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Designed to help students and interested general readers to
interpret the abstract expressionist paintings of Jackson Pollock,
this survey of Pollock's life and art provides insight into the
origins and meanings of individual works and analyzes the
influences upon Pollock. Also included are discussions of the many
issues raised by Pollock's work above and beyond his intentions,
and how they intersected with the work of his contemporaries as
well as other intellectual currents of the time.
Presenting a radically different picture of Egon Schiele's work,
this study documents (in one-to-one comparisons) the extent of the
artist's visual borrowings from the Viennese humoristic journal,
Die Muskete. Claude Cernuschi analyzes each comparison on a
case-by-case basis, primarily because the interpretation of
cartoons and caricatures is highly contingent on their specific
historical and cultural context. Although this connection has gone
unnoticed in the literature, in retrospect, this correlation makes
perfect sense. Not only was Schiele's artistic production
frequently compared to caricature (and derided for being
"grotesque"), but Expressionism and caricature are natural allies.
One may belong to "high" art and the other to "popular" culture,
yet both presuppose similar assumptions and deploy a similar
rhetorical position: namely, that the exaggeration of human
physiognomy allows deeper psychological "truths" to emerge. The
book will be of interest to scholars working in art history, visual
culture, popular culture, and politics.
This book reinterprets Wifredo Lam's work with particular attention
to its political implications, focusing on how these implications
emerge from the artist's critical engagement with 20th-century
anthropology. Field work conducted in Cuba, including the
witnessing of actual Afro-Cuban religious ritual ceremonies and
information collected from informants, enhances the interpretive
background against which we can construe the meanings of Lam's art.
In the process, Claude Cernuschi argues that Lam hoped to fashion a
new hybrid style to foster pride and dignity in the Afro-Cuban
community, as well as counteract the acute racism of Cuban culture.
Designed to help students and interested general readers to
interpret the abstract expressionist paintings of Jackson Pollock,
this survey of Pollock's life and art provides insight into the
origins and meanings of individual works and analyzes the
influences upon Pollock. Also included are discussions of the many
issues raised by Pollock's work above and beyond his intentions,
and how they intersected with the work of his contemporaries as
well as other intellectual currents of the time.
This book reinterprets Wifredo Lam's work with particular attention
to its political implications, focusing on how these implications
emerge from the artist's critical engagement with 20th-century
anthropology. Field work conducted in Cuba, including the
witnessing of actual Afro-Cuban religious ritual ceremonies and
information collected from informants, enhances the interpretive
background against which we can construe the meanings of Lam's art.
In the process, Claude Cernuschi argues that Lam hoped to fashion a
new hybrid style to foster pride and dignity in the Afro-Cuban
community, as well as counteract the acute racism of Cuban culture.
Legendary abstract expressionist painter Jackson Pollock (1912-56)
is most famous for the frenetic, highly textured works created
through his trademark "drip" technique in which he poured paint
from its can directly onto the canvas. "Pollock Matters" explores,
for the first time, the personal and artistic interrelationship
between the notorious artist and noted Swiss-born photographer and
graphic designer Herbert Matter.
Published to coincide with an exhibition at Boston College's
McMullen Museum of Art, "Pollock Matters "traces a close friendship
that spanned almost two decades, beginning in 1936 when the men's
future wives, painters Lee Krasner and Mercedes Carles, met after
being sent to jail for protesting Works Progress Administration
cutbacks. The friendship continued until Pollock's tragic death in
an automobile accident in the summer of 1956.
Featuring compelling visual and documentary evidence, including
over 150 illustrations, this book demonstrates a critically
important chain of influence between two creative individuals not
addressed in previous studies of their respective careers. "Pollock
Matters "reveals the crucial role that Herbert Matter's technical
innovations played in helping to stimulate Pollock's radical
artistic conception of "energy made visible." A previously unknown
body of small drip paintings labeled by Matter as "Jackson
experimentals" is presented here along with scientific analysis of
the works. This volume will be essential reading for anyone seeking
an enriched understanding of Jackson Pollock's life and work or the
history of abstract painting.
As a major member of the New York School, Barnett Newman is
celebrated for his radical explorations of color and scale and, as
a precursor to the Minimalist movement, for his significant
contribution to the development of twentieth-century American art.
But if his reputation and place in history have grown progressively
more secure, the work he produced remains highly resistant to
interpretation. His paintings are rigorously abstract, and his
writings full of references to arcane metaphysical concepts.
Frustrated over their inability to reconcile the works with what
the artist said about them, some critics have dismissed the
paintings as impenetrable. The art historian Yve-Alain Bois called
Newman "the most difficult artist" he could name, and the
philosopher Jean-Francois Lyotard declared that "there is almost
nothing to 'consume' [in his work], or if there is, I do not know
what it is." In order to advance interpretation, this book
investigates both Newman's writings and paintings in light of ideas
articulated by one of Germany's most important and influential
philosophers: Martin Heidegger. Many of the themes explored in
Newman's statements, and echoed in the titles of his paintings,
betray numerous points of intersection with Heidegger's philosophy:
the question of origins, the distinctiveness of human presence, a
person's sense of place, the sensation of terror, the definition of
freedom, the importance of mood to existence, the particularities
of art and language, the impact of technology on modern life, the
meaning of time, and the human being's relationship to others and
to the divine. When examined in the context of Heideggerian
thought, these issues acquire greater concreteness, and, in turn,
their relation to the artist's paintings becomes clearer. It is the
contention of this book that, at the intersection of art history
and philosophy, an interdisciplinary framework emerges wherein the
artist's broader motivations and the specific meanings of his
paintings prove more amenable to elucidation.
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