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Author: Rosalind E. Krauss
Publisher: University of Chicago Press
ISBN: 022626758X
Category : Art
Languages : en
Pages : 165
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Book Description
In the early 1950s, Willem de Kooning’s Woman I and subsequent paintings established him as a leading member of the abstract expressionist movement. His wildly impacted brushstrokes and heavily encrusted surfaces baffled most critics, who saw de Kooning’s monstrous female image as violent, aggressive, and ultimately the product of a misogynistic mind. In the image-rich Willem de Kooning Nonstop, Rosalind E. Krauss counters this view with a radical rethinking of de Kooning’s bold canvases and reveals his true artistic practices. Krauss demonstrates that contrary to popular conceptions of de Kooning as an artist who painted chaotically only to finish abruptly, he was in fact constantly reworking the same subject based on a compositional template. This template informed all of his art and included a three-part vertical structure; the projection of his male point of view into the painting or sculpture; and the near-universal inclusion of the female form, which was paired with her redoubled projection onto his work. Krauss identifies these elements throughout de Kooning’s oeuvre, even in his paintings of highways, boats, and landscapes: Woman is always there. A thought-provoking study by one of America’s greatest art critics, Willem de Kooning Nonstop revolutionizes our understanding of de Kooning and shows us what has always been hiding in plain sight in his work.
Author: Rosalind E. Krauss
Publisher: University of Chicago Press
ISBN: 022626758X
Category : Art
Languages : en
Pages : 165
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Book Description
In the early 1950s, Willem de Kooning’s Woman I and subsequent paintings established him as a leading member of the abstract expressionist movement. His wildly impacted brushstrokes and heavily encrusted surfaces baffled most critics, who saw de Kooning’s monstrous female image as violent, aggressive, and ultimately the product of a misogynistic mind. In the image-rich Willem de Kooning Nonstop, Rosalind E. Krauss counters this view with a radical rethinking of de Kooning’s bold canvases and reveals his true artistic practices. Krauss demonstrates that contrary to popular conceptions of de Kooning as an artist who painted chaotically only to finish abruptly, he was in fact constantly reworking the same subject based on a compositional template. This template informed all of his art and included a three-part vertical structure; the projection of his male point of view into the painting or sculpture; and the near-universal inclusion of the female form, which was paired with her redoubled projection onto his work. Krauss identifies these elements throughout de Kooning’s oeuvre, even in his paintings of highways, boats, and landscapes: Woman is always there. A thought-provoking study by one of America’s greatest art critics, Willem de Kooning Nonstop revolutionizes our understanding of de Kooning and shows us what has always been hiding in plain sight in his work.
Author: Rosalind E. Krauss
Publisher: University of Chicago Press
ISBN: 022626744X
Category : Art
Languages : en
Pages : 165
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Book Description
This image-rich essay offers a radical rethinking of the ab-ex painter Willem de Kooning by one of the greatest American art critics. Many have written about de Kooning s startling canvases of monstrous women, but none have approached them this way. In prose as energetic as her subject, Rosalind Krauss demonstrates how de Kooning could never stop reworking the same subject. Deploying one telling image after another, she shows that, from the early days of his career, de Kooning nearly always (1) worked with a tripartite vertical structure, (2) projected his own figure and point of view as the (male) artist into the painting, and (3) was compelled to produce the female figure, legs splayed obscenely or knees projected into the viewer s space in practically everything he made. Hidden in plain sight even in paintings of highways, boats, and landscapes, Woman is always there. How could we have missed this?"
Author: Gregor Stemmrich
Publisher: Hatje Cantz Verlag
ISBN: 3775755039
Category : Art
Languages : en
Pages : 1028
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Book Description
Erased de Kooning Drawing ist ein Kunstwerk, das auf radikale Weise die Definition von Kunst und das Verständnis von Autorschaft herausfordert. Drei amerikanische Künstler waren 1953 an seiner Erschaffung beteiligt: Robert Rauschenberg radierte eine Zeichnung Willem de Koonings aus, der mit einem gewissen Widerwillen sein Einverständnis gegeben hatte. Jasper Johns versah es anlässlich seiner ersten Präsentation mit einem Label, das maßgeblich zu seiner Wahrnehmung als eigenständigem Werk beitrug. Das zu etwas Neuem transformierte Blatt wurde in den 1950er-Jahren als Neo-Dada aufgefasst, in den 1960ern als Beginn der Konzeptkunst und in den 1980er-Jahren als Aufbruch in die Postmoderne. Zahlreiche Künstler*innen bezogen sich auf das Werk und Rauschenberg selbst griff es immer wieder auf. Es erwies sich als Testfall für Bestimmungen von Modernismus, Literalismus und Postmodernismus. Gregor Stemmrichs kenntnisreiche kunsttheoretische Betrachtung arbeitet die anhaltende Relevanz des Werks für die Theorie des Bildes, des Index, der Spur, des Allegorischen und der Frage nach Appropriation heraus.
Author: Tracey Warr
Publisher: Meanda Books
ISBN: 1739425707
Category : Art
Languages : en
Pages : 337
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Book Description
Tracey Warr’s art texts have been developed as an ‘embedded’ writer, writing with rather than about artists. Throughout her various modes of art writing, she argues against binaries and focuses on the stream of consciousness, the more than human, and remoteness. Her essays tangle with punk art, art and ecology, endurance art, performance art, site-specific art, and women’s art. Warr’s writing engages with the making processes of contemporary artists, including Marina Abramovic, Ackroyd and Harvey, Tine Bech, Brook and Black, Bruce Gilchrist, Marcus Coates, Elpida Hadzi-Vasileva, London Fieldworks, Hayley Newman, Optik, Alan Smith, Emily Speed, Christian Thompson, James Turrell, Urbonas Studio, and more.
Author: Sarah Kelly Oehler
Publisher: Yale University Press
ISBN: 0300232985
Category : Art
Languages : en
Pages : 249
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Book Description
A revelatory reassessment of one of the most influential American artists of the 20th century Charles White (1918–1979) is best known for bold, large-scale paintings and drawings of African Americans, meticulously executed works that depict human relationships and socioeconomic struggles with a remarkable sensitivity. This comprehensive study offers a much-needed reexamination of the artist’s career and legacy. With handsome reproductions of White’s finest paintings, drawings, and prints, the volume introduces his work to contemporary audiences, reclaims his place in the art-historical narrative, and stresses the continuing relevance of his insistent dedication to producing positive social change through art. Tracing White’s career from his emergence in Chicago to his mature practice as an artist, activist, and educator in New York and Los Angeles, leading experts provide insights into White’s creative process, his work as a photographer, his political activism and interest in history, the relationship between his art and his teaching, and the importance of feminism in his work. A preface by Kerry James Marshall addresses White’s significance as a mentor to an entire generation of practitioners and underlines the importance of this largely overlooked artist.
Author: Daniel Neofetou
Publisher: Bloomsbury Publishing USA
ISBN: 1501358391
Category : Art
Languages : en
Pages : 241
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Book Description
Since the 1970s, it has been argued that Abstract Expressionism was exhibited abroad by the post-war US establishment in an attempt to culturally match and reinforce its newfound economic and military dominance. The account of Abstract Expressionism developed by the American critic Clement Greenberg is often identified as central to these efforts. However, this book rereads Greenberg's account through Theodor Adorno and Maurice Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how Abstract Expressionism opposes the ends to which it was deployed. With reference not only to the most famous artists of the movement, but also female artists and artists of colour whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world that would do justice to them.
Author: Ryan Dohoney
Publisher: Oxford University Press
ISBN: 0190948590
Category : Music
Languages : en
Pages : 289
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Book Description
Saving Abstraction: Morton Feldman, the de Menils, and the Rothko Chapel tells the story of the 1972 premier of Morton Feldman's music for the Rothko Chapel in Houston. Built in 1971 for "people of all faiths or none," the chapel houses 14 monumental paintings by famed abstract expressionist Mark Rothko, who had committed suicide only one year earlier. Upon its opening, visitors' responses to the chapel ranged from spiritual succor to abject tragedy--the latter being closest to Rothko's intentions. However the chapel's founders--art collectors and philanthropists Dominique and John de Menil--opened the space to provide an ecumenically and spiritually affirming environment that spoke to their avant-garde approach to Catholicism. A year after the chapel opened, Morton Feldman's musical work Rothko Chapel proved essential to correcting the unintentionally grave atmosphere of the de Menil's chapel, translating Rothko's existential dread into sacred ecumenism for visitors. Author Ryan Dohoney reconstructs the network of artists, musicians, and patrons who collaborated on the premier of Feldman's music for the space, and documents the ways collaborators struggled over fundamental questions about the emotional efficacy of art and its potential translation into religious feeling. Rather than frame the debate as a conflict of art versus religion, Dohoney argues that the popular claim of modernism's autonomy from religion has been overstated and that the two have been continually intertwined in an agonistic tension that animates many 20th-century artistic collaborations.
Author: Derek Pigrum
Publisher: Springer Nature
ISBN: 3030716295
Category : Philosophy
Languages : en
Pages : 228
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Book Description
This book is about the way artists generate an endless chain of substitute objects for something they can never quite find. It explores the work involved in art with a focus upon finding, gathering, and assembling charged and auratic objects on the wall beside the work. The author employs the term Das Gegenwerk or the work towards the work. This concept avoids definitive closure and expands the notion of drafting and related practices to include qualitative research methods. The multi-mode transitional practices of Das Gegenwerk are devoid of any demand for a preconceived goal but instead hinge upon the provisional and indeterminate. As such, it is a far cry from the binary logic of the computer and the design cycle but is of interest to an audience engaged with both. Das Gegenwerk hinges on our capacity to respond to the outside rather than the inwardness often attributed to creative agency. A fundamental belief of the book is that by investigating and adapting the practices of expert practitioners, we can gain an understanding of high-level creativity. It is neither a recipe nor a linear or cyclic approach. Rather, artistic creation is an interweave of transitional multi-mode practices where the overriding emphasis is on the handling or habituation of transitional materials in physical place. The author addresses the urgent need to provide a balance between the promise of new technology and our capacity to both respond to and work with what the world bestows.
Author: Saul Nelson
Publisher: Yale University Press
ISBN: 0300272308
Category : Art
Languages : en
Pages : 225
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Book Description
A new history of postwar painting that explores how the desire to look backward shaped some of the period's most radical artmaking This incisive account of modernism's postwar development examines how painters, such as Joan Mitchell, Barnett Newman, and Rose Piper, invoked tradition in order to respond to, participate in, and disrupt the histories of the movement being written at midcentury. Saul Nelson argues that artists' turn to the past, often dismissed as regressive, offers an important counternarrative to the notion of modernism as always pushing forward. To be a modernist, Nelson contends, was to live in doubt--about which aspects of the past were still needed and how they might be put to new use. The story ranges across continents and historical boundaries, from India to Europe and the United States. It encompasses Grace Hartigan's and Mitchell's feminist reworkings of Matisse, the links between the work of Newman and nationalistic nineteenth-century painting, the attempts of Piper to salvage a heritage from the Harlem Renaissance, and F. N. Souza's interrogations of the legacies of colonialism. Never Ending presents a new history of postwar painting in which modernism is reimagined as a practice of retrieval and reinvention, a ceaseless confrontation between tradition and the demands of the present.
Author: C. Oliver O’Donnell
Publisher: Penn State Press
ISBN: 0271085568
Category : Art
Languages : en
Pages : 269
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Book Description
Described in the New York Times as the greatest art historian America ever produced, Meyer Schapiro was both a close friend to many of the famous artists of his generation and a scholar who engaged in public debate with some of the major intellectuals of his time. This volume synthesizes his prolific career for the first time, demonstrating how Schapiro worked from the nexus of artistic and intellectual practice to confront some of the twentieth century’s most abiding questions. Schapiro was renowned for pioneering interdisciplinary approaches to interpreting visual art. His lengthy formal analyses in the 1920s, Marxist interpretations in the 1930s, psychoanalytic critiques in the 1950s and 1960s, and semiotic explorations in the 1970s all helped open new avenues for inquiry. Based on archival research, C. Oliver O’Donnell’s study is structured chronologically around eight defining debates in which Schapiro participated, including his dispute with Isaiah Berlin over the life and writing of Bernard Berenson, Schapiro’s critique of Martin Heidegger’s ekphrastic commentary on Van Gogh, and his confrontation with Claude Lévi-Strauss over the applicability of mathematics to the interpretation of visual art. O’Donnell’s thoughtful analysis of these intellectual exchanges not only traces Schapiro’s philosophical evolution but also relates them to the development of art history as a discipline, to central tensions of artistic modernism, and to modern intellectual history as a whole. Comprehensive and thought-provoking, this study of Schapiro’s career pieces together the separate strands of his work into one cohesive picture. In doing so, it reveals Schapiro’s substantial impact on the field of art history and on twentieth-century modernism.
