How New York Stole the Idea of Modern ArtUniversity of Chicago Press, 1983 - 277 Seiten Why was New York abstract expressionism so successful after World War II? To answer that question, Serge Guilbaut takes a controversial look at the complicated, intertwining relationship among art, politics, and ideology. He explores the changing New York and Paris art scenes of the Cold War period, the rejection by artists of political ideology, and the coopting by left-wing writers and politicians of the artistic revolt. |
Inhalt
New York 19351941 The DeMarxlzation of the Intelligentsia | 17 |
The Second World War and the Attempt to Establish an Independent American Art | 49 |
The Creation of an American AvantGarde 19451947 | 101 |
Success How New York Stole the Notion of Modernism from the Parisians 1948 | 163 |
Conclusion | 193 |
Notes | 205 |
Bibliography | 247 |
| 263 | |
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abstract art abstract expressionism aesthetic alienation American art American artists American culture American painting April Archives of American art and politics art world attack Barnett Newman Baziotes became Breton Byron Browne canvas catalog cited Clement Greenberg Communist party Congress contemporary crisis critical defend democracy Dwight Macdonald economic Europe European exhibition expression fact fascism Federation film France freedom French Gallery Gorky Gottlieb Holty hope Ibid ican idea ideology important individual intellectuals interest Jackson Pollock Kitsch letter liberal magazine Mark Rothko Marshall Plan Marxism Meyer Schapiro middle class modern art modern artists MOMA Museum of Modern myth organized painters Paris Parisian Partisan Review period Picasso Popular Front position postwar propaganda published radical rejected revolutionary Robert Motherwell Rosenberg Samuel Kootz social society Soviet Union style surrealist symbol totalitarian tradition Trotsky Trotskyists Truman Doctrine United victory Vital Center Wallace Western York