A Generous Vision

2017 ◽  
Author(s):  
Cathy Curtis
Keyword(s):  
New York ◽  
Abstract Expressionism ◽  
Art World ◽  
Critical Rhetoric ◽  
Prime Mover ◽  
Sense Of Humor ◽  
Bodily Movement ◽  
Willem De Kooning ◽  
Cave Paintings

Elaine de Kooning (1918–1989) was a noted art critic and artist, and a prime mover in the New York art world. She was a vivacious social catalyst. Her sparkling wit enlivened meetings of the Club, nights at the Cedar Tavern, and chance conversations on the street. Her droll sense of humor, generosity of spirit, and freewheeling spending were as legendary as her ever-present cigarette. An incisive writer, she pinpointed the essence of artists as diverse as Franz Kline and August Renoir, and deftly refuted pompous critical rhetoric. As a painter, she melded Abstract Expressionism with her lifelong interest in bodily movement to capture the characteristic postures of portrait sitters ranging from artist and writer friends to President John F. Kennedy. Driven to focus on a single theme for years at a stretch, she produced multiple paintings reflecting her fascination with people and animals in motion; her subjects include bullfighting, basketball, Paleolithic cave paintings, and a multi-figure sculpture in the Jardin du Luxembourg in Paris. Married to Willem de Kooning from 1943 until her death, she credited him as her greatest influence. Although the couple separated in 1957, after episodes of unfaithfulness on both sides, nearly two decades later she bought a house near his to rescue him from severe alcoholism. Rather than being overshadowed by his fame, she said, she worked “in his light.”

Clement Greenberg, Harold Rosenberg, and Their Jewish Issues

Prospects ◽  
2005 ◽  
Vol 30 ◽  
pp. 651-664 ◽  
Author(s):  
Matthew Baigell
Keyword(s):  
New York ◽  
Art Criticism ◽  
Abstract Expressionism ◽  
Immigrant Parents ◽  
Left Wing ◽  
Jackson Pollock ◽  
The Social ◽  
Willem De Kooning ◽  
Clement Greenberg ◽  
Art Critics

Clement Greenberg (1909–94) and Harold Rosenberg (1906–78) were the two art critics most closely associated with abstract expressionism in the 1940s and 1950s. Neither began their careers as art critics, however. By the mid-1980s, Rosenberg had published literary essays and poems in left-wing magazines, and Greenberg's articles and reviews first appeared at the end of that decade. During the 1940s, Greenberg began to write art criticism, and Rosenberg's essays began to appear frequently in the 1950s. By that time, both had become part of the group known informally as the New York Intellectuals, many of whom were Jewish and children of immigrant parents.Highly verbal, vocal, argumentative, and politically left of center, they often published in magazines such as Partisan Review, Commentary, and Dissent. Although both Greenberg and Rosenberg ultimately rejected the more dogmatic and authoritarian aspects of leftist politics, they nevertheless supported the idea that society must move forward, but not necessarily by political means. Greenberg thought that such momentum could be maintained by the cultural elite, and Rosenberg, influenced by surrealism's concerns for the creative process, believed that individuals who were independent minded and creative could do the same. Both encouraged artists to turn from the social concerns that engaged many during the 1930s to apolitical, self-searching themes that came to characterize the art of the 1940s. In effect, they, especially Rosenberg, lionized the artist as an heroic individual. In the words of one historian, both “worked to find a safe haven for radical progress within the realm of individualistic culture.” And both, among the most perspicacious critics of their time, discovered, encouraged, and/or supported artists who ultimately became major figures, such as Jackson Pollock and Willem de Kooning.

Shaken into Seeing and Hearing

2019 ◽  
pp. 131-170
Author(s):  
Ryan Dohoney
Keyword(s):  
New York ◽  
Abstract Expressionism ◽  
Musical Aesthetics ◽  
Jackson Pollock ◽  
Avant Garde ◽  
George Balanchine ◽  
Willem De Kooning ◽  
Mark Rothko ◽  
The University ◽  
The City

Chapter 3 chronicles the intersection of Feldman’s and Dominique de Menil’s spiritual aesthetics. It begins by reconstructing the conditions of their first meeting: the New York City Ballet’s 1966 performance of Merce Cunningham’s Summerspace, re-choreographed for George Balanchine. It goes on to document Feldman and de Menil’s 1967 collaboration on the gallery show Six Painters at the University of St. Thomas. Through her family’s patronage, as well as Dominique’s presence as self-installed head of the art department, the University became a major presenting organization offering avant-garde cultural events in the city. Six Painters featured paintings by Piet Mondrian, Mark Rothko, Jackson Pollock, Willem de Kooning, Philip Guston, and Franz Kline. Feldman was also given a residency at the university in 1967, where he lectured on abstract expressionism and his own musical aesthetics as well as presented a concert of his music.

Between creativity and death: Abstract expressionists and alcohol use disorders

2017 ◽  
Vol 41 (S1) ◽  
pp. S519-S520
Author(s):  
O. Vasiliu ◽  
D. Vasile ◽  
F. Androne ◽  
M. Patrascu ◽  
E. Morariu
Keyword(s):  
New York ◽  
Abstract Expressionism ◽  
Heavy Drinking ◽  
Early Years ◽  
Jackson Pollock ◽  
Willem De Kooning ◽  
Mark Rothko ◽  
Innovative Work ◽  
New Perspective ◽  
Car Accident

American Expressionists were a group of American artists who valued free expression of unconscious elements, combining emotional intense expressions with anti-figurative abstract style. Their main place of creative debates was Cedar Tavern in New York City, considered by art critics an important incubator of the Abstract Expressionism. Jackson Pollock, one of the most prominent figures of this movement, suspected of having bipolar disorder, abused alcohol during long periods of his life, for which he even underwent psychotherapy. Unfortunately, he died in a car accident while driving under influence, after decades of innovative work, during which he created a new painting method and produced compositions which are nowadays between the most expensive works of art. Mark Rothko also had periods of heavy drinking, and finally he died by cutting his arms with a razor. He is considered a genius, who created a completely new perspective over painting, and his works are also between the most expensive paintings in the world. Willem de Kooning was affected by alcoholism since his early years, and developed dementia, at least partially induced by abusive drinking. Although affected by neurocognitive disorder, he continued to produce amazingly creative paintings until his final years and in 2016 one of his works obtained the record for the most expensive painting ever sold. Using alcohol as a tool for increasing creativity risks to expose the creator to severe disorders or even death, the subject walking on a narrow line between sublimation of unconscious impulses and tragic resignation before them.Disclosure of interestThe presenting author was speaker for Bristol Myers Squibb and Servier, and participated in clinical research funded by Janssen Cilag, Astra Zeneca, Eli Lilly, Sanofi Aventis, Schering Plough, Organon, Bioline Rx, Forenap, Wyeth, Otsuka Pharmaceuticals, Dainippon Sumitomo.

Comics as Art Criticism: The Cartoons of Jonah Kinigstein

2020 ◽  
pp. 220-242
Author(s):  
Karen Green ◽  
Kim A. Munson
Keyword(s):  
New York ◽  
Art Criticism ◽  
Abstract Expressionism ◽  
Art World

This chapter includes a 2018 essay by art historian Kim A. Munson and Karen Green, Curator for Comics and Cartoons at Columbia’s Butler Library, about the satirical cartoons of Jonah Kinigstein, a classically trained painter whose ambitions were frustrated by the New York art world’s obsession with Abstract Expressionism and the lucrative industry that grew up around it.  This chapter discusses Kinigstein’s exhibition at the Society of Illustrators, his training and influences, and his protest of the art world by pasting up his bitingly critical cartoons on walls all over SoHo. This chapter includes an interview of his life and career conducted by Karen Green. Images: Kinigstein cartoon and studio photo, Society of Illustrators exterior.

Pavia, Philip (1912–2005)

2018 ◽  
Author(s):  
Esther T. Thyssen
Keyword(s):  
New York ◽  
Abstract Expressionism ◽  
Abstract Art ◽  
New York School ◽  
John Cage ◽  
Critical Writing ◽  
Mature Phase ◽  
Willem De Kooning ◽  
Art Community ◽  
Abstract Sculpture

American sculptor and organizer of the New York art community, Philip Pavia sought to forge a group identity for the New York School. Pavia founded the Downtown Artists Club (1949–1955) with Willem de Kooning, Franz Kline, Ibram Lassaw and others. "The Club" transformed earlier gatherings into an intellectual and social forum as artists debated propositions and principles of Abstract Expressionism as well as the moniker itself. Lectures by luminaries like Joseph Campbell, John Cage and Hannah Arendt, and bi-weekly discussions nurtured artists’ theories. Harold Rosenberg’s milestone essay "The American Action Painters" (1952), for example, evolved from club panels convened by Pavia on "problems" of Abstract Expressionism. Dislike of French Surrealist influence and challenges to the validity of formalist arguments were common. Pavia initiated annual exhibitions with the Ninth Street Show in 1951. Between 1958 and 1965, as an extension of the annuals, Pavia edited and published the periodical It is. A magazine for abstract art (sic). Critical writing, manifestoes and statements by fellow artists were printed alongside reproductions of new work. The periodical was structured as an artists’ archive for Abstract Expressionism during the mature phase of the movement. Concurrently Pavia made abstract sculpture in bronze, stone, and clay.

The Transformation of the Avant-Garde: The New York Art World, 1940-1985

1988 ◽  
Vol 17 (2) ◽  
pp. 221
Author(s):  
Rosanne Martorella ◽  
Diana Crane
Keyword(s):  
New York ◽  
Art World ◽  
Avant Garde

scholarly journals Drips, Scratches, and Strokes: The New Language of Expressionism from Edvard Munch to Willem de Kooning

Elements ◽  
2008 ◽  
Vol 4 (2) ◽  
Author(s):  
Svetlana Turova
Keyword(s):  
Sick Child ◽  
Abstract Expressionism ◽  
American Art ◽  
The Unconscious ◽  
Abstract Expressionist ◽  
Willem De Kooning ◽  
History Of Art ◽  
History Of ◽  
Gaping Mouth ◽  
Specific Comparison

Whether on oddly-shaped pillows, shrieking dolls, or basic coffee mugs, the emaciated protagonist with a gaping mouth and the swirling landscape of Edvard Munch's <em>The Scream </em>is one of today's most widespread images. Though Munch died just as abstract expressionism was being born, his emphasis on the highly personal and the unconscious through abstraction, brushwork, and intensely evocative colors link him closely to this important American art movement. Through the specific comparison of the oeuvre of Munch and the abstract expressionist Willem de Kooning, this essay will examine how and why the Norwegian painter became known as the "father of expressionism" in the history of art. <em>The Scream</em> is not central to this discussion, but instead will be looked at in conjunction with other early paintings and prints, such as <em>The Sick Child</em> and <em>The Kiss. </em>These works and others reveal Munch's artistics philosophy and technique and allow us to draw broader connections to future movements, neo-dadaism and expressionism among them.

scholarly journals The graffiti art and the discover of the Keith Haring’s mural in Amsterdam

2020 ◽  
pp. 236-249
Author(s):  
Caterina Soliani
Keyword(s):  
New York ◽  
Collective Memory ◽  
Street Art ◽  
Art World ◽  
Continuous Growth ◽  
The World ◽  
To Come ◽  
The Many ◽  
Shed Light ◽  
Made In

The purpose of this work is to contribute to the continuous growth of the art world (Street Art in particular) and to discuss how it is essential for the discovery of artists. These artists have been pioneers and forerunners of new pictorial techniques, freeing creative and psychological flair, and combining the latter with the artistic technology that promises great things despite limited materials.  The intention of this article is to consider the elements of artistic expression that are less commonly subject to discussion, such as the world of Street Art. This form of artwork has not always been understood or accepted, with street artists waiting for the opportune moment to express the narrative, experiences, and emotions of society through their artwork, a power that unites sentiment and encourages change.  It is art which affects the community, the population and society. It is designed above all others to become part of the collective memory through violence of image and colour.  This project led me to come into contact with one of the many artistic artefacts of the Street Art movement, the Keith Haring’s mural in Amsterdam, a piece that makes me. understand and appreciate the problems inherent to these type of works, simple, synthetic, but never simplistic.  Therefore, a project, a study and a restoration hypothesis were conducted on one of the many works by Haring. The purpose of this was to shed light once again on the mural made in 1986 by the artist, situated in the Groothandeles Market of Amsterdam. No longer visible for thirty years, the mural was covered by insulation panels placed two years after its creation. With professors Antonio Rava and William Shank, the association Keith Haring Foundation of New York, the Stedelijk Museum of Amsterdam, in collaboration with the gallery Vroom & Varossieau, specialised in road art, on 8 June, the large metal sheet panels were removed and one of the greatest murals by Haring could once again be admired.

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