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The pioneering artists of the post-World War II era embraced artistic freedom and gesture-based styles, nontraditional materials and countercultural references. French art critic Michel Tapié even declared the existence of "un art autre" (art of another kind)--an art that entailed a radical break with all traditional notions of order and composition, in a movement toward something wholly "other." This catalogue accompanies the Solomon R. Guggenheim Museum exhibition Art of Another Kind: International Abstraction and the Guggenheim, 1949-1960, which especially highlights works that entered into the collection during the tenure of then-director James Johnson Sweeney. Featuring nearly 100 works by Carla Accardi, Pierre Alechinsky, Karel Appel, Martin Barré, Harry Bertoia, Louise Bourgeois, Alberto Burri, Sam Francis, Grace Hartigan, Asger Jorn, Yves Klein, Franz Kline, Willem de Kooning, Conrad Marca-Relli, Kenzo Okada, Jorge Oteiza, Jackson Pollock, Ad Reinhardt, Pierre Soulages, Clyfford Still, Antoni Tàpies, Jean Tinguely, Cy Twombly, Takeo Yamaguchi and Zao Wou-Ki, among others, this collection-based exhibition and publication explore the affinities and differences between artists working continents apart, in a period of great transition and rapid creative development. The fully illustrated exhibition catalogue includes essays by Tracey Bashkoff, Megan M. Fontanella and Joan Marter; an illustrated chronology; and short biographies of the artists.
In Confessions of a School Reformer, eminent historian of education Larry Cuban reflects on nearly a century of education reforms and his experiences with them as a student, educator, and administrator. Cuban begins his own story in the 1930s, when he entered first grade at a Pittsburgh public school, the youngest son of Russian immigrants who placed great stock in the promises of education. With a keen historian's eye, Cuban expands his personal narrative to analyze the overlapping social, political, and economic movements that have attempted to influence public schooling in the United States since the beginning of the twentieth century. He documents how education both has and has not been altered by the efforts of the Progressive Era of the first half of the twentieth century, the Civil Rights Movement of the 1950s through the 1970s, and the standards-based school reform movement of the 1980s through today. Cuban points out how these dissimilar movements nevertheless shared a belief that school change could promote student success and also forge a path toward a stronger economy and a more equitable society. He relates the triumphs of these school reform efforts as well as more modest successes and unintended outcomes. Interwoven with Cuban's evaluations and remembrances are his "confessions," in which he accounts for the beliefs he held and later rejected, as well as mistakes and areas of weakness that he has found in his own ideology. Ultimately, Cuban remarks with a tempered optimism on what schools can and cannot do in American democracy.
In The Rise and Fall of American Art, 1940s-1980s, Catherine Dossin challenges the now-mythic perception of New York as the undisputed center of the art world between the end of World War II and the fall of the Berlin Wall, a position of power that brought the city prestige, money, and historical recognition. Dossin reconstructs the concrete factors that led to the shift of international attention from Paris to New York in the 1950s, and documents how ’peripheries’ such as Italy, Belgium, and West Germany exerted a decisive influence on this displacement of power. As the US economy sank into recession in the 1970s, however, American artists and dealers became increasingly dependent on the support of Western Europeans, and cities like Cologne and Turin emerged as major commercial and artistic hubs - a development that enabled European artists to return to the forefront of the international art scene in the 1980s. Dossin analyses in detail these changing distributions of geopolitical and symbolic power in the Western art worlds - a story that spans two continents, forty years, and hundreds of actors. Her transnational and interdisciplinary study provides an original and welcome supplement to more traditional formal and national readings of the period.
This clear, thorough, and reliable survey of American painting and sculpture from colonial times to the present day covers all the major artists and their works, outlines the social and cultural backgrounds of each period, and includes 409 illustrations integrated with the text. Although some determining factors in American art are considered, Matthew Baigell views the rich and diverse achievements of American art as the result of the efforts and talents of a pluralistic society rather than as fitting into a particular mold.This edition includes corrections and revisions to the text, an updated bibliography, and 13 new illustrations.
This first volume in the Tate Gallery Liverpool Critical Forum series is derived from a conference held in conjunction with the display of Abstract Expressionist Painting from the USA, which was mounted at Tate Gallery Liverpool from March 1992 to January 1993. The display comprised 21 paintings by 13 artists, including Ad Reinhardt, Norman Lewis, Adolph Gottlieb, Jackson Pollock, Arshile Gorky, Franz Kline and Willem de Kooning. The objectives of the conference, involving speakers from the international community of scholarship in the field, were: to elicit new observations, critical judgments and proposals from the knowledge base of abstract expressionism and perhaps to challenge some of its prevailing conventions; and to debate the role of the Tate Gallery Liverpool as a modifier of this field of knowledge.