Konstfacks bibliotek

*00001082nam a22003853  4500
*00123523
*007|||||||||||||||||||||||
*008110824s2000    xxk    |      000 0 eng c
*020  $a0-415-22866-2 (inb.)
*020  $a0-415-22866-2
*020  $a0-415-22867-0 (hft.)
*020  $a0-415-22867-0
*035  $a(Ko)27049
*084  $aIaa
*084  $aIb.5
*084  $aIbz Pollock, Jackson
*24510$aPollock and after :$bthe critical debate  /$cedited by Francis Frascina
*250  $a2. ed.
*260  $aLondon ;$a2000 :$bRoutledge ,$c2000
*300  $a383 s.  :$c24cm
*500  $aPrevious ed.: 1985
*60014$aPollock, Jackson,$d1912-1956
*60014$aCriticism and interpretation
*650 4$aAbstract expressionism
*650 4$aAbstrakt expressionism
*697  $cKonst Teori Estetik
*697  $cKonst Konsthistoria Modern Tid
*7001 $aFrascina, Francis$4edt
*8520 $hKONST -  Iaa
^

Pollock and After: The Critical Debate brings together key writings on debates about Abstract Expressionism and Modernist art history. It is an essential resource for understanding post-war American art and culture. The second edition has been fully revised and updated in response to new critical approaches to post-war American art. It includes nine new articles and a substantial overview essay by Francis Frascina.
Articles are grouped into three parts, each with an introduction by Francis Frascina. Part One includes two foundational articles by the influential Modernist critic, Clement Greenberg, and represents the debate about Greenberg's work, with contributions by T.J. Clark and Michael Fried. Part Two focuses on revisionist writers, who questioned established ideas about Modernist art history, examining the relationship between Abstract Expressionism and the politics of McCarthyism and the Cold War.
The third part, which is new to the volume, is devoted to recent developments of revisionist critiques. Contributors explore the work of Greenberg's contemporaries, the relationship between critical and commercial responses to Abstract Expressionism, and perceptions of cultural value in the 1940s and 1950s, and challenge assumptions about ethnicity, gender and sexuality in the construction of the 'post-war American artist'.

• Acknowledgementsp. ix
• Prefacep. xi
• Looking Forward, Looking Back: 1985-1999p. 1
• The critical debate and its origins
• Introduction (1985)p. 29
• Avant-Garde and Kitschp. 48
• Towards a Newer Laocoonp. 60
• Clement Greenberg's Theory of Artp. 71
• How Modernism Works: a Response to T. J. Clarkp. 87
• Arguments About Modernism: a Reply to Michael Friedp. 102
• History: representation and misrepresentation--the case of abstract expressionism: Revisionism in the 1970s and early 1980s
• Introduction (1985)p. 113
• American Painting During the Cold Warp. 130
• Abstract Expressionism, Weapon of the Cold Warp. 147
• Art and Politics in Cold War Americap. 155
• Abstract Expressionism: the Politics of Apolitical Paintingp. 181
• The New Adventures of the Avant-Garde in Americap. 197
• Avant-Gardes and Partisans Reviewedp. 211
• Revisionism revisited
• Introduction (1999)p. 229
• Abstract Expressionism, Automatism and the Age of Automationp. 234
• Action, Revolution and Paintingp. 261
• The Market for Abstract Expressionism: the Time Lag Between Critical and Commercial Acceptancep. 288
• Revisiting the Revisionists: the Modern, Its Critics, and the Cold Warp. 294
• Abstract Expressionism: Other Politicsp. 307
• Pollock and Krasner: Script and Postscriptp. 329
• Reframing Abstract Expressionism: Gender and Subjectivityp. 348
• Greenberg on Pollockp. 361