemente, Borofsky, Basquiat, and Wojnarowicz.
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Book details

List price: $67.33
Edition: 1st
Publisher: Prentice Hall PTR
Binding: Paperback
Pages: 350
Size: 9.00" wide x 11.25" long x 1.00" tall
Weight: 3.080
Language: English

Foreword to the Second Edition
Acknowledgments
Preface
Introduction
Approaching Art as a Mode of Thought
The Concept of the Avant-Garde
The Critical Point of View of this Book
New York in the Forties
New York Becomes the Center
Surrealism
American Pragmatism and Social Relevance
The Depression and the Works Progress Administration (W.P.A.)
The Availability of European Modernism
The Europeans in New York
The Sense of a New Movement in New York
Commonalities and Differences Among the Artists of the New York School
Automatism and Action in the Art of the New York School
Action and Existentialism
Clyfford Still
Adolph Gottlieb
Franz Kline
Friends in and around the New York School
A Dialog with Europe
Alexander Calder
Calder's Early Life and Themes
Calder in Paris
Cosmic Imagery and the Mobiles
Hans Hofmann
Stylistic Lessons from Europe
Hofmann's Art Theory
Hofmann's Painting
Arshile Gorky
Gorky's Life (Real and Imagined)
The Development of Gorky's Style
Gorky's Late Works
Robert Motherwell
Intellectual Affinities with the European Moderns
Recurring Themes in Motherwell's Work
Teaching, Writing, and Editing in Motherwell's Early Career
Motherwell's Painting
Willem de Kooning
De Kooning's Training and Early Career
The Dissolution of Anatomy into Abstraction
The Anatomical Forms Dissolve into Brushstrokes
De Kooning's Abstractions of the Fifties
The "Women" of the Sixties and the Late Works
Existentialism Comes to the Fore
Jackson Pollock
Pollock's Early Life and Influences
Pollock's Breakthrough of the Early Forties
Pollock's Transition to a Pure Gestural Style
The Dripped and Poured Canvases
Pollock in the Fifties
Barnett Newman
The Revelation of Newman's Onement 1
The Paintings of the Late Forties
Vir Heroicus Sublimis and Other Works of the Fifties
The "Stations of the Cross"
Mark Rothko
Rothko's Formative Years
Turning to Classical Myth
Surrealism, Psychoanalysis, and "the Spirit of Myth"
"Heroifying" the Ineffable
The Murals and Other Late Work
David Smith and the Sculpture of the New York School
Smith's Initiation into the Art World
The Aesthetic of Machines and the Unconcious
The Pictograms and Hudson River Landscape
An Existential Encounter with the Materials at Hand
Career Success and Personal Sacrifices
The Figural Presence and the Work of the Last Decade
The New European Masters of the Late Forties
Jean Dubuffet and Postwar Paris
Dubuffet's Painting of the Forties
Dubuffet's Philosophical Premises
A Focus on Matter in the Fifties
A Grand Style of Entropy
The Existentialist Figuration of alberto Giacometti
Francis Bacon
Some International Tendencies of the Fifties
Purified Abstraction
An Encounter with the Physicality of the Materials in Europe
A Material Reading of Action Painting in New York
Greenberg's Definition of Modernism
The Greenberg School
Formalist Painting
"New Images of Man" in Europe and America
The Cobra
The Figurative Revival of the Fifties
Figurative Painting in the Bay Area
Existential Imagist Art in Chicago
The Beat Generation: The Fifties in America
"A Coney Island of the Mind"
John Cage
Merce Cunningham
The Cage "Event" of 1952
Gutai
Robert Rauschenberg
The Self as a Mirror of Life
Rauschenberg's Early Career
The Combine Paintings
The Drawings for Dante's Inferno
The End of the Combines
The Silkscreen Paintings
Performance and the Prints of the Later Sixties
Appropriating the Real: Junk Sculpture and Happenings
Junk
The Genesis of the Happenings
The Judson Dance Theater
Fluxus
Walk-in Paintings
Claes Oldenburg
The "Cold Existentialism" of the "Ray Gun" and The Street
The Store Days
Soft Sculpture
Proposals for Monuments
Realizing Monuments and Architectural Scale
Jasper Johns
"Nature" Is How We Describe It
Painting as a Discourse on Language
An Aesthetic of "Found" Expression
Emotion and Distance
Incorporating Objects: What One Sees and What One Knows
The Paintings of 1959
The New Emotional Tone of the Early Sixties
Explorations of Linguistic Philosophy
Diver of 1962
Periscope (Hart Crane)
The Perceptual Complexity of Looking
The Hatch Mark Paintings
Dropping the Reserve
The European Vanguard of the Later Fifties
Nouveau Realisme
Yves Klein's Romanticism
Le Vide
The "Living Brush"
Seeking Immateriality
Klein's Demise
The Nouveaux Realistes
Joseph Beuys
Revealing the Animism in Nature
The Artist as Shaman
Art as the Creative Life of the Mind
British Pop: From the Independent Group to David Hockney
Key Figures of the Independent Group
The Exhibitions
Paolozzi and Hamilton as Artists
Reintegrating Popular Imagery into High Art
David Hockney
The Landscape of Signs: American Pop Art 1960 to 1965
The Electronic Consciousness and New York Pop
A Turning Point in Theory
Events that Shaped the Popular Consciousness
Collaging Reality on Pop Art's Neutral Screen of Images
Andy Warhol
Warhol's Background
Selecting Non-Selectivity
Eliminating the Artist's Touch
A Terrifying Emptiness
The Factory Scene
Business Art and the "Shadows" that Linger Behind It
Roy Lichtenstein
James Rosenquist
H.C. Westermann, Peter Saul, and the Hairy Who
H.C. Westermann
Peter Saul
The Hairy Who
West Coast Pop
Funk Art
Peter Voulkos
The Politicized Cultural Climate of the Sixties
William Wiley
Ed Kienholz
L.A. Pop
Robert Arneson
Arneson's Break with Conventional Ceramics
The Toilets
A Technical Breakthrough
Objects of the Mid Sixties
The Self-Portraits
Discovering a Political Voice
Introspection via Pollock
In the Nature of Materials: The Later Sixties
Back to First Principles--Minimal Art
Frank Stella
Donald Judd
Tony Smith
Carl Andre
Dan Flavin
Robert Morris
Sol LeWitt
The Los Angeles Light and Space Movement
Object/Concept/Illusion in Painting
A Focus on Surface Handling in Painting
Eva Hesse and Investigations of Materials and Process
Eva Hesse
The Direct Sensuality of Fiberglass and Latex
Bruce Nauman and Richard Serra
Bruce Nauman
Richard Tuttle and Richard Serra
Artists Working in the Landscape
Michael Heizer
Walter De Maria
Robert Smithson
An Accidental Rubric
Arte Povera, and a Persevering Rapport with Nature in Europe
Politics and Postmodernism: The Transition to the Seventies
Re-Radicalizing the Avant-Garde
The Critical Atmosphere of the Late Sixties
Language and Measure
Art from Nature
Vito Acconci: Defining a Conceptual Oeuvre
Body Art
Ana Mendieta
Lygia Clark and Helio Oiticica
Performance Art
Nam June Paik's Electronic Nature
Direct Political Comment
Marcel Broodthaers
Situationism
The Potential for Broader Political Action
Christo and Jeanne-Claude
Art in the Theater of Real Events
The Shift to an Architectural Scale
The Logistics of the Projects
The Surrounded Islands
Christo and Jeanne-Claude in the Nineties
Postmodernism
Sigmar Polke
Gerhard Richter
John Baldessari
Surviving the Corporate Culture of the Seventies
A New Pluralism
Art and Feminism
Photography in the Mainstream
A Dazzling Photorealism
Entering the Real Space
Public Sites
Appropriated Sites: Charles Simonds
Gordon Matta-Clark's Site Critiques
The Complexity That Is Culture
Romare Bearden
Bearden's Collages of the Sixties
Alice Aycock
Metaphor Replaces Physicality in Aycock's Work of the Eighties
Philip Guston's Late Style
Guston's Early Career
Guston's Action Paintings of the Fifties
The Reemergence of the Figure
Painting at the End of the Seventies
New Expressionist Painting in Europe
Jorg Immendorff's Political Analysis of Painting
Grappling with Identity
Georg Baselitz and A.R. Penck
Anselm Kiefer
Italian Neo-Expressionism
Francesco Clemente
The Internationalization of Neo-Expressionism
The Peculiar Case of the Russians
Ilya Kabakov
New Imagist Painting and Sculpture
Elizabeth Murray
The Origins of Murray's Style
Pursuing the Logic of the Shaped Canvas
The Eighties
A Fresh Look at Abstraction
American Neo-Expressionism
Jonathan Borofsky
Graffiti Art
Keith Haring
The East Village Scene of the Eighties
Jean-Michel Basquiat
David Wojnarowicz
Post-Modern Installation
Ann Hamilton
Appropriation
Cindy Sherman
The Aesthetic of Consumerism
Political Appropriation
New Tendencies of the Nineties
Return to the Body
Transgressing Body Boundaries
The Academy of the Avant Garde
Cultural Identity
New Uses of the Camera
Art as Controversy
Fashion
Slippage: Pop Culture and Romantic Nature
Postmodern Conceptualism
Constructing the Postmodern Self
To Say the Things That Are One's Own
Bibliography
Notes
Index