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In "Lee Krasner: The Unacknowledged Equal," published by the Pollock-Krasner Foundation, critic and scholar Carter Ratcliff investigates Krasner's life and practice from her early days as Hans Hofmann's student to the production of her late masterworks. Through meticulous research and careful analysis, Ratcliff provides detailed insight into the evolution of Krasner's work, worldview, and relationship with Jackson Pollock-definitively bringing her out of Pollock's shadow. Ratcliff goes beyond giving Krasner her rightful due, he sheds new light on her accomplishments and argues that Krasner was as much the inventor of "allover" painting as Pollock.
Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.
The only complete career retrospective of this visionary painter - a classic, now available again in a handsome new binding. Agnes Martin's career spanned over seven decades. Though a major influence on Minimalist painters, Martin saw her own work more closely related to Abstract Expressionism, her paintings being meditations on innocence, beauty, happiness and love.' This much-anticipated reissue of Arne Glimcher's highly-acclaimed book presents 130 of Martin's paintings and drawings alongside her previously unpublished writings and lecture notes. Glimcher's illuminating introduction, his personal memories of visits to Martin at her studio, and their correspondence throughout her career, reveal many insights into the artist's life and work.
Priscilla the Cow is searching for meaning in her boring life on the farm.
Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.
In the years during and just after World War II, the Danish artist Asger Jorn (1914-73) and the American painter Jackson Pollock (1912-56) came to play major roles in the development of a new Abstract Expressionist art. Both drew on Surrealism and Picasso to explore automatism in painting, each breaking through to a unique style around 1943, when Pollock had his first show at Peggy Guggenheim's gallery, and Jorn established the groundwork for working collectively that would lead to the founding of the CoBrA group. In both cases, this led to an incredibly energetic, primitive-seeming painting (although Jorn retained more figurative elements than Pollock). Alongside more than 100 color reproductions, Jorn & Pollock: Revolutionary Roadsincludes the essays "Image Revolutions - Abstract Expressionism and What Looks Like It in Jorn and Pollock" by Anders Kold; "In the Shadow of Picasso: Asger Jorn and Jackson Pollock" by British art historian Jeremy Lewison; "Sounds in the Grass" by Axel Heil; and "Simpler Evolutions" by Courtney Martin, which discusses the British critic Lawrence Alloway's comparisons of the two artists.
For more than a decade, Jackson Pollock and Lee Krasner devoted their lives to each other, serving in turn as muse, critic, companion, lover, friend and alter ego. Their romance was stormy - their raucous arguments are the stuff of legend - but their talents were prodigious. This book is packed with examples of the contributions both artists made to the world of modern art. Readers will learn how Pollock and Krasners artistry evolved and how they influenced each others success. Recent developments, such as a revealing biopic and the art worlds elevation of Pollock to the status of being the most expensive artist in the world, bring their portrait fully up-to-date. While the author acknowledges historys sensationalisation of their lives, it is the paintings themselves - revolutionary, innovative and daring - that tell the most compelling story.
Counterpractice highlights a generation of women who used art to define a culture of experimental thought and practice during the period of the French women’s movement or Mouvement de Libération des Femmes (1970–81). It considers women’s art in relation to some of the most exciting thinkers to have emerged from the French literature and philosophy of the 1970s – Hélène Cixous, Luce Irigaray and Julia Kristeva – forcing a timely reconsideration of the full spectrum of revolutionary practices by women in the years following the events of May ’68. Lavishly illustrated with over 200 images, the book also features an illuminating foreword by art historian Griselda Pollock.
"An engrossing and impossibly wide-ranging project . . . In The Free World, every seat is a good one." —Carlos Lozada, The Washington Post "The Free World sparkles. Fully original, beautifully written . . . One hopes Menand has a sequel in mind. The bar is set very high." —David Oshinsky, The New York Times Book Review | Editors' Choice One of The New York Times's 100 best books of 2021 | One of The Washington Post's 50 best nonfiction books of 2021 | A Mother Jones best book of 2021 In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, Louis Menand offers a new intellectual and cultural history of the postwar years The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World, the acclaimed Pulitzer Prize–winning scholar and critic Louis Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt’s Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage’s residencies at North Carolina’s Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg’s friendship with Lionel Trilling, James Baldwin’s transformation into a Civil Right spokesman, Susan Sontag’s challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America’s once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened.