Review: Enchantments: Joseph Cornell and American Modernism, by Marci Kwon

2021 ◽  
Vol 25 (2) ◽  
pp. 118-120
Author(s):  
Massimo Introvigne
Keyword(s):  
American Modernism ◽  
Joseph Cornell

Acts of Containment:Marianne Moore, Joseph Cornell, and the Poetics of Enclosure

2006 ◽  
Vol 29 (4) ◽  
pp. 124-144 ◽  
Author(s):  
Jennie-Rebecca Falcetta
Keyword(s):  
Joseph Cornell

Charles Olson and American Modernism

2018 ◽  
Author(s):  
Mark Byers
Keyword(s):  
New York ◽  
Political Action ◽  
The Self ◽  
Instrumental Reason ◽  
Charles Olson ◽  
American Modernism ◽  
Avant Garde ◽  
Wide Range ◽  
American Poet ◽  
Mark Rothko

The Practice of the Self situates the work of American poet Charles Olson (1910–70) at the centre of the early postwar American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson’s work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson’s published and unpublished writings to establish an original account of early postwar American modernism. The development of Olson’s work is seen to illustrate two primary drivers of formal innovation in the period: the evolution of a new model of political action pivoting around the radical individual and, relatedly, a powerful new critique of instrumental reason and the Enlightenment tradition. Drawing on extensive archival research and featuring readings of a wide range of artists—including, prominently, Barnett Newman, Mark Rothko, David Smith, Wolfgang Paalen, and John Cage—The Practice of the Self offers a new reading of a major American poet and an original account of the emergence of postwar American modernism.

Gender, Race, and Mourning in American Modernism by Greg Forter

2013 ◽  
Vol 52 (3) ◽  
pp. 84-85
Author(s):  
Beth Widmaier Capo
Keyword(s):  
American Modernism

Acts of Containment: Marianne Moore, Joseph Cornell, and the Poetics of Enclosure

2006 ◽  
Vol 29 (4) ◽  
pp. 124-144
Author(s):  
Jennie-Rebecca Falcetta
Keyword(s):  
Marianne Moore ◽  
Joseph Cornell

scholarly journals Linen Boxes and Slices: Raoul De Keyser and American Modernism in Belgium in the 1960s and 1970s

Arts ◽  
2021 ◽  
Vol 10 (4) ◽  
pp. 80
Author(s):  
Steven Jacobs
Keyword(s):  
Three Dimensional ◽  
Pop Art ◽  
Free Standing ◽  
American Modernism ◽  
Hard Edge ◽  
Three Dimensional Objects ◽  
Color Field Painting ◽  
New Vision ◽  
1960S And 1970S ◽  
The 1960S

Before his international breakthrough shortly before the turn of the century, Belgian painter Raoul De Keyser (1930–2012) had a long career that reaches back to the 1960s, when he was associated with Roger Raveel and the so-called Nieuwe Visie (New Vision in Dutch), Belgium’s variation on postwar figurative painting that also entails Anglo-Saxon Pop Art and French nouveau réalisme. Dealing with De Keyser’s works of the 1960s and 1970s, this article discusses the reception of American late-modernist art currents such as Color-Field Painting, Hard Edge, Pop Art, and Minimal Art in Belgium. Drawing on contemporaneous reflections (by, among others, poet and critic Roland Jooris) as well as on recently resurfaced materials from the artist’s personal archives, this essay focuses on the ways innovations associated with these American trends were appropriated by De Keyser, particularly in the production of his so-called Linen Boxes and Slices. Made between 1967 and 1971, Linen Boxes and Slices are paintings that evolved into three-dimensional objects, free-standing on the floor or leaning against the wall. Apart from situating these constructions in De Keyser’s oeuvre, this article interprets Linen Boxes and Slices as particular variations on Pop Art’s fascination for consumer items and on Minimalism’s interest in the spatial and material aspects of “specific objects”.

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