Ghani, Yusof (1950--)

2018 ◽  
Author(s):  
Sarena Abdullah
Keyword(s):  
National Identity ◽  
Subject Matter ◽  
Abstract Expressionism ◽  
Washington Dc ◽  
Jackson Pollock ◽  
Willem De Kooning ◽  
Ma Thesis

Yusof Ghani is a Malaysian artist who was significantly influenced by American Abstract Expressionism. Ghani’s first solo exhibition in 1984 was held at Anton Gallery in Washington, DC, where he showed his Protest series. However, this series failed to fit in with the work of other Malaysian artists who were at that time intent on developing a national identity for Malaysian art. Rather than acquiescing to the same theme, Yusof pursued his interest in "cultural dance," which he had explored in his MA thesis, eventually expanding it into the fundamental theme of his SiriTari (Dance Series) (1984–1992). Yusof Ghani’s works possess an astonishing fluidity that captures the exhilaration and tension of his subject matter. Heavily influenced by Jackson Pollock and Willem de Kooning, Ghani’s works are intense, powerful, and are usually noted for their spontaneous and ferocious brushstrokes. His works consist of abstract (or semi-abstract) forms and imageries, emphasizing formalistic experimentation in his use of colors, emphasis on the simplification of forms, and expressive qualities of his lines.

de Kooning, Willem (1904–1997)

2018 ◽  
Author(s):  
Maia Toteva
Keyword(s):  
World War Ii ◽  
Abstract Expressionism ◽  
Technical Skill ◽  
The Body ◽  
World War ◽  
Jackson Pollock ◽  
Abstract Expressionist ◽  
Action Painting ◽  
Willem De Kooning ◽  
Human Figure

A leading post-World War II artist, Willem de Kooning painted in the vigorous style known as ‘‘gestural abstraction’’ or ‘‘action painting,’’ one of the two divisions of Abstract Expressionism. The artists associated with this Abstract Expressionism—Jackson Pollock, Franz Kline, and Robert Motherwell, among others—emphasized the act of painting and used pronounced, often energetic, brushstrokes to convey expression. A preeminent figure of Abstract Expressionism, de Kooning occupied a distinct place within a group that rejected any critical labels. In 1955, de Kooning declared ‘‘Words and labels are very confusing. We need definitions. I’m not an Abstract Expressionist, but I express myself.’’ Although he experimented with various degrees of abstraction and epitomized the bold, improvisational brushstroke of Action Painting, de Kooning created a style that remained unique within the movement, with a deep commitment to the body and the human figure. Blending expressionist, cubist, and surrealist elements with technical skill, his paintings explored the ambiguous relations between figure and ground, abstraction and representation, and abstract versus overt figuration.

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.

The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock

MRS Bulletin ◽  
2001 ◽  
Vol 26 (1) ◽  
pp. 56-60 ◽  
Author(s):  
Susan Lake
Keyword(s):  
Abstract Expressionism ◽  
Modern Art ◽  
American Art ◽  
Diverse Group ◽  
Jackson Pollock ◽  
Abstract Expressionist ◽  
Willem De Kooning ◽  
Considerable Debate ◽  
The 1950S

Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.

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.

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 Ironia i nihilizm. Figura bibliotekarza w Posłuchaniu u Lucypera Józefa Sękowskiego

2019 ◽  
pp. 83-94
Author(s):  
Jarosław Ławski
Keyword(s):  
National Identity ◽  
Present Article ◽  
Short Story ◽  
Subject Matter ◽  
Russian Literature ◽  
Absolute Power ◽  
Polish Literature ◽  
The World ◽  
History Of ◽  
The Subject

The subject matter of the present article is the image of library and librarian in a forgotten short story by a Polish-Russian writer Józef Julian Sękowski (1800−1858). Sękowski is known in Polish literature as a multi-talented orientalist and polyglot, who changed his national identity in 1832 and began to write only in Russian. In the history of Russian literature he is famous for Library for Reading and Fantastic Voyages of Baron Brambeus, an ironic-grotesque work, which was precursory in Russian prose. Until 1832 Sękowski was, however, a Polish writer. His last significant work was An Audience with Lucypher published in a Polish magazine Bałamut Petersburski (Petersburgian Philanderer) in 1832 and immediately translated into Russian by Sękowski himself under the title Bolszoj wychod u Satany (1833). The library and librarian presented by the author in this piece are a caricature illustration proving his nihilistic worldview. Sękowski is a master of irony and grotesquery, yet the world he creates is deprived of freedom and justice and a book in this world is merely a threat to absolute power.

‘No Straight Answers’: Writing in the Margins, Finding Lost Heroes

2009 ◽  
Vol 25 (1) ◽  
pp. 6-21 ◽  
Author(s):  
Mojisola Adebayo ◽  
Valerie Mason-John ◽  
Deirdre Osborne
Keyword(s):  
National Identity ◽  
Black Woman ◽  
Environmental Degradation ◽  
Identity Politics ◽  
Subject Matter ◽  
Black British ◽  
Cross Dressing ◽  
And Performance ◽  
Contemporary Writing ◽  
Universal Themes

Mojisola Adebayo and Valerie Mason-John are two distinctive voices in contemporary writing and performance, representing an Afro-Queer diasporic heritage through the specific experience of being black, British, and lesbian. Creating continuities from contorted or erased histories (personal, social, and cultural), their drama demonstrates both Afro-centric and European theatrical influences, which in Mason-John's case is further consolidated in her polemic, poetry, and prose. Like Britain's most innovative and prominent contemporary black woman dramatist, debbie tucker green, they reach beyond local or national identity politics to represent universal themes and to centralize black women's experiences. With subject matter that includes royal families, the care system, racial cross-dressing, and global ecology, Adebayo and Mason-John have individually forged a unique aesthetic and perspective in work which links environmental degradation with social disenfranchisement and travels to the heart of whiteness along black-affirming imaginative routes. Deirdre Osborne is a lecturer in drama at Goldsmiths College, University of London, and has published essays on the work of black British dramatists and poets, including Kwame Kwei-Armah, Dona Daley, debbie tucker green, Lennie James, Lemn Sissay, SuAndi, and Roy Williams. She is the editor of Hidden Gems (London: Oberon Books, 2008), a collection of plays by black British dramatists.

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