| Volltext: | Index key: § = works of art U = illustrated work of art §§ = writings §§§ = exhibitions Abstract Expressionism (American): action: 15, 147ff; aesthetic experience: 11 Iff; angst: 78; avant-garde 'project': 8 ff, 77ff; capitalism, and: 134, 147ff; 179ff; 'challenge to disorder and insensitivity': 11 Iff; 'classic' phase: 25; collective communication: 131-132, 141; conservation, and: 18-19; conspiracy thesis, and: 100, 101; 'consummated experience': 11 Iff; critical disagreements on: 97ff; 'empirical artefact' and 'explanation' (Harris): 97ff; European, and: 13-14, 77ff, 93n, 124; evocation of portraiture: 115-118; exhibition of: Iff, 97ff, 142; Existentialism, and: 25, 98; experience, concept of: 11 Iff; explanations of: 97ff; figuration, and: 10-12, 21ff, 73n, 94n, 115-118, 124, 130ff; Hofmann, Hans, and: 77ff; ideal spectator: 131-132; intentionality: 8, 18, 91, 11 Iff; mass communication: 129ff, 141; mythological significance: 8 ff; 129ff; narration: 10-11, 15, 21ff, 101; New York, and: 14, 19, 77ff; 181 ff; non-figuration: 11, 77ff, 130ff; politics, and: 12, 129ff, 147ff, 179ff; psychology, and 129ff; pure expression, as: 100; revolution: 147ff; scholarship of: 104; social action: 13, 15, 129ff; socio-politics of: 10, 12-13, 15, 19, 4Iff, 53-54, 98, 100, 112, 114, 132ff 147 ff 179ff; spectator, and 11 Iff subject-matter: 129ff; Surrealism, influence of: 129; triumphalism: 8, 20n, 21, 37n, 78, 192n Abstract Expressionism (European): 14—15, 77ff Abstraction: 13, 61ff, 77ff 138ff British 1950s: 82; 'post de Kooning': 81; 85; spontaneous gestural: 86 Action Painting: critique of capitalism, as: 147ff; symbolic intentionality of: 148 Adorno, Theodor W.: 44, 205 Advancing American Art: 183-184, 186, 190n Agee, Philip: 47 Albers, Josef: 14 Albert Dock, Liverpool: 103-108 'social text', as: 105-108 Althusser, Louis: 183, 190n American Abstract Artists: 58, 71n, 72n American Artists Professional League: 184 American Scene Painting: 31 American Writers' Congress: 151, 168n Analytical Cubism: 8, 9 Anfam, David: 10, 12, 15, 17, 21ff 37n Apollinaire, Guillaume: 93n, 157 Arendt, Hannah: 132-133, 143n art criticism (see Modernism) Art Front: 152 art gallery (see museum of contemporary art) art history: 'accountable': 19; commodification, and: 105-108, 135; critical knowledge: 8-9; dialectics of: 97ff; discourse: 97ff; dissemination: 9; dynamic field of knowledge: Iff; educational institutions: 103-104; 'empirical artefact and explanation': 97ff; evidence: 2, 19, 97ff, lllff; feminist: 119-120; historicising: 9- 10, 97ff; Modernism: 100, 97ff 147ff 179ff; paradigms: 4, 12, 32, 97ff; provisional truths: Iff; ratification: 97ff; social history: 100, 147ff, 179ff; 'text/ context': 97ff art museum (see museum of contemporary art) Ashton, Dore: 142n Auerbach, Eric: 31, 36n automatism: 20n, 130 avant-garde: integration into mainstream society: 134; Left politics: 147ff shift from Europe to America: 14, 79, 88, 171n 224 American Abstract Expressionism Bakhtin, Mikhail: 98 Baranik, Rudolph: 45-46, 49 § Napalm Elegy Series: 49; Artists and Writers Dissent: 49 Barr, Alfred H.: 9, 20n, 70n, 192n 'Is Modern Art Communistic?': 185, 191n Barthes, Roland: 25, 37n Baziotes, William: 20n, 183 § Accordion of Flesh: 35 Bearden, Romare: 64, 73n Beckett, Samuel: 93n Bell, Clive: 89, 95n Benton, Robert Hart: 31-32 Black artists (New York): 13; 53ff Bois, Yve-Alain: 24, 36n, 202, 207n Bowness, Alan: 78 Brancusi, Constantin: 88 Braque, Georges: 88, 94n, 95n Browder, Earl: 151-152, 168-169n Browne, Vivian (on Norman Lewis): 64 Business Liberals versus Old Guard (Orton): 181ff Capitalism, action painting as critique of: 147ff Caro, Anthony: 89, 91-92, 94n Hans Hofmann, on: 92 Central Intelligence Agency: 100, 181 Cézanne, Paul: 82, 89 Cheney, Sheldon: 90 Chomsky, Noam: 47, 101, 109n, 181, 190n Clark, Timothy J.: 95n, 98, 100, 101, 103, 108n, 128n, 141, 145n, 189n Greenberg, on: 145n; Greenberg, versus: 100 Clough, Prunella: 82 Coates, Robert: 78-79, 93n Cockcroft, Eva: 100, 101, 191n Cohen, Elliot: 132 Cold War: 8, 12, 15, 32, 41ff, 95n, 100, 112, 127, 162, 179ff, 189n, 190n Abstract Expressionist absence: 187-188 Commentary: 132 Communism: 12, 41ff, 147ff Communist 'front organisations': 43, 51n, 184 Communist Party USA: 151, 152, 154, 168n concentration camps, effects on American Leftist politics: 132 Conceptual Art: 22, 87, 89, 102 Constructivism: 18 'consummated experience' (Harrison): 11 Iff contemporary art: historicising: 8ff; mythologising (See mythologising of contemporary art); socio-political interests: 9, 10 Cox, Annette: 108n, 142n, 144n Craven, David: 12, 20n, 41ff, 97, 100, 108n; 'Myth-Making in the McCarthy Period': 98, 111-112, 128n, 192n Cubism: 8, 9, 13, 41, 86, 163 culture, mass: 129ff Dada: 161, 163, 175n Dali, Salvador: reviewed by Rosenberg: 152 Depression, the: 12, 32, 149, 154, 182 Derrida, Jacques: 100-101, 103, 109n Dewey, John: 133, 143n Dissent Magazine: 49, 132, 134, 144n Domhoff, G. William: 175-176n, 181-182 Who Rules America?: 181—182, 190n Dondero, George: Harper's Magazine interview: 184—185, 188, 190-191 n, 191n Driskell, David: 64, 73n DuBois, W.E.B.: 64 Elkins, James: 35, 36n Ernst, Max: 14 Evergood, Philip: 45 Existentialism, 25 Expressionism: 13, 61, 152 Fanon, Franz, on Carl Gustav Jung: 67 Federal Art Projects: 152 Federal Bureau of Investigation: 12, 41ff, 181 Federation of Modern Painters and Sculptors: 134 Feininger, Lyonel: 65, 68, 71n § Courtyard 3: 65, 69 figuration: 10-12, 21ff, 73n, 94n, 115-118, 124 Francis, Sam: 20n Frank, Waldo: 152 Frascina, Francis: 93n, 109n Pollock and After: the Critical Debate: 95n, 108n Freedom of Information Act (USA): 41, 42, 50n Fried, Michael: 82, 107, 113 Three American Painters: 94n, 113, 128n Fry, Roger: 96n Fulbright, William J.: 187 Gibson, Ann: 13, 53ff Glaser, Bruce, interview with Ad Reinhardt: 203-204, 207n Index 225 Goodman, Cynthia: 79, 86, 87 Hofmann: 93n, 95n Goodman, Nelson: 101, 109n Language of Art: 95n Gorky, Arshile: 1, 5, 20n, 38n, 93n, 95n Waterfall: fi cover, 5 Gottlieb, Adolph: 1, 2, 20n, 31, 32, 33, 70n, 111, 114, 115, 134, 143n, 144n, 183 § Labyrinth No. 2: fi 2 §§ 'The Artist and Society': 135; evocation of portraiture: 128n; FBI surveillance of: 41 ff Gottlieb, Newman & Rothko: 'Statement': 32, 111, 114, 115, 129, 131 Gottlieb & Rothko: 'The Portrait and the Modern Artist': 128n, 129, 130, 143n Gouk, Alan: 91-92, 94n Greene, Balcombe: 58, 62, 65, 169n American Abstract Artists: 58 Greenberg, Clement: 12, 16, 77, 79, 82, 85, 95n, 100, 101, 105, 113, 128n, 132, 143n, 147, 189; §§ 'American-Type painting': 78, 79, 88, 93n, 192n; Art and Culture: Critical Essays: 93n, 192n; 'Complaints of an Art Critic': 90, 95n; Hans Hofmann: 94n; Modernist Painting: 90-91, 94n; 'The Decline of Cubism': 95n authentic modernism, principles of: 91, 100; formalist critique: 16, 77ff, 90-92, 94n; Commentary, co-editor of: 132; Hoyland, John, and: 81 ff; 'insufficient text', as (Orton): 147; Kantian aesthetics: 90-91; Marxist critique: 91-92; 'mural mode': 79, 88; 'nature' on: 87; Paris, on: 95n; theory compared with Hans Hofmann's practice: 77ff; value judgment: 113; 'versus Clark': 100 Guilbaut, Serge: 101, 130, 134 How Neu York Stole the Idea of Modern Art: 20n, 93n, 109n, 143n, 169n; Reconstructing Modernism: 108n Guston, Philip: 10, 20n, 21ff, 36n, 37n § Black Sea: fi 23; Bombardment: 30, 35; Beckett, and: 24; iconography post-1968: 24- 25; Kafka, and: 24; mimesis: 22-24 Hadjinicolaou, Nicos: Art History and the Class Struggle: 96n Harlem Renaissance: 53, 54 Harris, Jonathan: 14, 17, 19, 77ff, 97ff 'mad beholder/paranoid eye': 107-108; 'Mark Rothko and the development of American Modernism': 96n; principles of capitalist commodification of art: 107-108; 'text/context': 97ff Harrison, Charles: 11, 12, 93n, 97, 100, 101, 102, 103, 109n, 11 Iff, 191n Essays on Art & Language: 102, 103, 109n; 'mad beholder': 102; priority of experience in art: 11 Iff; Wollheim's 'spectator', adoption of: 119 Heron, Patrick, 20n, 82 Hirshhorn, Joseph H.: 193, 197 Hirshhorn Museum and Sculpture Garden: 193ff Hitchens, Ivan: 82 Hofmann, Hans; 14—15, 18, 20n, 24, 70n, 77ff § Effervescence: 77, 79; Pompeii: 79, fi 80; Rising Moon: 85 American modernism, detachment from: 88- 89; American 'shift' to European principles, instrumental in: 85; bioinorphic abstraction: 79; Cubism: 86, 87; drip technique 'influence on Pollock': 86; easel painting: 79, 88; European tradition, continuation of: 82ff, 94n, 95n; exclusion from Museum of Modern Art, N. Y., exhibitions: 79; exclusion from the New York School: 78ff; Greenberg, Clement, and: 77ff; 'historical sociology' and: 77ff; illusionistic painting, on: 85; 'nature' on: 87, 89; Paris exhibition, 1949: 88; 'preempted Greenberg's theories in paint': 86; Protest Against Ostrich Attitudes in the Arts: 88; 'spiritual' in art, the: 88ff; typical 'Abstract Expressionist': 78-79 Horkheimer, Max: 44 Howe, Irving: 134, 144n Hoyland, John: 14, 77 § 17.3.69: 82, fi 83; 25.4.69: 82, fi 84 American Abstract Expressionists, on: 85; American modern art, effect on British art: 81-82; American 'shift' to European principles: 85; British abstraction: 82; Greenberg, Clement, and: 81 ff; Hofmann, Hans, and: 77ff; 'post de Kooning abstraction': 81 Huberman, Leo: 49 Artists and Writers Dissent: 49 226 American Abstract Expressionism Huelsenbeck, Richard: 'En Avant Dada': 161, 162, 175n Hughes, Robert: 20n Ideographie Picture, The: 88 Impressionism: 11 Institute of Contemporary Art, Boston: 185 Institute of Contemporary Arts, London: 14, 20n Intrasuhjectives, The: 88, 130, 138-139 Ionesco, Eugène: 93n Irascibles, The: 147 Jachec, Nancy: 11-12, 97-98, 108n, 129ff Jencks, Charles: 106 John Reed Club, New York: 150-151, 168n Johns, Jasper: 113 Jones, David: § The Annunciation in a Welsh Hill Setting: 81 Joyce, James: 93n Jung, Carl Gustav: 67, 74n Kandinsky, Wassily: 14, 20n, 87, 88, 94n Kant, Immanuel: 90, 91 'disinterested taste': 113-114 Karpel, Bernard: 143n Kermode, Frank: 30, 36n, 37n, 38n Kierkegaard, Sören: 133 Klee, Paul: 65, 68, 88 Kline, Franz: 1, 6, 144n § Meryon: U 6 Kooning, Willem de: 1, 7, 20n, 21, 22, 25, 35, 70, 70n, 74-75n, 93n, 94n, 130, 144n, 161, 172n § Moraine: 35, 39n; Pink Angels: 35; The Marshes: 35, 39n; The Visit: 81; Women Singing II: H 7; Woman I: 26; Woman and Bicycle: 188 abstract 'violent excesses': 85; figure, the, abandonment of: 130; Rosenberg, Harold, and: 172-173n; Woman series, 22 Kootz, Sam: 88 (Gallery) Intrasuhjectives, The: 130 Kozloff, Max: 95n Krasner, Lee: 44 Kuh, Katherine: 144n Kuspit, Donald: 205, 207n Lanyon, Peter: 82 League of American Writers: 152 League of Cultural Freedom and Socialism: 154 Left, the: 129ff Léger, Fernand: 94n, 95n 'The New Realism': 152 Lenin: 161, 173 Lewis, Norman: 13, 53ff, 124 § Composition No.l: U 55, 65; Dishwasher: 54; Drawing (untitled) of an African head: 53, H 54; Figure French Soudan: 54; Ivory Coast Baule: 54; Metropolitan Crowd: 65; Roller Coaster: 65, U 67; Sailor and Woman: 54, U 57; Twilight Sounds: 65, U 68; Untitled 1944: H 62; Untitled 10/24/1944: U 60; Untitled 1945: H 66; Untitled 5/1945: 61, U 63; Washerwoman: H 56 §§ 'Thesis': 65, 73-74; 'Plan for Work': 75- 76; Abstraction: 61ff; Black experience, on: 59ff; Crichlow, Ernie, quoted: 61; exhibition with American Abstract Artists: 58; experimentation with idioms: 53, 59-60; Harlem Renaissance: 53-54, 73-74; Paalen, Wolfgang Form and Sense, influence of: 64— 65, 73n; parody and pastiche: 59-61, 68; Rosenwald Fellowship application: 58, 72n; Rothko and Still, compared with: 124; 'Studio 35': 53, 68, 70n; study of African art: 54; Vytlacil, Vaclaw, influence of: 54, 71n Lincoln Center for the Performing Arts, New York: 108 Lippard, Lucy R.: 193, 195—196, 206n, 207n Ad Reinhardt Paintings: 193, 202-203, 204— 205, 206n Liverpool, city of: 106-108, 109n Locke, Alain: 58, 59, 70, 71 n, 72n, 74n 'Ancestralism', on: 71n; Black abstraction, on: 58; Negro art, on: 58 Louis, Morris: 82, 89 § Blue Veil 81 Lyotard, Jean-François: 41 Macherey, Pierre: 30, 36n, 38n Manet, Éduard: 11, 124, 126 § A Bar at the Folies Bergère (spectator as consumer) 118-121, H 119, 128n Mann, Thomas: 154 Marx, Karl The Eighteenth Brumaire of Louis Bonaparte: 159-160, 166, 169n Index 227 Marxism: 12-13, 143n Marxist: aesthetics: 91, 96n; critique: 101, 167, 170n, 177n, 178n; social revolution: 159-161, 174n; thought: 133-134; 147ff Mathieu, Georges: 20n Matisse, Henri: 14, 20n, 82, 85, 88, 89 McCarthyism: 32, 41 ff, 98, 127, 187, 191n, 191-192n Michaux, Henri: 20n Mills, C. Wright: 133, 134, 143n, 144n, 190n Miro, Joan: 20n, 61, 85, 88, 94n Mitgang, Herbert: 42 Modern Artists in America: 70-71n, 131, 143n Modernism: 14, 15, 17, 18, 32, 90, 100, 113 art criticism: 11 Iff; capitalist: 104-108, 134; critique of conservatism, as (Harrison): 11 Iff; European: 17, 18, 68, 77ff; exclusion from the mass: 135; Greenbergian: 90-92, 100; Paris as centre of: 155-157; regionalism: 97ff; Rosenbergian: 162-165; 'un-American': 184-385 Modersohn-Becker, Paula: § Self Portrait: 121, J] 122 Mondrian, Piet: 14, 20n, 61, 82, 85, 87, 88, 89 Monet, Claude: 82 Motherwell, Robert: 26, 64, 65, 70n, 82, 85, 98, 131, 143n, 144n, 161 § Dada anthology: 161, 175n; Elegy to the Spanish Republic: 79; The Voyage: 26 artist and audience: 131-132, 144n; figure, the, abandonment of: 130 museum of contemporary art: 20n, 97ff commercial institutions: 103-108; condenser of art knowledge: 2, 8ff, 97ff; conservation: 18—19; ideal space, as: 103— 108; modifier of Abstract Expressionism knowledge: Iff, 97ff; popularism 104—108; socio-politics of: 103-108 Museum of Modern Art, New York: 20n, 24, 79, 104, 162, 185, 186, 187, 188, 192n, 207n §§§ Ad Reinhardt: 201-202; African Negro Art: 54, 71n, 72n; Cubism and Abstract Art: 152; Modern Art in the United States: 93n; The New American Painting: 93n, 188, 192n; Triumph of American Painting: 188; Van Gogh: 152; 15 Americans: 26 mythologising of contemporary art: 4 ff, 67, 77ff; 129ff, 147ff Namuth, Hans: 15, 16, 17, 93n, 161, 175n photographs ofjackson Pollock: J] 16-17 National Socialism: 132, 133 New Deal: 154 Newman, Barnett: 11, 21, 22, 26, 27, 31, 32, 33, 44, 71n, 87, 89, 98, 101, 111, 114, 115, 124, 127, 128n, 130, 143n, 161, 173n § Adam: 26; Euclidian Abyss: 130; Eve: 26, If 27, 29, 115-118; Gea: 130; Genesis The Break: 30; Onement: 26; Slaying of Osiris: 35; Stations: 37n; Vir Heroicus Sublimis: 26 §§ 'The Sublime Is Now': 26 drawing: 125; evocation of portraiture: llS-llS; 'ideograph', the: 130 New Masses: 152, 169n New York Liberals: 175-176n Abstract Expressionists as: 127 New York School: 58, 64, 70-71n, 77ff, 142n New York School: the First Generation: 193, 206n Nicholson, Ben: 82 Noland, Kenneth: 81, 89, 94n non-figuration: 11, 77ff, 130ff Objecthood (Fried): 107 O'Doherty, Brian: 29 Old Guard versus Business Liberals (Orton): 181ff Open University: 100, 102 Modern Art and Modernism: 100, 108n, 128n Ortega y Gasset, José: 134, 138-139, 143n 'The Dehumanisation of Art': 139; 'On Point of View of the Arts': 130-131 Orton, Fred: 12-13, 15, 17, 109n, 147ff, 179ff Osorio, Alfonso: 20n Paalen, Wolfgang: Form and Sense, influence on Norman Lewis: 64—65, 73n Paris: Cultural International: 155—157; Fall of: 155— 157 Parsons, Betty: 88, 93n, 145n (Gallery) The Ideographic Picture: 130, 143n, 197, 206n Partisan Ret'iew: 90, 95n, 132, 134, 144n, 149, 150, 151, 154, 168n, 169n, 170n culture crisis, on: 135; 'The Future of Socialism': 143n; 'Manifesto of the International Federation of Revolutionary Writers and Artists': 154; Our Country and Our Culture: 134-135, 144n 228 American Abstract Expressionism Perlin, Bernard: § Orthodox Boys: 32, H 33 Picasso, Pablo: 14, 20n, 31, 62, 85, 88, 89, 95n, 101, 187 § Guernica: 79; The Death of Orpheus: 36; The Murder: 35 FBI surveillance of: 42, 50n Poetry: 150, 151, 152, 168n Polcari, Stephen: 143n Politics: 132, 144n Pollock, Jackson: 1, 3, 4, 15, 17, 20n, 21, 22, 23, 26, 27, 31, 33, 35, 37n, 38n, 46, 64, 77, 78, 82, 86, 88, 93n, 94n, 95n, 98, 101, 102, 103, 108n, 161, 174-175n, 192n § Autumn Rhythm: 79; Birth: U 3, 30; Blue Poles: 29; Easter and the Totem: 29; Guardians of the Secret: 31; Going West: 30; Naked Man With Knife: U 34, 35; Number 14: H 23; Number 23, 1951: 188; One: Number 31: 26; Out of the Web: 33; Portrait and Dream: 29; Scent: 29; Summertime: 94n; The Deep: 29, 30; Yellow Islands U 4 'act of painting': 174—175n; Benton, Robert Hart, on: 31-32; 'black pourings', 22, 29; 'canvas as arena': 175n; 'drip' technique: 26, 29, 79, 86; figuration: 94n, 130; Life Magazine, depiction in: 93n; 'open work': 15; 'unsuccessful' late works (Fried): 82; Vogue Magazine, depiction in: 98, U 99 Pompidou Centre, Paris: 108 Pop Art: 82, 89 Popper, Karl: 133—134 The Open Society and its Enemies: 133-134, 144n Popular Front: 130, 151, 152, 153, 154, 156, 169n collapse: 153, 156 portraiture: 11 evoked by Newman and Rothko: 115-118; Gottlieb & Rothko, on: 128n; self-: 121— 122 Possibilities: 135, 138, 161, 178n Postmodernism: 92, 93n, 128, 148 Prolecult movement, the: 151 provenance of artworks: 18 Qualitative presence: 127 quality: consummated experience of: 11 Iff; painting of (Reinhardt): 111, 114, 126; recognition of, in works of art: 11 Iff Rahv, Philip: 144n, 150, 168n Rauschenberg, Robert: 172-173n, 201 Read, Herbert: 176n Rebay, Hilla: 90 Regionalism: 31 Reinhardt, Ad: 11, 12, 15-16, 18, 21-22, 24, 36n, 53, 70n, 72n, 111, 114, 122, 143n, 193fF § Abstract Painting (1956): 197, U 198; Abstract Painting No.5: 115, U 116, 122—124; Number 8, 1950 (Blue): 193-194, H 194, 196, 197; Number 90, 1952 (Red): 194-196, H 195, 197; Number 119, 1958 (Black): 197— 201; The Truth About Cohen: 43; Untitled, silkscreen: Artists and Writers Protest Against the War in Vietnam: U 48, 49-50; §§ 'Chronology': 22, 44, 47, 207n; 'How to Look at Space': 128n; 'Three Statements': 207n; 'Twelve Rules for a New Academy': 201, 207n against anti-Semitism: 43-44; Artists and Writers Dissent: 49; authenticity and repainting: 201-205; 'black' paintings: 24, 50n, 195, 202-203, 206n; cartoonist, as: 114; Communist 'front organisations', and: 43, 51n; Communist Party 'membership': 45; conservation and repainting of works: 18, 193ff; 'disorder and insensitivity': 111, 114-115; drawings for Benedict, Ruth: Races of Alankind: 44; Eurocentrism: 44—45; FBI surveillance of: 41ff; negations: 22; Number 119, 1958 (Black) vandalised: 197-201, U 199-200; 'painting of quality': 111, 114; pseudonyms: 43, 49; Soviet Russia Today: 43; US Friends of Mexico Group: 45-46; writer, as: 114 Rembrandt van Rijn: 124, 127 § Artist in his Studio: 121-122, U 123 Riopelle, Jean-Paul: 20n Rivera, Diego: 53, 169-170n Rose, Barbara: 'Hans Namuth's Photographs and the Jackson Pollock Myth': 175n Rosenberg, Arthur: 154 Rosenberg, Harold: 12-13, 15, 18, 20n, 44, 88, 130, 139, 141, 144n, 147ff; §§ Act and the Actor: Making the Self: 173n, 174n, 176n, 178n; 'The American Action Painters': 93n, 144n, 147ff, 192n; Bamett Newman: 143n; 'Character Change and the Drama': 150, 158, 159, 164, 167n; Index 229 Discovering the Present/Three Decades in Art, Culture and Politics: 172n, 173n; 'The Fall ofParis': 155, 156, 157, 163, 170n, 172n; 'The Front': 148-149, 150, 151, 154, 156, 166, 167n; 'The Herd of Independent Minds': 144n; 'The Men on the Wall': 147, 150; 'The Intrasubjectives': 88, 130-131, 139-141, 143n; 'The Pathos of the Proletariat': 157-158, 160-161, 165-166, 170n, 173n; 'The Resurrected Romans': 157-158, 173n; 'Tenth Street: a Geography of Modern Art': 157, 172n; The Tradition of the New: 170n, 171n, 173n, 175n, 176n, 177n, 178n, 192n; review of Cubism and Abstract Art (MoMA): 152; review of Dali, Salvador: Conquest of the Irrational: 152; review of William Gropper (ACA Gallery): 152-153; review of Van Gogh (MoMA): 152 'action': 15; 147ff; 'action painting': 78; 157, 161, 164-165, 170-171n, 174-175n, 176- 177n; 'Americanness': 157-158, 161; divorce of fine art from the everyday: 141; Great Vanguard, the: 163; Hamlet, on: 158—159; Mann, Thomas, on: 154; Marxist, as: 151; Marxist thought: 159, 166, 170n, 173n; Modern art, on: 162-165; 'negation of the negation': 155-156, 170- 171n; Newman challenge: 128n; new Modernism anticipated: 156; 'no style': 172n; 'nothingness' of modern painting: 141; poet, as: 148-150; political reading of (Orton): 147ff; Pollock, Jackson, on: 174— 175n; 'private myth': 67-68, 141-142; Rauschenberg, Robert, and: 172-173n; rehabilitation of (Orton): 147ff; 'virtual revolution': 18 Rosenzweig, Phyllis: 18—19, 193ff Rothko, Mark: 11, 20n, 21, 22, 26, 29, 30, 31, 32, 35, 36n, 37n, 53, 78, 87, 89, 93n, 96n, 101, 102, 111, 114, 115, 121, 124-128, 128n, 130, 134, 135-138, 142, 142n, 143n, 196 § Light Red over Black: 29, 115-118, U 117, 124—125; New Paintings (Tiger's Eye): 138, 139-140; Surrealist Paintings (Possibilities): H 136-137; Tiresias: 130; Untitled (Estate No, 3227.36): 38n; Vernal Memory: 130 §§ 'The Ideas of Art': 144n; 'The Romantics Were Prompted': 25—26, 128n, 135—137, 144n anti-war movement: 47; conservation problems and 'black- form' paintings: 196; 'consummated experience': 126; 'disorder and insensitivity': 126; FBI surveillance of: 41 ff; figure, the, abandonment of: 130; 'human drama': 121; Intrasubjectives, The, participation in: 138-139; non-figuration: 138; optimum viewing distance: 125; painting's 'emergence from the unknown': 137; portraiture, evocation of: 115-118, 125, 128n; refusal to exhibit: 142; Rothko Chapel, Houston: 196; 'sensitive observer', the: 128n, 138; 'social space': 125; society, on: 137; spatial illusion: 126 Sandler, Irvine: 20n, 37n, 78, 88, 192n 'Triumph of American Painting': 88, 192n Savage, Augusta: 53, 58, 70n Harlem Art Workshop: 53; Uptown Art Laboratory: 54, 71n Schapiro, Meyer: 41, 44, 144n Schlesinger, Arthur Jr.: 144n Seitz, William: 78, 86, 87 Serpan, Iaroslav, 20n Shahn, Ben: 43, 45, 183, 186 FBI surveillance of: 42, 50-5In Siqueiros, David Alfaro: 46-47 Smith, David: 20n, 21, 26, 27, 33, 35, 38n, 45, 53, 64, 71n, 85, 95n § Medals for Dishonour: 30, 31; The Letter: 33 social action: 129ff Socialism: 41 ff, 129ff Social Realism: 61, 152 Soyer, Raphael: 53 spectator: 'consumer', as: 118—121; 'gendered': 120; habitual structure of experience: 120; 'picture, in the': 119 Sport in Art: 186-187, 188 Stalinism: 133, 134 Stevens, May: 45, 49 Artists and Writers Dissent: 49 Stevens, Wallace: 157 Still, Clyfford: 21, 22, 26, 28, 29, 31, 33, 35, 115, 124, 128n, 130, 142, 145n § Figure: 130; Oil on Canvas: 30; Quicksilver: 130; 1953: H 28, 29 Streibert, Theodore: 187 Studio 35: 53, 68, 70n Surrealism: 13, 18, 86, 130, 142n, 142—143n, 152, 163 230 American Abstract Expressionism Symposium, The\ 149-150 Sweezy, Paul: 47-48 Tate Gallery Liverpool: 1, 8, 9, 20n, 97ff §§§ Myth-Making: Abstract Expressionist Painting from the United States: 1, 8, 9, 10, 20n, 41, 50n, 98, 102, 103-108, H 104, 111-112, 115, 124, 189n Museum of Modern Art paradigm: 104-108; popular culture: 105—106 Tate Gallery London: 24, 92-93n §§§ Hans Hofmann: Late Paintings: 77 'text/context': (Clark, T. J.): 98; (Harris): 97ff Third International: 156 Tiger's Eye: 128n, 137-138 Tobey, Mark: 65, 67, 68, 71n totalitarianism: 132, 133-134 Trotsky, Leon: 47, 153-154, 155, 161, 169n, 174n 'Art and Polities': 154; International Federation of Revolutionary Writers and Artists: 154; Trotskyism: 154 Truman, Harry S.: 44, 180-183, 184 Truman Doctrine: 180-181, 183, 189-190n United Front: 151, 153, 154 United States of America: 'Grand Area': 180; Information Agency (USIA): 184, 187, 188; postwar foreign policy: 179ff, 189n; 'ruling class', fractionalisation of (Orton): 181 ff; State Department exhibition: Advancing American Art: 183—184, 186 Vietnam: 47—48 Vytlacil, Vaclaw: 54, 71n Wallerstein, Immanuel: 107 Whitney Museum of American Art: 185 Williams, Raymond: 92, 96n The Politics of Modernism: 93n Wollheim, Richard: 22, 36n, 102, 109n, 119, 177n 'beholder', the: 102, 103; 'spectator in the picture': 119, 128n Works Progress Administration (WPA): 163, 189 Worringer, Wilhelm: 94n Writers for the Defense of Culture: 152 Zadkine, Ossip: 75n Zeitgeist: 100 exhibitions: 104 |
