Art Since 1940

Art Since 1940

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This comprehensive and authoritative book illustrates art from the 1940's and stresses the individuality of the artists in relation to their political, social, and cultural contexts. KEY TOPICS: The book focuses on the meaning of the major works and innovations. It features nearly 600 illustrations (approximately half in color) representing art since 1940, both in Europe and America. It explores the full range of periods, artists, and movements: New York in the Forties; Calder, Hofmann, Gorky, Motherwell, De Kooning; Existentialism (Pollock, Newman, Rothko, David Smith); The New European Masters of the Late Forties (Dubuffet, Giacometti, Bacon), plus so much more. MARKET: For anyone interested in Postwar more

Product details

  • Paperback | 560 pages
  • 213.36 x 276.86 x 27.94mm | 1,564.89g
  • Pearson Education (US)
  • Pearson
  • Boston, MA, United States
  • English
  • Revised
  • 3rd Revised edition
  • Illustrations (some col.), ports. (some col.)
  • 0131934791
  • 9780131934795
  • 804,322

Review quote

Fineberg's new edition is the book to learn modern art from--many times over. No other study is as truly comprehensive. Always sensitive to the political context of modern and contemporary art, Fineberg resists playing ideological favorites. Every artist, every medium, receives a sympathetic, informative view in accessible prose that never dodges the inherent complexities. Follow Fineberg as he moves from accounts of the careers of Willem de Kooning and Jackson Pollock to the fantasy world of Maya Deren's filmmaking, to Alfredo Jaar's manipulations of public information, to Kerry James Marshall's drawings of black superhero comics, to the cultural appropriations of Nikki S. Lee, and on and on. It's all there, and it's all succinctly, yet deeply, authoritatively, considered. --- RichardShiff, The University of Texas at Austin The great value of Fineberg's account of the art of the past seventy years is its attentiveness to what happens for artists in the course of their work, how the play of individual circumstances makes breakthrough moments possible, and how the life of art is always as well an experiential record of ways of living. ---Franklin "Buzz" Spector, Washington University in St. Louisshow more

Back cover copy

The premise of this book is that artists use their art to think about their experience; it gives them a language in which to work out a way of existing in the world. So the front and back of the cover are illustrated with some of the great artists featured in the book doing their work. FRONT COVER: 1. Yoko Ono in the first performance of Cut Piece, Yamaichi Hall, Kyoto, 1964 photo courtesy Lenono Photo Archive (c) Yoko Ono 2. Ann Hamilton wearing her 1984 # 13: Toothpick Suitchair photo courtesy Ann Hamilton Studio 3. Josef Beuys lecturing with a blackboard, New York, 1974 photo photo by Peter Moore (c) Estate of Peter Moore/ VAGA, New York 4. Ilya Kabakov performing "The Walk with Ilya Kabakov," Moscow, circa 1980 photo (c) Yuri Rost 5. Christo and Jeanne-Claude talking to workers at "The Gates "assembly plant in Queens, N.Y., February 2005 photo Wolfgang Volz 6. Jackson Pollock painting, East Hampton, N.Y., 1950 (c) The Pollock-Krasner Foundation ARS, NY and DACS, London 2010, photo by Hans Namuth. Courtesy Center for Creative Photography, The University of Arizona. Photograph (c) Hans Namuth Estate SPINE: 7 Cai Guo-Qiang in "The Century with Mushroom Clouds Projects for the 20th Century," 1996 Photograph by Hiro Ihara, courtesy of the artist BACK COVER: 8. Roxy Paine welding "Conjoined," Madison Park, N.Y.C., 2007 photo (c) Sofia M. Paine 9. Louise Bourgeois at home working on her mixed media sculpture "Confrontation," New York, 1982 photo Inge Morath, courtesy Louise Bourgeois Studio/(c) Louise Bourgeois. DACS, London/VAGA, New York 2010 10. Andy Warhol during the filming of Lupe Velez (portrayed by Edie Sedgwick) in the home of Panna Grady at the Dakota apartment building, New York, 1965 photo (c) Nat Finkelstein 11. Kerry James Marshall drawing, Chicago, 2009 photo by J. Fineberg 12. David Smith welding, Bolton Landing, 1952 photo (c) John Stewart 13. Robert Arneson, modeling a self portrait, Benicia, California, 1978 Photo courtesy and (c) estate of Robert Arneson/DACS, London/VAGA, New York 2010show more

About Jonathan Fineberg

Jonathan Fineberg is Gutgsell Professor of Art History at the University of Illinois and a trustee of The Phillips Collection in Washington. He earned his B.A. and Ph.D. from Harvard University, an M.A. from the Courtauld Institute in London, and studied psychoanalysis at the Boston and Western New England Institutes. He has taught at Yale, Harvard, and Columbia universities and among his awards are: the Pulitzer Fellowship in Critical Writing, the NEA Art Critic's Fellowship, and the College Art Association's Award for Distinguished Teaching in the History of Art. His other books include: Christo and Jeanne-Claude: On the Way to the Gates (New Haven: Yale University Press, 2004), The Innocent Eye: Children's Art and the Modern Artist (Princeton: Princeton University Press, 1997), Imagining America: Icons of 20th Century American Art (with John Carlin; New Haven: Yale University Press, 2005; also a two-hour television special on PBS), and When We Were Young: New Perspectives on the Art of the Child (Berkeley: University of California Press, 2006).show more

Table of contents

Foreword to the Third Edition Acknowledgments Preface 1 Introduction Approaching Art as a Mode of Thought Modernism The Concept of the Avant-Garde Modernism's Radical Individuality and Self-Critique Postmodernism An American Perspective/the Perspective of this Book 2 New Yorkin the Forties New York Becomes the Center Surrealism Wilfredo Lam Roberto Matta Joseph Cornell 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 Alternative Narratives of the Forties Jacob Lawrence Hedda Sterne Louise Bourgeois Photography in the Era of the New York School Weegee and Lisette Model Aaron Siskind and the Chicago School 3 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 4 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 I 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 Unconscious The Pictograms and Hudson RiverLandscape An Existential Encounter with the Materials at Hand Career Success and Personal Sacrifices The Figural Presence and the Work of the Last Decade 5 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 6 Some International Tendencies of the Fifties Purified Abstraction 1 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 Chicago's Existential Imagist 7 The Beat Generation "A Coney Island of the Mind" John Cage Merce Cunningham The Cage "Event" of 1952 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 Real: Junk Assemblage and Happenings Underground Film The Genesis of the Happenings The Judson Dance Theater 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 the 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 Dropping the Reserve 8 Asian and European Vanguards of the Later Fifties Nouveau Realisme Yves Klein's Romanticism Le Vide The "Living Brash" Seeking Immateriality Klein's Demise The Nouveaux Realistes Gutai Fluxus Joseph Beuys Revealing the Animism in Nature The Artist as Shaman Art as the Creative Life of the Mind Nam June Paik's Electronic "Nature" Yoko Ono 9 The Landscape of Signs: American Pop Art The Electronic Consciousness A Turning Point in Theory British Pop: From the Independent Group to David Hockney Key Figures of the Independent Group The Exhibitions Paolozzi and Hamilton as Artists Popular Imagery into High Art David Hockney Collaging Reality on Pop Art's Neutral Screen of Images Andy Warhol Warhol's Background Selecting Nonselectivity Eliminating the Artist's Touch A Terrifying Emptiness The Factory Scene Business Art and the "Shadows" that Linger Behind It Roy Lichtenstein James Rosenquist Chicago and Points West 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 10 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 Le Witt 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 Richard Serra Artists Working in the Landscape Michael Heizer Walter De Maria Robert Smiths An Accidental Rubric Arte Povera, and a Persevering Rapport with Nature in Europe 11 Politics and Postmodernism The Critical Atmosphere at the End of the Sixties Language and Measure Recasting Photography Art and Nature Vito Acconci: Defining a Conceptual Oeuvre Body Art Ana Mendieta Lygia Clark Helio Oiticica Performance Art 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 Surrounded Islands Christo and Jeanne-Claude in the Nineties and Beyond Postmodernism Sigmar Polke Gerhard Richter John Baldessari Transition to the Seventies 12 Corporate Culture and its Enemies A "New" Pluralism Romare Bearden Bearden's Collages of the Sixties Identity, Corporate Culture, and Pluralism Art and Feminism A Dazzling Photorealism Everyday Places Appropriated Sites: Charles Simonds Gordon Matta-Clark's Site Critiques Alice Aycock Aycock's Work of the Eighties Cultural Complexity Media as a Medium Appropriation Cindy Sherman 13 Painting in the Seventies Philip Guston's Late Style Guston's Early Career Guston's Action Paintings of the Fifties The Re-emergence of the Figure New Expressionist Painting in Europe Jorg Immendorff's Political Analysis of Painting in the Seventies Identity on the Plane of Images Georg Baselitz and A.R. Penck Anselm Kiefer Italian Neo-Expressionism Francesco Clemente New Image Painting Elizabeth Murray The Origins of Murray's Style Pursuing the Logic of the Shaped Canvas The Internationalization of Neo-Expressionism American Neo-expressionism 14 The Eighties Complexity Settles In A Fresh Look at Abstraction An Expressionism Beyond Medium: Jonathan Borofsky Graffiti Art Keith Haring The East Village Scene of the Eighties Jean-Michel Basquiat David Wojnarowicz Eighties Installation The Peculiar Case of the Russians Ilya Kabakov Kabakov in the West The Aesthetic of Consumerism Political Appropriation 15 The Nineties Keeping it Real Return to the Body Ann Hamilton Transgressive Dislocations of the Body Matthew Barney Fashion Controversial Methods Postmodern Conceptualism Constructing the Postmodern Self Louise Bourgeois New Uses of the Camera Video Slippage: Fred Tomaselli Roxy Paine's Taxonomy Cultural Identity Kerry James Marshall The Comics Global Culture and Local Meaning China 16 A New Century, A Changed World Violated Boundaries Economies "(c)Murakami": Branding the Self Conrad Bakker-Parsing the Fictions of Real Economies Andrea Fraser: Context and Self Detached Subjectivity Identity and Shopping: Sang-ah Choi Dissolution, Dislocation, Displacement of Boundaries-An Autopsy on Identity An Alternative History 17 To Say the Things That Are One's Own Bibliography Notes Indexshow more

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266 ratings
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2 3% (9)
1 2% (5)
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