Foreword | |
Introduction: 'Starting over at the beginning' | |
'Every person is a special kind of artist' | |
Cartoons and Communists'Hack'Public Art and Public MediaComrade CubistThe Origins of 'Art-as-Art'Comrade Ad | |
'Painting-Reason' and 'Picture-Purpose'Abstract Art for Society's Sake | |
The Inconsolable Polymath | |
Collage as Destruction'Painting is more than the scum of its pots': Beyond Formalism | |
The Intellectual Gift of the Post-Historic Artist'Blue in art is blue | |
Red in art is red | |
Yellow in art is yellow | |
Dark gray in art is not dark gray': Aesthetics and Indeterminacy | |
'How to make Modern Art in America: Fifteen Years Later | |
'Perfection and the End of Art | |
Neither Secular nor Sacred | |
Systems of Strife | |
'An Invasion of the Ultimate'Jamming | |
Rules | |
Convictions | |
Realignment | |
'Every Dogma has its Day' | |
'The re-reformation of formalism' | |
'A dark flame, fog forming in the unformed': Responsive Eyes | |
Unfinished Business | |
The Success of Failure | |
Reinhardt and the Art of the Sixties | |
Empty Devices, Dead Diagrams and Invisible Spectacles | |
Trailer | |
Political Art and Political Power | |
Scepticism | |
The Artist as Citizen | |
Art and Resistance | |
Reinhardt's Difficult Freedom Appendix | |
References | |
Bibliography | |
Artist's Chronology | |
Acknowledgements | |
Index | |
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