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Description: Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s
Index
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00101.012
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Index
Abstract Expressionism: “Americanness” of, 5, 15
and cold war cultural imperialism, 5, 9, 117, 256, 326
congruent with film noir, 17, 109-18, 191–94, 258–60, 267–68, 270, 319–23
and gender, 15–16, 253–68
and Modern Man discourse, 7–10, 14–17, 68–76, 180–91, 249–74, 329–31
subjectivity in, 8, 16, 36–41, 108, 113, 225, 257–74, 329–31
Adorno, Theodor, 84, 117
African-American artists, 99–105
Althusser, Louis, 5, 328, 330
Analytical Psychology Club of New York (APC-NY), 139, 145–75
passim, 188, 191, 194, 258, 313
Ashton, Dore, 310, 313, 316, 364
avant-gardism, 21–22, 29, 48
Babbitt, Irving, 204, 222–25, 232, 233, 237, 243, 325
Barnard, George Grey, 212, 213
Barr, Alfred, 52, 86, 313, 316
Barrer, Gertrude, 105–07, 108
Baynes, Helton Godwin, 145, 152, 157
Mythology of the Soul, 154, 173–74, 188
Baziotes, William, 27, 28, 30, 257, 328
Benedict, Ruth, 57, 60–61, 63, 240–41, 258
Benton, Thomas Hart, 134, 139, 141–43, 147, 184, 255
Bertine, Eleanor, 146, 147, 150
Betty Parsons Gallery. See Parsons Gallery
Boas, Franz, 53–54, 58, 60–61, 63, 68, 92, 233
Brooks, James, 121, 257
Bruce, H. Addington, 190–91, 214
Calas, Nicolas, 69, 121, 227
Carncross, Horace, 59, 60, 95, 191, 252
Clark, T. J., 7, 11, 223, 256
on Pollock, 9, 279–80, 285, 324
Collier, John, 88–90
Communism, 177, 200, 228, 229, 230, 233
Commentary, 243–45
David Porter Gallery. See Porter Gallery
de Kooning, Elaine Fried, 254, 255, 254–56, 266
High Man, 262, 263
de Kooning, Willem, 46, 94, 254, 255, 254–55, 257, 266, 268, 314
Woman and Bicycle, 212, 262–66 (264)
de Laszlo, Violet Staub, 130, 139, 147, 149–51, 155., 173
Derrida, Jacques, 12, 16, 269, 331
Devree, Howard, 3, 251, 313
Dewey, John, 143, 144, 184, 204, 222, 225, 232, 233, 240, 242, 244
Human Nature and Conduct, 218–21
Dial, 144, 218, 238
Dyn, 32, 93–94
Ernst, Jimmy, 257
Evergood, Philip, 98, 119, 204, 228
Existentialism, 246–47, 249
Fergusson, Harvey, 178–79, 205, 207, 218–19, 272, 274
and mind, 178–91, 197, 214, 215
Modern Man, 178–80, 228
and primitivism, 58, 61–63
film noir, 7, 17, 109–18, 244, 283, 327
gender in, 16, 258–60, 267–68
and Modern Man discourse, 249, 270
spatial metaphor in, 319–23
subjectivity in, 109–11, 113, 194
tragic fatalism in, 109–11, 194
“unconscious” in, 191–94.
Films: Blue Dahlia, 109, 115
Conflict, 321, 322
Criss Cross, 109, 259
D.O.A., 258, 321–23 (322)
Dark Past, 192. 193–94, 320
Out of the Past, 259, 319, 320, 321
Woman in the Window, 109, 113, 114, 267. 268
Forum, 103, 190, 222, 231–33, 238, 243
Foucault, Michel, 15, 16, 18, 48, 205–06
on power, 270–74
Frankfurt School, 68, 84
Frazer, James, 53–54, 58, 60–61, 63, 180, 340
Freud, Sigmund, 62, 208, 247, 318, 328, 331
Freudian psychology, 140–42, 146, 148, 177, 187–91, 194–96, 200, 217, 218, 229, 231, 246, 248, 266
Fried, Michael, 22, 197, 198, 280, 284–85, 297–98, 304, 306, 325, 327
Gallery Neuf artists, 105–08
Gorky, Arshile, 94, 107
Gottlieb, Adolph, 22–23, 30, 38, 42, 108, 111, 249–52 passim, 257
Works: Alkahest of Paracelsus, 118, 120
Alphabet of Terror, 76, 77, 343
mind-body paintings, 92
Rape of Persephone, 70, 95. See also Mythmakers
Graham, John, 94–95, 96, 99, 175–76
Gramsci, Antonio, 118, 270
Greenberg, Clement, 4, 22, 31, 44, 133, 175, 243, 244, 256
and Babbitt, 223–25
on early modernism in U.S., 33–36
on Gallery Neuf artists, 106–07
on New York School as avant-garde, 20–21
on Pollock, 277, 284–85, 302, 312, 325–27
on Surrealism in Abstract Expressionism, 33–34, 223
Guilbaut, Serge, 36, 148
on ideology, 6
on New York School as avant-garde, 20–21
on New York School and postwar liberal ideology, 47–48, 245–46, 326
Harding, M. Esther, 147, 150
Women’s Mysteries, 154, 163–70 (164, 166), 174, 199, 258
Hartigan, Grace, 256, 266
hegemony, 117–20
Henderson, Joseph, 124–25, 130, 134, 139, 145–56
passim, 164, 173, 174, 189, 313
Hess, Thomas, 102, 285, 309, 316
Hofmann, Hans, 26, 46, 182
Hook, Sidney, 84, 225, 240–43, 244, 252–53
Hunter, Sam, 3, 30, 310, 313
ideology: concept of, 6
dominant, 48, 66, 117–20, 196–202, 209–11, 216, 226–27, 237, 247, 249, 318, 326, 359
and subjectivity, 270–74, 329–31
jazz, 102–03, 105, 283, 366
Jewell, Edward Alden, 24, 27, 86, 102, 251, 253
on Pollock, 276, 277
on “Problem for Critics”
exhibition, 25–26
Jung, C. G., 53–54, 71, 104–05, 146, 152–53, 174, 232, 239
Jungian psychology, 62, 146–47, 190. 191, 221
and gender, 157, 163–71, 174, 258
and Modern Man discourse, 177, 196
and Pollock, 124–26, 130, 134, 141, 145, 147–75, 181, 186, 188–89
and women, 146–47
Kootz Gallery, 30, 42, 99
“Intrasubjectives,” 38, 41, 43, 44, 48, 99, 269–70
Kracauer, Sigfried, 244–45
Krasner, Lee, 26, 124, 171, 182, 255, 256, 266–67, 285, 288
Lacan, Jacques, 16, 127, 329, 331
Lam, Wifredo, 101–02, 103
Langer, Susanne, 62–63, 73, 172, 205, 258
Lears, Jackson, 213–16, 218
Lévi-Strauss, Claude, 81–82
Levy, Hyman, 60, 227
Life, 98, 99, 113, 114, 277, 310, 312
“Life Round Table on Modern Art,” 3, 38–39, 173
Lin Yutang, 176–78, 181, 191, 233
Lipton, Seymour, 311, 312
Lowenthal, Leo, 73, 84, 244
Magaret, Helene, 103–04, 232
Malinowski, Bronislaw, 55–56, 63
Marot, Helen, 141, 143–48, 152, 175, 191, 204, 217, 218, 238
Matta, 23, 32, 183
Mead, Margaret, 56, 63
Mills, C. Wright, 273–74
Miró, Joan, 25–26, 29, 33, 107, 140, 186, 304
Modern Man discourse, 7, 57, 142, 203–74
and class, 236–38, 272
gender in, 16, 166, 253–68
and dominant ideology, 194, 227, 247, 249, 270–74, 329–31
inward-outward dynamic, 72–76
primitivism in, 57–82, 178
subjectivity in, 8, 15–16, 72–76, 100–01, 108, 113, 194, 200, 225, 253, 254, 270–74, 295, 329–31
“unconscious” in, 176–202
visual metaphor in, 17, 318–27
modernity, 15
as catastrophe, 16, 207, 216–17, 330
Motherwell, Robert, 27, 28, 32, 37, 48, 94, 251–53 passim, 257
Mumford, Lewis, 203, 206–07, 219, 233, 234, 238–40, 243, 269
on human nature, 1–2, 62, 144–45
Museum of Modern Art, New York (MoMA), 22, 52, 69, 174, 226, 274, 326
Inter-American activities of, 85–86, 90
and Native-American art, 87–88, 92
Mythmakers, 42–44, 111, 195, 234, 251, 253
antipathy to modernity, 43, 82, 90
and “globalism” controversy, 23, 25, 51, 70, 335
idea of myth, 78, 80, 96
ideas of tragedy and terror, 69–84
pessimism of, 114–20
and “the primitive,” 14, 68–120, 253
tragic fatalism of, 75–76, 80, 211, 273
and “the unconscious,” 14, 75–76, 96–97. See also Gottlieb, Adolph; Newman, Barnett; Rothko, Mark; and Still, Clyfford
Narcissus, 39, 328–31
Nazism, 207, 221
as antiprimitivism, 72
as primitivism, 65–67, 72
New Humanism, 222–25, 232, 325
New York School: as avant-garde, 18–48
as conjunction of Modern Man discourse and visual modernism, 9, 36, 48, 108, 196–97, 228
disagreements within, 13–14, 27, 250
formation in later 1940s, 46–48
individualism in, 27–31
noir-ish personas of artists, 113–14
“Irascibles” portrait of, 114, 257
as synthetic modernists, 24, 31–36
New York World’s Fair (1939-40), 50, 235–36
Newman, Barnett, 30, 32, 37–38, 39, 46, 95, 249, 257, 269, 331
interest in “philosophic” painting, 42, 250–52
on new movement in painting, 41–44
on primitive art, 70–71, 75, 84–93
Writings: “First Man Was an Artist,” 82–84
“Ideographic Picture,” 42–44. See also Mythmakers
Niebuhr, Reinhold, 66–67, 240–41, 246, 278
Nietzsche, Friedrich, 53–54, 71, 208, 211, 246
O’Hara, Frank, 283–85 passim, 316
Orozco, José Clemente, 134–40 (137, 139), 148, 153, 154, 196, 350
Ossorio, Alfonso, 198, 281, 288
Paalen, Wolfgang, 31, 93–94
Parsons Gallery, 30, 92, 198, 302, 308, 316, 317
“Ideographic Picture” exhibition, 42, 44
Partisan Review, 32, 114, 238, 247
“New Failure of Nerve,” 68, 84, 225, 240–43, 244, 252–53
pessimism, 73, 114–17, 200, 211, 217–18, 221, 240, 243
Picasso, Pablo, 15, 25–26, 29, 33, 102, 313
and Pollock, 126, 133–34, 136, 139, 140, 148, 154, 160, 162–63, 170, 174, 196, 277, 286, 301, 350
Demoiselles d’Avignon, 98, 304
Pollock, Jackson, 5, 31, 43, 107, 113–16, 114, 116, passim, 204, 219, 251, 256, 257, 260, 266, 269, 307
control and uncontrol in painting of, 276–84, 292, 300
figuration and abstraction in painting of, 196–97, 281, 284–308
and Jungian psychology, 124–26, 141, 145, 147–75, 181, 186–88
passim, 260, 286
primitivism of, 90, 94–97
“psychoanalytic drawings” of, 124–25, 129–40, 150, 155–69
and spatial metaphor, 17, 270, 275–327
and “the unconscious,” 14, 37–38, 121–202, 214, 247, 260, 290, 309
Works: Bird, 130, 133. 291
Birth, 95, 97, 126, 170
Cut Out, 280, 297–300 (298), 304
Cut-Out Figure, 297–301 (299), 302
The Deep, 199, 260, 261
Full Fathom Five, 122, 123, 274, 308
Guardians of the Secret, 121, 122, 172–73, 196, 286, 290, 300
The Key, 283, 290–92 (291), 295, 300
Moon Woman, 165, 169, 170, 171, 286–89 (287), 292, 299
Night Dancer, 40, 41, 170
Number 7, 1951, 281–83 (282), 305–06
Number 22A, 1948, 294, 295–96
Number 26A, 1948, 306, 307
Out of the Web, 278–80 (279), 281, 303–05, 310, 311
Pasiphaë, 76, 78, 160, 170, 287, 290
Portrait and a Dream, 122, 123, 171, 306
Shadows: Number 2, 1948, 302, 303
There Were Seven in Eight, 288–291 (289), 311
Triad, 296, 297
Vortex, 198, 260, 308, 309, 316
Wooden Horse, 306–08 (307),
Untitled drawings: JP-CR 3:442r, 134, 135
JP-CR 3:469r, 151, 152
JP-CR 3:515, 130, 160
JP-CR 3:516, 134, 135
JP-CR 3:518v, 130, 157, 158, 164
JP-CR 3:5l9r, 164, 165
JP-CR 3:520r, 130, 131, 155, 157
JP-CR 3:521r, 159
JP-CR 3:521v, 56, 157
JP-CR 3:522r, 160, 161, 169
JP-CR 3:525, 164, 167, 169
JP-CR 3:531, 189
JP-CR 3:536r, 134, 135
JP-CR 3:537r, 130, 132, 157
JP-CR 3:544, 134, 136
JP-CR 3:547, 169, 308
JP-CR 3:549, 160, 162
JP-CR 3:550, 160, 161
JP-CR 3:556, 152, 153, 157
JP-CR 3:589, 130, 132
JP-CR 3:590, 130, 132,
Untitled gouache (Crucifixion), 134, 136–37, 138, 152–53, 156
Untitled paintings: (Composition with Black Pouring), 292–96 passim (293), 299
(Rhythmical Dance), 301, 302–04
JP-CR 4:1033, 301–03 (302)
Pollock, Lee Krasner. See Krasner, Lee
Porter Gallery, 32, 252
Pousette-Dart, Richard, 43, 87, 257
Preston, Stuart, 3, 41, 270, 310
“the primitive,” 7, 41, 199, 232, 258, 265
“primitive” art: African, 51, 76, 84, 93, 99–100, 105
Native-American, 81, 84, 87–94, 105–08, 154, 158, 160, 162, 179, 345
Oceanic, “primitive” art, 70, 84, 93, 106
Pre-Columbian, 25, 68, 71, 76, 82, 84–87, 90–94, 105
primitive man, 55–56, 80, 179, 241, 253, 329
primitivism, 51–53, 66, 82, 93
Putzel, Howard: “A Problem for Critics,” 24–27, 31, 32, 37, 42, 43, 44, 46
Radin, Paul, 55, 61, 63, 80–81
Reinhardt, Ad, 42, 44, 45, 257
Revista Belga, La, 85–87, 90
Riley, Maude, 31–32, 364
Rivera, Diego, 86, 226
Robinson, James Harvey, 80, 81, 180, 218, 225, 233, 240
The Mind in the Making, 59, 141-42, 145, 176, 178–79, 207, 215, 218–22, 230
Rockefeller, Nelson, 85–86
Rosenberg, Harold, 4, 31, 39, 44, 227, 251, 269–70, 285, 325–26
on Surrealism and New York School art, 34, 36
Rothko, Mark, 22–23, 30–32, 37, 42, 86, 108, 111, 113, 115, 115, 195, 252, 257, 269
drafts of letter to New York Times, 51–52, 68-69
on “A Problem for Critics,” 25–26, 268
“The Romantics Were Prompted,” 82, 90
on self in new painting, 37, 268.
Works: Slow Swirl by the Edge of the Sea, 111, 295, 296
Syrian Bull, 70, 78, 79, 111
Watercolor, 41. See also Mythmakers
Rubin, William, 22, 119, 125–26, 133, 147, 284–85, 288, 306, 312, 325
Sam Kootz Gallery. See Kootz Gallery
Schapiro, Meyer, 39, 173, 227, 239
Schlesinger, Arthur, Jr., 245–47, 272, 274
Schmalhausen, Samuel, 229–31, 252, 272
Smith, David, 43, 94, 311
Stamos, Theodoras, 257
Stevens, Edward John, 98, 100, 105
Sterne, Hedda, 98, 256, 257
Stieglitz, Alfred, 34–35, 96, 261
Still, Clyfford, 42, 43, 96–97, 257. See also Mythmakers
Stroup, Jon, 31, 111
subjectivity, 2, 8–9, 206, 208–11
autonomous, 209–11, 212, 214–21
Modern Man, 210–74, 329–31
Surrealism, 15, 23, 32–36, 101–02, 207, 208, 227, 256, 290, 313–14
and Pollock, 128, 140, 148, 158, 176, 183, 186, 188, 277
and primitivism, 53–54, 81–82, 93
and “the unconscious,” 140, 176
Sweeney, James Johnson, 32, 180–83, 197, 276, 277
Tamayo, Rufino, 87, 90
Theosophy, 163, 172, 195
Thompson, D’Arcy, 183–84
Thompson, Dorothy, 65–67
Time, 3, 69, 266, 270, 277, 305, 312
Tomlin, Bradley Walker, 30, 31, 46, 48, 257
Torres-García, Joaquín, 90–91
Tyler, Parker, 36, 198, 275, 310, 313–16, 324, 327
“the unconscious,” 7, 124, 127, 199, 218, 232, 258, 265
antirationalist and rationalist dimensions of, 195–201
energie, 140, 185–91, 197–99, 201, 248
Freudian, 127, 140, 142, 187–91, 194–96
Jungian, 127, 141, 157, 162–68, 195–96
symbolic, 138, 140, 154-73, 195–96, 201
Vardo, Peter, 73, 74, 76, 299, 327
Veblen, Thorstein, 142, 144, 145, 218
View, 36, 227, 313
vitalism, 190–91
Wheeler, Steve, 105–06, 107
Wylie, Philip, 95, 211, 221, 234
Generation of Vipers, 58–59, 65, 196, 203, 204, 207, 219, 243, 244
and de Kooning’s Woman, 266
Index