Abstract Expressionism Research Articles

Azul pintado de azul. Leyendas de artistas sin obras

En el verano de 1947, Yves Klein, Claude Pascal, Armand Fernández, sentados en la playa de Niza: contemplan el mar y el cielo azul, no hacen nada, y hacen declaraciones sobre el arte que llegará, sobre el Arte y el Gran Estilo del Futuro. A partir de ese momento, y de esas palabras, cada una de sus vidas cambia radicalmente: se convertirá en una vida nueva, una vida de artista sin obras, hecha solo de palabras, narraciones, gestos. En ese episodio, nace el Nouveau Realisme y la voluntad artística de la superación del problema del arte según el Modernismo y la Action Painting. En ese episodio y en su narración, hecha sucesivamente por los tres jóvenes artistas, se puede localizar el nacimiento del propio y auténtico mito del artista contemporáneo.

Verkörperung – Entkörperung bei Rembrandt

Abstract This article analyzes the painterly formation of pictorial subjects of embodiment and disembodiment since the early modern period. Starting with Gerhard Richter, Quattrocento painters, and Titian, it focuses on Rembrandt and his late group portrait The Anatomy Lesson of Dr. Deijman (1656). The subject of this picture is a dissection of a man’s brain – and hence the surgeons’ search for the seat of the human soul and the motion of life. In the motif of the corpse, Rembrandt performs a radical operation with paint layers that historical sources described with the terms “doodverwe” and “lyffverwe” (“dead color” and “body color”). Rembrandt’s pictorial formation is a distinctly complex answer to the soulless, lifeless corpse’s state of being, which has been reduced to no more than an image. At the same time, the dead body is the place in which Rembrandt reflects the act of painting as a way of working with the tension of embodiment and disembodiment, of giving and taking life, with color.

Deanne Pytlinski. Review of "Women of Abstract Expressionism" by Joan Marter.

Deanne Pytlinski. Review of "Women of Abstract Expressionism" by Joan Marter.

現代美術と美術教育における表現観についての考察 : 抽象表現主義,ダダのオブジェ,ポップ・アートの表現観との差異を中心として

現代美術と美術教育における表現観についての考察 : 抽象表現主義,ダダのオブジェ,ポップ・アートの表現観との差異を中心として

Back to the Human in John Logan’s “Red”

Abstract Laureate play “Red,” by John Logan, is a dramatic representation of biographical facts about and intellectual positions of the Abstract Expressionist painter Mark Rothko (1903–1970). With the tool of semiotic methodology named “Dramatology” it is possible to appreciate both text and staging – which go beyond a theatrical experience. “Red” leads the reader/spectator to question current human pragmatism and environmental insensitivity. Its main character wants to change the usual perspective of seeing and understanding pictures in order to achieve a more emotional and enriching art experience. The staging embraces certain tasks such as the construction of a large-format frame and the application of red paint on a canvas to stimulate the audience’s senses, breaking theatrical illusion. Ecocriticism allows us to describe the dramatic strategies of “Red” that raise audience awareness.

Reasoning Under a Presupposition and the Export Problem: The Case of Applied Mathematics

ABSTRACT‘ expressionist’ accounts of applied mathematics seek to avoid the apparent Platonistic commitments of our scientific theories by holding that we ought only to believe their mathematics-free nominalistic content. The notion of ‘nominalistic content’ is, however, notoriously slippery. Yablo's account of non-catastrophic presupposition failure offers a way of pinning down this notion. However, I argue, its reliance on possible worlds machinery begs key questions against Platonism. I propose instead that abstract expressionists follow Geoffrey Hellman's lead in taking the assertoric content of empirical science to be irreducibly modal, using the ‘non-interference’ of mathematical objects as justification for detaching nominalistic consequences.

Between creativity and death: Abstract expressionists and alcohol use disorders

American Expressionists were a group of American artists who valued free expression of unconscious elements, combining emotional intense expressions with anti-figurative abstract style. Their main place of creative debates was Cedar Tavern in New York City, considered by art critics an important incubator of the Abstract Expressionism. Jackson Pollock, one of the most prominent figures of this movement, suspected of having bipolar disorder, abused alcohol during long periods of his life, for which he even underwent psychotherapy. Unfortunately, he died in a car accident while driving under influence, after decades of innovative work, during which he created a new painting method and produced compositions which are nowadays between the most expensive works of art. Mark Rothko also had periods of heavy drinking, and finally he died by cutting his arms with a razor. He is considered a genius, who created a completely new perspective over painting, and his works are also between the most expensive paintings in the world. Willem de Kooning was affected by alcoholism since his early years, and developed dementia, at least partially induced by abusive drinking. Although affected by neurocognitive disorder, he continued to produce amazingly creative paintings until his final years and in 2016 one of his works obtained the record for the most expensive painting ever sold. Using alcohol as a tool for increasing creativity risks to expose the creator to severe disorders or even death, the subject walking on a narrow line between sublimation of unconscious impulses and tragic resignation before them.Disclosure of interestThe presenting author was speaker for Bristol Myers Squibb and Servier, and participated in clinical research funded by Janssen Cilag, Astra Zeneca, Eli Lilly, Sanofi Aventis, Schering Plough, Organon, Bioline Rx, Forenap, Wyeth, Otsuka Pharmaceuticals, Dainippon Sumitomo.

Abstract Expressionism: A Case Study on Jackson Pollock's Works

Abstract The present study investigates the incident in abstract expressionism works especially the works were done by Jackson Pollock. For this purpose, a qualitative method (descriptive analytical) was used. Necessary data and information were collected by using the library and field research methods. The main purpose of this research is explanation of incident in abstract expressionism works, especially the Jackson Pollock's works. The major findings and results that were obtained show that Pollack's works are not accidentally and they are results of several years of works. Painter has been practiced to remove the topic form his works and after the action paintings are popular. He used his inner conscience in his works, and according to his own conclusion whenever he loses this connection with his inner conscience, his work would be destroyed. In the abstract expressionism works, the unconscious movement of hands and uncontrolled transferring of the paint can be seen on the canvas. In addition, his works are full of instinctive and emotional behavior. Actually, the action of painting would be priority in abstract expressionism works. It is a style, which is coming from his artist experience.

The Calligraphic Subject: The Body and Social Power in Malaysian ‘Abstract Expressionism’

The Calligraphic Subject: The Body and Social Power in Malaysian ‘Abstract Expressionism’

Greek Subjects, Greek-American Artists, and American Abstract Expressionism

Greek Subjects, Greek-American Artists, and American Abstract Expressionism

Seminar Abstract Expressionism: the language of emotions

Palestra de Marco Giannotti

Classical Myths and American Abstract Expressionism: The Case of William Baziotes

Abstract Expressionism can be seen as a valid expression of the crisis of ‘Modern Man’ and, as a result, it assumed a central role in the cultural debate of its time. Within this crisis can be situated a new form of representing the ancient myths. William Baziotes, an artist who belongs to the New York School, becomes a modern ‘myth-maker’ who creates metaphors and symbols which refer to primitive cultures and primeval worlds. If a few of his paintings allude in their title to a particular Classical myth, others, without a specific title referring to a myth, have strong affinities with mythology. Classical myths seem to be entwined with the artist’s own personal myths, interpreted through his own language and his own symbols.

Greek Subjects, Greek-American Artists, and American Abstract Expressionism

Greek Subjects, Greek-American Artists, and American Abstract Expressionism

Study on Plasticity Make-Up Design of Modern Make-Up Artist Alex Box

Objectives: The make-up is the visual language containing the meaning that it expresses the person’s appearance through figurative factors using the color and texture and form of body. In order to understand of the modern makeup, it would be essential to study the formativeness of makeup design by Alex Box. Methods/Statistical analysis: The makeup design of a European makeup artist, Alex Box establishing the world of unique art works in the modern makeup area has been examined under the formative characteristics like color, texture, and form. Analyzing the personal backgrounds and figurative features of make-up design patterns of the Alex Box through European fashion magazines and fashion shows European countries. Findings: The figurative characteristic by the color was in harmony so that the sense of difference may not be felt in the coexistence of diverse color; splendid patterns have outstood with the action painting technique and harmony of diverse color. What aimed to be expressed getting out of the limit called whether or not of gloss has been expressed with the cubic effect by using the excessive objet in the figurative characteristic by the texture, the texture of make-up has been expressed with more cubic effect. The only weird, hideous and grotesque characteristics have been exposed a lot in the figurative characteristic by the form by Alex Box; those have been emerged as the surrealistic pattern of pale skin, the harmony of geometric patter, the expression of hatred form and eyelashes reminding the bugs, etc. Improvements/Applications: It aims to understand the modern make-up by understanding and analyzing the diverse expression technique focused on the figurative characteristic of make-up design and contributes to the specialized research development of make-up design pattern through this research.

The Art of Soft Power at Expo 67: Creative America and Cultural Diplomacy in the US Pavilion

Abstract At Expo 67 in Montreal, the US government sought to counter negative world opinion by sponsoring a public diplomacy display that emphasized American culture. While US technological achievements were championed in a space exhibit, the bulk of the Creative America exhibition celebrated American popular culture, a break from the typical focus of such displays upon economic and military power. Not only did Creative America celebrate Hollywood, folk art and pop music, it also offered a subtle critique of American mass culture, a particular point of emphasis in the pop art featured in American Painting Now. This embrace of pop art marked a shift in US government cultural diplomacy away from abstract expressionism, an art form supported for its embrace of freedom. In highlighting pop art, American cultural diplomacy emphasized freedom of expression in a different way: the freedom to criticize one’s own society.

Emotions: From Jackson Pollock to Contemporary Science.

The difference between emotions and objectivity is that emotions, by definition, are associated with an individual viewpoint, whereas an objective position is impersonal. Also, emotions are always intentional, i.e., are directed toward an object (1). Some philosophers contrasted emotions with rationality, whereas others attempted to integrate the two. David Hume in the 18th century said that “reason is, and ought to be, a slave of passions,” and Friedrich Nietzsche suggested a degree of complementarity between reason and emotions (2). Although it is accepted that emotions play an essential role in individual artistic expression, conventional wisdom all but rejects them from the scientific domain, maintaining that science relies exclusively on objectivity and rationality. I try to show below that such a claim is untenable. Before turning to science, let's consider entirely subjective creativity by looking at the story of Jackson Pollock, an artist who played a key role in Abstract Expressionism, an art movement in the 1940s and 1950s that established American leadership of the art world after the Second World War (3, 4). Pollock's early works contained figurative elements and referred to Native American culture. He was …

English

The purpose of this study is to review the life and works of Carlos Sanchez, a Guatemalan born prolific painter and architect, whose masterpieces were exhibited at Dartmouth College’s Hood Museum of Art in Hanover, New Hampshire. His paintings have left an immeasurable legacy to the world of art. Born in Guatemala in 1898, he graduated from Dartmouth College in 1923, and then finished the Yale University School of Architecture in 1927, after having traveled extensively and enrolled in several universities in the US and abroad. After Yale, he worked as a junior draftsman for the well-known architectural firm, Shreve, Lamb and Harmon, in New York, that designed the Empire State Building. He then travelled to Mexico and worked with Diego Rivera. He subsequently, in 1931, became the first artist-in-residence and helped found the Studio Art Department at Dartmouth College. His artistic future seemed bright and promising but God had other plans for him. In his late 40’s, he felt the call for priesthood and was ordained as a Catholic priest at the age of 52. Although he initiated a new chapter of his life, he never left his strong commitment for art and beauty, because he was a “seeker of beauty” in the full sense of the word. Key words: Carlos Sanchez, painting, beauty, abstract expressionist painting.

The Abstract Expressionist Housewife: Fracture, Transposition, Williams and the Three Phases of Modernism

In this article I argue that William Carlos Williams looks toward film as a means of grasping the power implicit within the modern era in which he finds himself, and I look at associations in Williams’s experimental writings, such as Spring and All and Kora in Hell , with an array of contemporary cultural figures. These include Frank O’Hara, Andrew Jackson, jurist Louis Brandeis, Labor secretary Francis Perkins, computer developer Charles Babbage, Teddy Roosevelt, Franklin Roosevelt, Ralph Waldo Emerson, Gertrude Stein, Wallace Stevens, Charles Baudelaire, Marsden Hartley, Barnett Newman, Edward Manet, and Walter Benjamin. I speculate about the role of qualities of brokenness, advertisement, vividness, speed, and attention to the part rather than the whole that one finds in Hollywood’s coming attractions and in Williams’s poetics. This cultural studies approach to Williams considers him in relation to the German-Jewish modernist intellectual Walter Benjamin, with special emphasis on the Frankfurt School theoretician’s understanding of allegory as a defamiliarizing, even proto-de Manian deconstructive, narrative mode that conceives of history as a paradoxical rendering of a continuous present.

추상표현주의 회화를 응용한 패션디자인 연구 - Franz Kline의 회화를 중심으로 -

현대 예술 분야의 각 장르들은 서로 중첩되는 표현영역이 확대되어 점차 그 경계선이 모호해지기도 하며, 서로 융합되는 경향을 보이기도 한다. 예술이 접근하기 어려운 독립된 하나의 개체에서 벗어나 실생활의 한 부분으로 자리하면서 회화, 조각, 건축 등의 순수예술과 패션의 접목이 활발히 이루어지고 있다. 이에 본 연구는 추상표현주의 대표 작가 중 한명인 프란츠 클라인(Franz Kline)의 회화를 분석하여 1950년대 이후 그의 대담하고 구조적이며 건축적인 굵은 선 획으로 표현되는 회화를 패션디자인으로 나타내고자 하였다. 프란츠 클라인 회화에서 나타나는 직선, 사선들로 이루어진 선들은 하나의 건축적인 구조를 만들고 배경의 여백을 적극적인 형태로 활용하면서 구조적인 이미지를 나타내며, 프란츠 클라인은 이를 통해 광대한 공간과 대조되는 강한 긴장감을 표현하고자 하였다. 본 연구의 목적은 작가의 정신과 그것을 통해 표현되는 회화의 조형성을 응용하여 패션의 모티브로 활용함으로써 창의적인 패션디자인을 제안하고, 이를 통해 패션이 예술의 또 다른 표현 방법이 될 수 있음을 보여주고자 한다. 이에 본 연구는 추상표현주의 화가 프란츠 클라인의 회화를 모티브로 하여 창의적인 패션디자인의 표현 방법을 모색하였다. 이를 통해 프란츠 클라인 회화에서 나타나는 건축적이고 구조적인 붓의 휘두름과 색채의 표현을 모티브로 구성하고 이를 작품으로 제작함으로써 프란츠 클라인의 회화가 패션디자인의 예술적 모티브로 적합한 표현 요소임을 알 수 있었다. 이와 같이 회화의 부분과 전체, 그리고 기법을 패션의 표현 요소로 개발함으로써 회화와 패션의 결합을 통해 패션디자인에 예술적 가치를 부여하고 독창적인 패션 디자인이 가능하다는 것을 알 수 있었다.

Aprendiendo del símbolo: imagen y referencia simbólica en los inicios del discurso arquitectónico posmoderno

El presente artículo efectúa una aproximación a la recuperación simbólica como argumento fundamental utilizado en la edición revisada de <em>Aprendiendo de Las Vegas</em> (Venturi, Scott Brown & Izenour, 1977), texto que asumió una importante repercusión en la teoría arquitectónica contramodernista. Esta recuperación, extremadamente crítica con la imposición vulgarizada del funcionalismo del estilo internacional, resulta coincidente con el rechazo de la neovanguardia norteamericana hacia el academicismo formalista del expresionismo abstracto, así como con la crisis del concepto de modernidad, propiciada por lo que —no sin cierta confusión— se conceptualizó como pensamiento posmoderno.