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Artist as Author: Action and Intent in Late-Modernist American Painting
University of Chicago Press, 2021 Cloth: 978-0-226-75295-2 | eISBN: 978-0-226-75300-3 Library of Congress Classification ND212.5.M63R63 2021 Dewey Decimal Classification 759.130904
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
With Artist as Author, Christa Noel Robbins provides the first extended study of authorship in mid-20th century abstract painting in the US. Taking a close look at this influential period of art history, Robbins describes how artists and critics used the medium of painting to advance their own claims about the role that they believed authorship should play in dictating the value, significance, and social impact of the art object. Robbins tracks the subject across two definitive periods: the “New York School” as it was consolidated in the 1950s and “Post Painterly Abstraction” in the 1960s. Through many deep dives into key artist archives, Robbins brings to the page the minds and voices of painters Arshile Gorky, Jack Tworkov, Helen Frankenthaler, Kenneth Noland, Sam Gilliam, and Agnes Martin along with those of critics such as Harold Rosenberg and Rosalind Krauss. While these are all important characters in the polemical histories of American modernism, this is the first time they are placed together in a single study and treated with equal measure, as peers participating in the shared late modernist moment. See other books on: Action | Artist | Author | Modernism (Art) | Painting, American See other titles from University of Chicago Press |
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Artist as Author: Action and Intent in Late-Modernist American Painting
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
University of Chicago Press, 2021
Cloth: 978-0-226-75295-2
eISBN: 978-0-226-75300-3
Cloth: 978-0-226-75295-2
eISBN: 978-0-226-75300-3
With Artist as Author, Christa Noel Robbins provides the first extended study of authorship in mid-20th century abstract painting in the US. Taking a close look at this influential period of art history, Robbins describes how artists and critics used the medium of painting to advance their own claims about the role that they believed authorship should play in dictating the value, significance, and social impact of the art object. Robbins tracks the subject across two definitive periods: the “New York School” as it was consolidated in the 1950s and “Post Painterly Abstraction” in the 1960s. Through many deep dives into key artist archives, Robbins brings to the page the minds and voices of painters Arshile Gorky, Jack Tworkov, Helen Frankenthaler, Kenneth Noland, Sam Gilliam, and Agnes Martin along with those of critics such as Harold Rosenberg and Rosalind Krauss. While these are all important characters in the polemical histories of American modernism, this is the first time they are placed together in a single study and treated with equal measure, as peers participating in the shared late modernist moment.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
