FREE SHIPPING BOTH WAYS
ON EVERY ORDER!
LIST PRICE:
$76.67

Sorry, this item is currently unavailable.

Art Since 1940 : Strategies of Being

ISBN: 9780130858436 | 0130858439
Edition: 2nd
Format: Paperback
Publisher: Prentice Hall
Pub. Date: 1/1/2000

Why Rent from Knetbooks?

Because Knetbooks knows college students. Our rental program is designed to save you time and money. Whether you need a textbook for a semester, quarter or even a summer session, we have an option for you. Simply select a rental period, enter your information and your book will be on its way!

Top 5 reasons to order all your textbooks from Knetbooks:

  • We have the lowest prices on thousands of popular textbooks
  • Free shipping both ways on ALL orders
  • Most orders ship within 48 hours
  • Need your book longer than expected? Extending your rental is simple
  • Our customer support team is always here to help
SummaryTable of ContentsAuthor Biography
For a one/two-semester, undergraduate-level course on Postwar Art. Exceptionally comprehensive and authoritative, this extensively illustrated survey of art since 1940 stresses the individuality of the artists in relation to their political, social, and cultural contexts, and focuses on the meaning of the major works and innovations.
This comprehensive and authoritative book illustrates art from the 1940's and stresses theindividuality of the artists in relation to their political, social, and cultural contexts. Th... MORE
Foreword to the Second Edition10(1)
Acknowledgments11(2)
Preface13(1)
Introduction
14(6)
... MORE
Approaching Art as a Mode of Thought
14(2)
The Concept of the Avant-Garde
16(2)
The Critical Point of View of this Book
18(2)
New York in the Forties
20(22)
New York Becomes the Center
20(11)
Surrealism
20(4)
American Pragmatism and Social Relevance
24(2)
The Depression and the Works Progress Administration (W.P.A.)
26(2)
The Availability of European Modernism
28(2)
The Europeans in New York
30(1)
The Sense of a New Movement in New York
31(11)
Commonalities and Differences Among the Artists of the New York School
32(2)
Automatism and Action in the Art of the New York School
34(1)
Action and Existentialism
35(3)
Clyfford Still
38(1)
Adolph Gottlieb
38(1)
Franz Kline
39(1)
Friends in and around the New York School
39(3)
A Dialog with Europe
42(44)
Alexander Calder
42(10)
Calder's Early Life and Themes
42(3)
Calder in Paris
45(1)
Cosmic Imagery and the Mobiles
46(6)
Hans Hofmann
52(7)
Stylistic Lessons from Europe
52(2)
Hofmann's Art Theory
54(1)
Hofmann's Painting
55(4)
Arshile Gorky
59(8)
Gorky's Life (Real and Imagined)
59(2)
The Development of Gorky's Style
61(4)
Gorky's Late Works
65(2)
Robert Motherwell
67(7)
Intellectual Affinities with the European Moderns
68(1)
Recurring Themes in Motherwell's Work
69(1)
Teaching, Writing, and Editing in Motherwell's Early Career
69(1)
Motherwell's Painting
70(4)
Willem de Kooning
74(12)
De Kooning's Training and Early Career
76(1)
The Dissolution of Anatomy into Abstraction
77(3)
The Anatomical Forms Dissolve into Brushstrokes
80(4)
De Kooning's Abstractions of the Fifties
84(1)
The ``Women'' of the Sixties and the Late Works
84(2)
Existentialism Comes to the Fore
86(42)
Jackson Pollock
86(12)
Pollock's Early Life and Influences
86(3)
Pollock's Breakthrough of the Early Forties
89(1)
Pollock's Transition to a Pure Gestural Style
90(2)
The Dripped and Poured Canvases
92(5)
Pollock in the Fifties
97(1)
Barnett Newman
98(8)
The Revelation of Newman's Onement I
100(2)
The Paintings of the Late Forties
102(1)
Vir Heroicus Sublimis and Other Works of the Fifties
103(3)
The ``Stations of the Cross''
106(1)
Mark Rothko
106(9)
Rothko's Formative Years
107(1)
Turning to Classical Myth
108(1)
Surrealism, Psychoanalysis, and ``the Spirit of Myth''
109(2)
``Heroifying'' the Ineffable
111(2)
The Murals and Other Late Work
113(2)
David Smith and the Sculpture of the New York School
115(13)
Smith's Initiation into the Art World
116(2)
The Aesthetic of Machines and the Unconcious
118(3)
The Pictograms and Hudson River Landscape
121(1)
An Existential Encounter with the Materials at Hand
121(1)
Career Success and Personal Sacrifices
122(1)
The Figural Presence and the Work of the Last Decade
123(5)
The New European Masters of the Late Forties
128(20)
Jean Dubuffet and Postwar Paris
128(10)
Dubuffet's Painting of the Forties
131(1)
Dubuffet's Philosophical Premises
132(3)
A Focus on Matter in the Fifties
135(2)
A Grand Style of Entropy
137(1)
The Existentialist Figuration of Alberto Giacometti
138(4)
Francis Bacon
142(6)
Some International Tendencies of the Fifties
148(24)
Purified Abstraction
148(12)
An Encounter with the Physicality of the Materials in Europe
148(5)
A Material Reading of Action Painting in New York
153(1)
Greenberg's Definition of Modernism
154(1)
The Greenberg School
154(2)
Formalist Painting
156(4)
``New Images of Man'' in Europe and America
160(12)
The Cobra
160(2)
The Figurative Revival of the Fifties
162(7)
Figurative Painting in the Bay Area
169(1)
Existential Imagist Art in Chicago
170(2)
The Beat Generation: The Fifties in America
172(50)
``A Coney Island of the Mind''
172(5)
John Cage
174(1)
Merce Cunningham
175(1)
The Cage ``Event'' of 1952
176(1)
Gutai
176(1)
Robert Rauschenberg
177(11)
The Self as a Mirror of Life
177(1)
Rauschenberg's Early Career
178(3)
The Combine Paintings
181(2)
The Drawings for Dante's Inferno
183(1)
The End of the Combines
183(1)
The Silkscreen Paintings
184(3)
Performance and the Prints of the Later Sixties
187(1)
Appropriating the Real: Junk Sculpture and Happenings
188(9)
Junk
188(1)
The Genesis of the Happenings
188(5)
The Judson Dance Theater
193(1)
Fluxus
193(1)
Walk-in Paintings
193(4)
Claes Oldenburg
197(9)
The ``Cold Existentialism'' of the ``Ray Gun'' and The Street
197(1)
The Store Days
198(1)
Soft Sculpture
199(3)
Proposals for Monuments
202(1)
Realizing Monuments and Architectural Scale
203(3)
Jasper Johns
206(16)
``Nature'' Is How We Describe It
206(1)
Painting as a Discourse on Language
206(2)
An Aesthetic of ``Found'' Expression
208(1)
Emotion and Distance
209(1)
Incorporating Objects: What One Sees and What One Knows
209(1)
The Paintings of 1959
210(3)
The New Emotional Tone of the Early Sixties
213(1)
Explorations of Linguistic Philosophy
213(2)
Diver of 1962
215(1)
Periscope (Hart Crane)
216(1)
The Perceptual Complexity of Looking
217(1)
The Hatch Mark Paintings
217(3)
Dropping the Reserve
220(2)
The European Vanguard of the Later Fifties
222(22)
Nouveau Realisme
222(9)
Yves Klein's Romanticism
222(2)
Le Vide
224(1)
The ``Living Brush''
224(2)
Seeking Immateriality
226(2)
Klein's Demise
228(2)
The Nouveaux Realistes
230(1)
Joseph Beuys
231(6)
Revealing the Animism in Nature
232(1)
The Artist as Shaman
233(1)
Art as the Creative Life of the Mind
234(3)
British Pop: From the Independent Group to David Hockney
237(7)
Key Figures of the Independent Group
237(1)
The Exhibitions
237(2)
Paolozzi and Hamilton as Artistis
239(1)
Reintegrating Popular Imagery into High Art
240(1)
David Hockney
241(3)
The Landscape of Signs: American Pop Art 1960 to 1965
244(50)
The Electronic Consciousness and New York Pop
244(6)
A Turning Point in Theory
244(2)
Events that Shaped the Popular Consciousness
246(1)
Collaging Reality on Pop Art's Neutral Screen of Images
246(4)
Andy Warhol
250(9)
Warhol's Background
251(1)
Selecting Non-Selectivity
251(2)
Eliminating the Artist's Touch
253(1)
A Terrifying Emptiness
253(3)
The Factory Scene
256(1)
Business Art and the ``Shadows'' that Linger Behind It
257(2)
Roy Lichtenstein
259(2)
James Rosenquist
261(6)
H.C. Westermann, Peter Saul, and the Hairy Who
267(10)
H.C. Westermann
267(3)
Peter Saul
270(2)
The Hairy Who
272(5)
West Coast Pop
277(9)
Funk Art
277(3)
Peter Voulkos
280(1)
The Politicized Cultural Climate of the Sixties
281(1)
William Wiley
281(2)
Ed Kienholz
283(1)
L.A. Pop
283(3)
Robert Arneson
286(8)
Arneson's Break with Conventional Ceramics
286(1)
The Toilets
287(1)
A Technical Breakthrough
287(2)
Objects of the Mid Sixties
289(1)
The Self-Portraits
289(2)
Discovering a Political Voice
291(1)
Introspection via Pollock
291(3)
In the Nature of Materials: The Later Sixties
294(44)
Back to First Principles-Minimal Art
294(17)
Frank Stella
297(2)
Donald Judd
299(1)
Tony Smith
300(1)
Carl Andre
301(2)
Dan Flavin
303(1)
Robert Morris
304(2)
Sol LeWitt
306(1)
The Los Angeles Light and Space Movement
307(2)
Object/Concept/Illusion in Painting
309(1)
A Focus on Surface Handling in Painting
310(1)
Eva Hesse and Investigations of Materials and Process
311(5)
Eva Hesse
312(1)
The Direct Sensuality of Fiberglass and Latex
313(3)
Bruce Nauman and Richard Serra
316(7)
Bruce Nauman
316(2)
Richard Tuttle and Richard Serra
318(5)
Artists Working in the Landscape
323(9)
Michael Heizer
323(3)
Walter De Maria
326(1)
Robert Smithson
327(4)
An Accidental Rubric
331(1)
Arte Povera, and a Persevering Rapport with Nature in Europe
332(6)
Politics and Postmodernism: The Transition to the Seventies
338(38)
Re-Radicalizing the Avant-Garde
338(18)
The Critical Atmosphere of the Late Sixties
338(2)
Language and Measure
340(2)
Art from Nature
342(4)
Vito Acconci: Defining a Conceptual Oeuvre
346(1)
Body Art
347(2)
Ana Mendieta
349(1)
Lygia Clark and Helio Oiticica
349(2)
Performance Art
351(1)
Nam June Paik's Electronic Nature
352(2)
Direct Political Comment
354(1)
Marcel Broodthaers
354(2)
Situationism
356(1)
The Potential for Broader Political Action
356(1)
Christo and Jeanne-Claude
356(9)
Art in the Theater of Real Events
356(4)
The Shift to an Architectural Scale
360(3)
The Logistics of the Projects
363(1)
The Surrounded Islands
363(1)
Christo and Jeanne-Claude in the Nineties
364(1)
Postmodernism
365(11)
Sigmar Polke
365(6)
Gerhard Richter
371(3)
John Baldessari
374(2)
Surviving the Corporate Culture of the Seventies
376(38)
A New Pluralism
376(18)
Art and Feminism
381(3)
Photography in the Mainstream
384(1)
A Dazzling Photorealism
384(3)
Entering the Real Space
387(2)
Public Sites
389(3)
Appropriated Sites: Charles Simonds
392(1)
Gordon Matta-Clark's Site Critiques
392(1)
The Complexity That Is Culture
393(1)
Romare Bearden
394(4)
Bearden's Collages of the Sixties
395(3)
Alice Aycock
398(7)
Metaphor Replaces Physicality in Aycock's Work of the Eighties
401(4)
Philip Guston's Late Style
405(9)
Guston's Early Career
405(3)
Guston's Action Paintings of the Fifties
408(1)
The Reemergence of the Figure
408(6)
Painting at the End of the Seventies
414(30)
New Expressionist Painting in Europe
414(14)
Jorg Immendorff's Political Analysis of Painting
416(1)
Grappling with Identity
417(1)
Georg Baselitz and A.R. Penck
418(2)
Anslem Kiefer
420(4)
Italian Neo-Expressionism
424(1)
Francesco Clemente
425(1)
The Internationalization of Neo-Expressionism
426(2)
The Peculiar Case of the Russians
428(5)
Ilya Kabakov
430(3)
New Imagist Painting and Sculpture
433(11)
Elizabeth Murray
439(1)
The Origins of Murray's Style
440(1)
Pursuing the Logic of the Shaped Canvas
440(4)
The Eighties
444(34)
A Fresh Look at Abstraction
444(4)
American Neo-Expressionism
448(15)
Jonathan Borofsky
452(2)
Graffiti Art
454(1)
Keith Haring
455(2)
The East Village Scene of the Eighties
457(1)
Jean-Michel Basquiat
457(2)
David Wojnarowicz
459(4)
Post-Modern Installation
463(3)
Ann Hamilton
464(2)
Appropriation
466(12)
Cindy Sherman
470(1)
The Aesthetic of Consumerism
471(3)
Political Appropriation
474(4)
New Tendencies of the Nineties
478(26)
Return to the Body
478(4)
Transgressing Body Boundaries
482(2)
The Academy of the Avant Garde
484(1)
Cultural Identity
484(4)
New Uses of the Camera
488(2)
Art as Controversy
490(3)
Fashion
493(3)
Slippage: Pop Culture and Romantic Nature
496(3)
Postmodern Conceptualism
499(1)
Constructing the Postmodern Self
500(4)
To Say the Things That Are One's Own
504(2)
Bibliography506(6)
Notes512(11)
Index523
Jonathan Fineberg has taught at Yale, Harvard, and Columbia Universities.

Related Products


  • Art since 1940 : Strategies of Being
    Art since 1940 : Strategies of...
  • Art Since 1940
    Art Since 1940
  • Art Since 1940 : Strategies of Being
    Art Since 1940 : Strategies of...


Please wait while this item is added to your cart...