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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).
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 York in 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 River Landscape
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 Réalisme
Yves Klein's Romanticism
Le Vide
The "Living Brash"
Seeking Immateriality
Klein's Demise
The Nouveaux Réalistes
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
Hélio 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
Jörg 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
“©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
Index
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