Guston, Philip (1913–1980)

2018 ◽  
Author(s):  
Antonia Pocock
Keyword(s):  
New York ◽  
Los Angeles ◽  
Jackson Pollock ◽  
University Of Iowa ◽  
Federal Art Project ◽  
The Social ◽  
American Artist ◽  
Willem De Kooning ◽  
The University ◽  
Washington University

American artist Philip Guston is best known for the comic-strip-inspired paintings he created during the last decade of his life. Though they prompted scathing reviews when first exhibited in 1970, Guston’s late works became a precedent for 1980s Neo-expressionism. Born Philip Goldstein to Jewish-Ukrainian immigrants in Montreal, Guston was raised in Los Angeles, where he attended the Otis Art Institute, as well as the Manual Arts High School with Jackson Pollock. Inspired by Italian Renaissance frescoes and Mexican muralism, Guston began his career painting political murals—first in California and Mexico, and later in New York as part of the WPA’s Federal Art Project. While teaching at the University of Iowa and Washington University in St Louis in the 1940s, Guston gained critical acclaim for his allegorical street scenes. In 1951, he moved to New York and began producing gestural abstractions in the manner of Willem de Kooning. His return to figuration in the late 1960s, prompted by the social and political unrest of the period, combines the iconography of his early paintings; specifically, these works feature hooded figures and brick walls, with an expressionist style marked by his signature short, thick brushstrokes.

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.

scholarly journals The Events of June 1848: the ‘Monte Cristo’ Riots and the Politics of Protest

2003 ◽  
Vol 19 (1) ◽  
pp. 23-32 ◽  
Author(s):  
Victor Emeljanow
Keyword(s):  
New York ◽  
Full Length ◽  
Anton Chekhov ◽  
University Of Iowa ◽  
The Real ◽  
Social Concerns ◽  
Critical Heritage ◽  
Cultural Tensions ◽  
The University

Theatrical riots are usually dismissed as occasions during which aesthetic reactionaries battled reformers over stylistic issues of little relevance to pressing and immediate social concerns. Yet how true is this? What were the real issues which boiled over at such apparently confined and innocuous occasions as the Old Price Riots at Covent Garden in 1809, the Paris Ernani riot of 1830, the visit of a celebrated English actor which sparked the New York Astor Place riot in 1849, or the first night of a play which brought about the Playboy riots in Dublin in 1907? The complex social and cultural tensions on such occasions clearly operated during the two days of disturbance which came to be known as the Monte Cristo riots in London in 1848, and there are curious modern parallels. Victor Emeljanow is Professor of Drama at the University of Newcastle, Australia. His full length works include Anton Chekhov: the Critical Heritage, Victorian Popular Dramatists, and, with Jim Davis, Reflecting the Audience: London Theatregoing, 1840–1880 (University of Iowa Press, 2001), which was recently awarded the Society for Theatre Research's Book Prize for 2002.

scholarly journals Book Reviews

1996 ◽  
Vol 152 (3) ◽  
pp. 483-508
Author(s):  
Peter Boomgaard ◽  
John Robert Shepherd ◽  
Bernice Jong Boers ◽  
Michael Hitchcock ◽  
Dwight Y. King ◽  
...  
Keyword(s):  
New York ◽  
Los Angeles ◽  
Southeast Asia ◽  
Economic Transformation ◽  
British Library ◽  
International Studies ◽  
Yale University ◽  
University Center ◽  
Malayan Emergency ◽  
The University

- Peter Boomgaard, John Robert Shepherd, Marriage and mandatory abortion among the 17th-century Siraya. Arlington: American Anthropological Association, 1995, iv + 99 pp. [American Ethnological Society Monograph Series 6.] - Bernice de Jong Boers, Michael Hitchcock, Islam and identity in Eastern Indonesia. Hull: The University of Hull Press, 1996, ix + 208 pp. - Dwight Y. King, Audrey R. Kahin, Subversion as foreign policy; The secret Eisenhower and Dulles debacle in Indonesia. New York: The New Press, 1995, 230 + 88 pp., George McT. Kahin (eds.) - Han Knapen, Harold Brookfield, In place of the forest; Environmental and socio-economic transformation in Borneo and the eastern Malay peninsula. Tokyo, New York, Paris: United Nations University Press, 1995, xiv + 310 pp. [UNU Studies on Critical Environmental Regions.], Lesley Potter, Yvonne Byron (eds.) - Niels Mulder, E. Paul Durrenberger, State power and culture in Thailand. New Haven: Yale University, Southeast Asia Studies, 1996, vii + 200 pp. [Monograph 43.] - Peter Pels, Margaret J. Wiener, Visible and invisible realms; Power, magic and colonial conquest in Bali. Chicago: University of Chicago Press, xiv + 445 pp. - Marie-Odette Scalliet, Annabel Teh Gallop, Early views of Indonesia; Drawings from the British Library. Pemandangan Indonesia di masa lampau; Seni gambar dari British Library. London: The British Library, Jakarta: Yayasan Lontar, 1995, 128 pp., 86 ill., 39 pl. - Cornelia M.I. van der Sluys, Marina Roseman, Healing sounds from the Malaysian rain forest; Temiar music and medicine. Berkeley, Los Angeles: University of California Press, 1993, xvii + 233 pp. - Cornelia M.I. van der Sluys, John D. Leary, Violence and the dream people; The Orang Asli in the Malayan emergency, 1948-1960. Athens, Ohio: Ohio University, Center for International Studies, 1995, xxiii + 238 pp. [Monographs in International Studies, Southeast Asia Series 95.] - H. Steinhauer, Darrell T. Tryon, Comparative Austronesian Dictionary; An introduction to Austronesian studies, Berlin, New York: Mouton de Gruyter, 1995, Part I, Fascicle I: xxviii pp + p.1-666; Fascicle II: xix pp + p.667-1197; Part II: xviii + 749 pp; Part III: xviii + 739 pp; Part IV: xviii + 767 pp. [Trends in Linguistics, Documentation 10 (Werner Winter and Richard A. Rhodes, eds).]

Horkheimer, Max (1895–1973)

2018 ◽  
Author(s):  
Andrew Edgar
Keyword(s):  
Los Angeles ◽  
Critical Theory ◽  
Social Research ◽  
Social Systems ◽  
The Political ◽  
Pablo Picasso ◽  
Columbia University ◽  
The Social ◽  
Critical Theorist ◽  
The University

Born near Stuttgart, Germany, the philosopher Max Horkheimer, who obtained his doctorate from the University of Frankfurt, is best known as a leader of the Frankfurt School, along with Theodor W. Adorno and Jürgen Habermas. From 1930 to 1958 (with a significant hiatus from 1934 to 1948), Horkheimer served as the Director of the Institut für Sozialforschung (Frankfurt Institute for Social Research), founded in 1923 to promote multidisciplinary research in the social sciences with a particular focus on Marxian thought; along with his colleague Adorno, Horkheimer was responsible for developing the distinctive form of Marxist philosophy that framed this research through the methodologies of German critical theory. Instead of just describing social systems through "objective" means, critical theory would endeavor to uncover the social context and raise questions about truth and social justice, acknowledging also that critical theory cannot produce universal truths. At best, the critical theorist simply expresses the contradictions and falsehoods of the society within which they work. Critical theory was applied in a sweeping analysis of Western civilization in Dialektik der Aufklärung (1947; Dialectic of Enlightenment), in which Adorno and Horkheimer argued that the progress of enlightened Western culture was simultaneously a regression into a new barbarism and an entanglement in myth. In modernist art, such as the work of James Joyce and Pablo Picasso, Horkheimer identified a crucial source of resistance to the political and economic oppression of late capitalist society. Horkheimer, who was Jewish, escaped Nazi Germany and taught at Columbia University from 1935 to 1941; he lived in Los Angeles during the 1940s, but eventually returned to Germany where died in Nuremburg in 1973.

Creating a Modern Profession

2021 ◽  
pp. 200-243
Author(s):  
Larry Abbott Golemon
Keyword(s):  
Social Sciences ◽  
New York ◽  
Religious Education ◽  
Theological Education ◽  
Research University ◽  
Theological Schools ◽  
The Bible ◽  
The Social ◽  
The University ◽  
The Impact

The sixth chapter analyzes theological schools that realigned themselves with the modern research university. Several narratives are explored: the struggle between Thomas Jefferson’s University of Virginia and seminary founders like John Holt Rice; the influence of the German university through immigrants like Phillip Schaff and theologians who studied abroad; the pragmatic adaptation of the German encyclopedia for organizing theological studies; the impact of the American university’s pragmatism, social sciences, and social reform on seminaries; and the influence of progressive education and the religious education movement on theological schools. University Divinity schools led this movement, especially the University of Chicago built by William Rainey Harper, but a number of independent schools, like Union Theological Seminary in New York, sought such realignment as “theological universities.” This realignment of theological schools had significant benefits, as it increased elective studies, developed specialized fields of ministry, and brought the social sciences to theological education. However, the realignment had unforeseen problems as it widened the gap between academics and those of professional practice; distanced faculty from interdisciplinary work and church leadership; replaced the Bible as a unifying discipline with “the scientific method”; and replaced the integrative role of oral pedagogies with scholarly lectures and the research seminar.

On Disciplinary Finitude

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 505-512 ◽  
Author(s):  
Jeffrey T. Schnapp
Keyword(s):  
Los Angeles ◽  
Architectural History ◽  
University Of California ◽  
Filippo Tommaso Marinetti ◽  
Speed Limits ◽  
Avant Garde ◽  
The Social ◽  
History Of ◽  
Social Environmental ◽  
The University

The year 2008 was one of fruitful disjunctions. I spent the fall teaching at Stanford but commuting to the University of California, Los Angeles, to cochair the inaugural Mellon Seminar in Digital Humanities. During the same period, I was curating—at the Canadian Center for Architecture, in Montreal—an exhibition devised to mark the centenary of the publication of “The Founding Manifesto of Futurism,” by Filippo Tommaso Marinetti. Whereas other centennial shows (at the Centre Pompidou, in Paris, and at the Palazzo Reale, in Milan) sought to celebrate the accomplishments and legacies of Marinetti's avant-garde, the Canadian exhibition, Speed Limits, was critical and combative in spirit, more properly futurist (though thematically antifuturist). It probed the frayed edges of futurism's narrative of modernity as the era of speed to reflect on the social, environmental, and cultural costs. An exhibition about limits, it looked backward over the architectural history of the twentieth century to look forward beyond the era of automobility.

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