Hot art, cold war – Western and Northern European writing on American art 1945-1990:
Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. With the exception of those originally published in English, the majority of these te...
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| Zusammenfassung: | Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. With the exception of those originally published in English, the majority of these texts are translated into English for the first time from eight languages, and are introduced by scholarly essays. They offer a representative selection of the diverse responses to American art in Great Britain, Ireland, France, Belgium, the Netherlands, West Germany (FRG), Austria, Switzerland, Denmark, Norway, Sweden, and Finland. There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural, and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism.This book, together with its companion volume Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990, isa joint initiative of the Terra Foundation for American Art and the editors of the journalArt in Translation at the University of Edinburgh. The journal, launched in 2009, publishes English-language translations of the most significant texts on art and visual cultures presently only available only in their source language. It is committed to widening the perspectives of art history, making it more pluralist in terms of its authors, viewpoints, and subject matter |
| Beschreibung: | xxvi, 551 Seiten Illustrationen |
| ISBN: | 9781032012247 9780815393757 |
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| adam_text | CONTENTS List of Plates χν xviii Acknowledgments Editors’ Introduction χχ PARTI United Kingdom David Hopkins, “A ‘Special Relationship’: British and American Art 1945-1989” 1.1 Patrick Heron, “Opposing Forces’: Paintings by Seven Artists at the ICA” (1953) 1 3 15 1.2 Lawrence Alloway, “US Modern Paintings” (1956) 16 1.3 John Berger, “The Battle” ( 1956) 17 1.4 Herbert Read, “An Art of Internal Necessity” (1956) 19 1.5 Patrick Heron, “The Americans at the Tate Gallery” (1956) 22 1.6 Lawrence Alloway,“Art in New York Today” (1958) 1.7 Patrick Heron, “The Ascendancy of London in the Sixties” (1966) 29 1.8 Patrick Heron, “A Kind of Cultural Imperialism” (1968) 32 v 26
Contents 1.9 Lawrence Alloway, “Popular Culture and Pop Art” (1969) 34 1.10 John Russell, “Pop Reappraised” (1969) 36 1.11 Charles Harrison, “The Late Sixties and London and Elsewhere” (1984) 39 1.12 “Editorial,” The Burlington Magazine (1976) 44 1.13 Richard Morphet, “Carl Andre s Bricks” (1976) 46 1.14 Waldemar Januszczak, “Nothing Succeeds Like Excess” (1982): 9; and Peter Fuller, “Julian Schnabel” (1984) 48 1.15 Peter Fuller, “The Eastward March of Civilization” (1987) 50 PART 2 Ireland Brenda Moore-McCann, “The Irish Diaspora, the Cold War and American Art in Ireland” 57 59 2.1 Anonymous, “Painting à l’Américaine” (1953) 2.2 Brian Fallon, “Magnificent Exhibition of US Paintings” (1964) 2.3 Marian Burleigh, “American Art Styles Please and Displease” (1964) 73 Anonymous, “The Great American Art Show” (1964) 74 2.4 68 70 2.5 Anonymous, “832 People a Day at Art Exhibition” (1964) 74 2.6 Bruce Arnold, “Artists are Critical of Rose Exhibition” (1967) 75 2.7 Brian Fallon, “A Hawk s-Eye View of the Worlds Gallery” (1967) 77 2.8 P.F.B., “Rose ’71 at RDS is Gay and Exciting” (1971) 80 2.9 Bruce Arnold, “The Great Rose Adventure” (1971) 81 2.10 Brian O’Doherty,“The Irish Imagination 1959—1971” (1971) 83 2.11 Desmond Rushe, “You Must See This Exhibition!” (1971) 85 vi
Contents PART З France Serge Guilbaut, “With Love (and Hate) from Paris” 3.1 “Exhibition ofAmerican Painters in Paris” (1947), trans. Richard George Elliott 89 91 106 Michel Seuphor, “Paris—New York City 1951” (1951), trans. Richard George Elliott 107 Michel Tapié, “Jackson Pollock Is with Us” (1952), trans, anon in Be-Bomb 116 3.4 Christian Zervos, “Mark Tobey” (1954), trans. Richard George Elliott 118 3.5 Pierre Restany,“America and Europe” (1960), trans. Richard George Elliott 120 3.6 Alain Jouffroy,“Robert Rauschenberg” (1964), trans. Susan de Muth 122 3.7 Marcelin Pleynet, “On American Painting (Conclusion)” (1967), trans. John Goodman 130 Catherine Millet, “Painting which Viewing Disperses” (1985), trans. Susan de Muth 132 3.2 3.3 3.8 3.9 Elisabeth Lebovici,“The American Scene: the Middle Kingdom” (1987), trans. Susan de Muth 138 PART 4 Belgium Johan Pas, “Art Turned Upside Down: American Art in Belgium 1958—1978” 4.1 4.2 Léon-Louis Sosset, “In the American Pavilion: From Primitives to Abstracts by Way of the Naive” (1958), trans. Susan de Muth 156 Francine-Claire Legrand, “New American Painting” (1959), trans. Susan de Muth 157 145 147 4.3 Marcel Broodthaers, “Beware the Challengers! Pop Art, Jim Dine, and the Influence of René Magritte” (1963), trans. Richard George Elliott 159 4.4 Geert Bekaert,“Happening” (1966), trans.Vivien D. Glass vii 161
Contents 4.5 Jean Dypréau,“Pop:The American NewWave and the LondonNew York Axis” (1966), trans. Richard George Elliott 4.6 Adolf Merckx, “Art in Process” (1970), trans. Paul Ferguson 4.7 Marc Callewaert, “The Piece Need Not Be Built” (1973), trans. Vivien D. Glass 4.8 163 165 168 Karel Geirlandt, “From Pop to Hyperrealism” (1973), trans. Richard George Elliott 170 4.9 Georges Roque, “Our American Myth” (1977) 178 4.10 Collective, “American Art in Belgium: Art Turned Upside Down” (1977), trans. Paul Ferguson 182 PART 5 The Netherlands Jonneke Jobse, “The Reception ofAmerican Art in the Netherlands” 5.1 185 187 Anonymous [Cees Doelman], “American Art: Too Much Action, Too Little Reflection” (1956), trans.Wendy L. van Os-Thompson 197 5.2 C. H.Wentinck, “Anti-Form as Goal and Reason: Coincidence Decides All in American ‘Action Painting’” (1958), trans. Jan De Meyer 200 5.3 K. Schippers, “Affirmative Irony: A New Way of Observing” (1964), trans.Wendy L. van Os-Thompson 202 5.4 Wim Beeren,“A New Regimen for Color” (1966), trans. Wendy L. van Os-Thompson 205 5.5 R.H. Fuchs,“American Modernism” (1968), trans.Wendy L. van Os-Thompson 5.6 Enno Develing, “Introduction” (1968) 5.7 Carel Blotkamp, “The Dilemma of the Square Pegs” (1969), trans. Wendy L. van Os-Thompson 5.8 208 214 219 Antje von Graevenitz, “Paint is Paint: Back to the Basics of Painting: The Stedelijk is Not Risking Much with ‘Fundamental Painting’” (1975), trans.Wendy L. van Os-Thompson 222 viii
Contents 5.9 Cor Blok,“Reality According to Dennis Oppenheim” (1976), trans. Cor Blok 227 5.10 Tineke Reijnders,“‘My Paintings are Crazy’:Julian Schnabels Pottery Shards per Running Meter in the Stedelijk” (1982), trans. Wendy L. van Os-Thompson 230 PART 6 Federal Republic of Germany (West Germany) Iain Boyd Whyte, “American Art in Cold War West Germany” 235 237 6.1 EgonVietta,“Non-Objective Painting: An American Show in Karlsruhe” (1948), trans. Richard George Elliott 251 6.2 Albert Buesche,“The Principle of No Dogmas: American Painting at Rathaus Schoneberg” (1951), trans. Margarethe Clausen 252 6.3 Fritz Nemitz, “Is there Such a Thing as American Painting? A Cross-Section in Munich” (1951), trans. Richard George Elliott 254 6.4 Doris Schmidt, “Art from Over There: On the American Exhibition in Frankfurt” (1955), trans. Margarethe Clausen 255 6.5 Rike Wankmüller, “Tachists in the USA” (1955/1956), trans. Iain В oyd Whyte 257 Will Grohmann, “The New American Painting: On an Exhibition at the Hochschule fur bildende Künste” (1958), trans. Richard George Elliott 261 6.6 6.7 Richard Huelsenbeck,“Pop Art” (1963), trans. Iain Boyd Whyte 6.8 Doris Schmidt, “Pop Art as a Mission. Eleven Pop Artists at Friedrich und Dahlem in Munich” (1966), trans. Margarethe Clausen 265 6.9 Rolf-Gunter Dienst, “Documenta 4” (1968), trans. Iain Boyd Whyte 6.10 Max Imdahl, “Barnett Newman, Who’s Afraid of Red, Yellow and Blue ІІГ’ (1971), (1996), trans. Iain Boyd Whyte 263 267 268 6.11 Eduard Beaucamp, “Olympic Misery” (1972), trans. Iain Boyd Whyte 6.12 Jutta Held, “Minimal Art—An American
Ideology” (1972), trans. Iain Boyd Whyte ix 273 272
Contents 6.13 Lucius Grisebach, “Stations ofAmerican art in Europe after 1945” (1976), trans. Iain BoydWhyte 276 6.14 “Statements by Collectors and Gallerists” (1976), trans. Iain BoydWhyte 278 6.15 Klaus Honnef, “Regaining the Power of Speech: Notes on American Postmodern Art” (1983), trans. Richard George Elliott 279 6.16 Johannes Stahl,‘“The Train is a Part ofMe’: New York Graffiti Artist Lee Quinones in Conversation with Johannes Stahl” (1987), trans. Richard George Elliott 283 6.17 Markus Briiderlin, “Changes in aValid Standard for Good Art: Donald Judd in Conversation” (1988), trans. Iain BoydWhyte 285 6.18 Anon, “Jeff Koons: Total Consumption—from The New to Equilibrium; from Intoxication to Class Structures in Stainless Steel” (1988), trans. Richard George Elliott 286 6.19 Wolfgang Lange, “Andy Warhol or Reprocessing Art in the Spirit of the Culture Industry” (1988), trans. Richard George Elliott 288 PART 7 Austria 291 Oliver Sukrow and Iain Boyd Whyte,‘“Muses with a Cold’: Austria, the Visual Arts, and the Cold War” 293 “Peintres Naïfs: American Folk Painting from 1670 until Today” (1954), trans. Iain BoydWhyte 306 7.2 Otto E Beer,“Americas Art as Guest” (1956), trans. Iain BoydWhyte 307 7.3 Otto Wladicka,“Modern Art from the USA” (1956), trans. Iain BoydWhyte 309 7.1 7.4 7.5 7.6 Gertrude Fröhlich, “Stabiles, Labiles, and Mobiles” (1956), trans. Iain В oyd Whyte 310 Anonymous, “Modern American Art in the Shadow of Europe” (1956), trans. Iain Boyd Whyte 311 Otto Antonia Graf, “America: Death and Art” (1964), trans. Iain BoydWhyte 313 x
Contents 7.7 Werner Hofmann, “The Pseudo-Reality of the ‘Happening’” (1966), trans. Iain Boyd Whyte 319 7.8 Dieter Ronte, “Kienholz in Vienna” (1989) 320 PART 8 Switzerland Nathalie Ritter and Thomas Schmutz, “Isle of the Blessed—Audiences Shocked: American Art in Switzerland 1945—1990” 8.1 Adolf Max Vogt, “Americans as Artists: Exhibition at the Kunsthaus in Zurich” (1953), trans. Richard George Elliott 8.2 Arnold Riidlinger,“Foreword” (1955), trans. Jonathan Blower 8.3 Max Eichenberger,“Modern Art in the USA” (1955), trans. Jonathan Blower 8.4 323 325 335 337 338 Arnold Riidlinger,“Through European Eyes” (1958), trans. Iain Boyd Whyte 341 8.5 Maria Netter, “The Anniversary Gift of the Swiss National Insurance Society to the Basel Art Museum” (1960), trans. Jonathan Blower 343 8.6 Georg Schmidt, “Formal Means” (1966), trans. Jonathan Blower 346 8.7 Hans Neuburg, “Nihilistic Art” (1969), trans. Iain Boyd Whyte 348 8.8 Johannes Gachnang,“From Continent to Continent” (1986), trans. Richard George Elliott 350 PART 9 Denmark Vibeke Petersen Gether and Tania Ørum, “American Art Viewed from Denmark: From Skepticism to Acceptance” 9.1 9.2 Albert Mertz, “From a Paris Diary Spring” (1963), trans. Marianne Ølholm 355 357 366 K. G. Hultén, “On Painting in New York after Pollock, that is on Pop Art” (1964), trans. Marianne Ølholm 368 xi
Contents 9.3 Knud W. Jensen, “Pop Art at the Louisiana” (1964), trans. Marianne Ølholm 372 9.4 Eric Andersen, “After Cage” (1966), trans. Marianne Ølholm 9.5 Per Kirkeby, “Letter from New York Moving Pictures” (1967), trans. Marianne Ølholm 377 9.6 Jane Pedersen, “The New Abstraction” (1967), trans. Marianne Ølholm 379 9.7 Stig Brøgger, “Some Recent Trends” (1970), trans. René Lauritsen 383 9.8 Erik Thygesen,“The Atrocity Exhibition” (1970), trans. Marianne Ølholm 390 Øystein Hjort,“The 1980s:A Forest of Signs” (1992), trans. Marianne Ølholm 393 9.9 373 Øystein Hjort, “Staged Photography” (1992), trans. Marianne Ølholm 9.10 396 PART 10 Norway Åsmund Thorkildsen, “Norway and American Postwar Art during the Cold War” 399 401 10.1 Per Hovdenakk, “Abstract Expressionism in Europe and the USA” (1981), trans. Anna Paterson 408 10.2 Even Hebbe Johnsrud, “Barnett Newman: The Tragic Dimension in Art” (1983), trans. Anna Paterson 413 10.3 Per Hovdenakk, “Art in the US Today” (1983), trans. Lucy Moffatt 10.4 Åsmund Thorkildsen, “An Old Master among the Young Wild” (1986), trans. Lucy Moffatt 424 419 PARTII Sweden Annika Ohrner, “American Art in Swedish Art Criticism: An Introduction” 433 435 11.1 Ludvig Rasmusson, “Pop” (1963), trans. Donald S. MacQueen 443 11.2 Torsten Bergmark, “Pop—The American Dream” (1964), trans. Donald S. MacQueen xii 449
Contents 11.3 Öyvind Fahlström,“A Street Full of Presents. New York, October 1961” (1961), trans. Kathryn Boyer 452 11.4 Öyvind Fahlström,“Untitled” (1966), trans. Donald S. MacQueen 459 11.5 Öyvind Fahlström, “Andy Warhol: Pop Artist with No Inhibitions— ‘Everybody Should Be Machines’” (1968), trans. Donald S. MacQueen 461 11.6 Leif Nylén, “Pentagon Structures?” (1968), trans. Donald S. MacQueen 465 11.7 Tord Baeckström, “New York Collection—a Donation to the People of Sweden: Test Tube Art” (1974), trans. Donald MacQueen 467 11.8 Jan Håfstom, “Visions in New York” (1977), trans. Donald MacQueen 470 11.9 Olle Granath,“Viewpoint” (1984), trans. Keith Bradfield 472 11.10 Ulf Linde, “Claes Oldenburg” (1985), trans. Donald MacQueen 477 PART 12 Finland 481 Maritta Melláis, “An Introduction to American Art in Finland after 1945” 483 12.1 12.2 Sakari Saarikivi,“American Art Exhibition” (1951), trans. Jyri Kokkonen 487 Einari J.Vehmas, “American Contemporary Art” (1954), trans. Jyri Kokkonen 488 12.3 Einari J.Vehmas, “Past and Present in the Guggenheim Collection” (1957), trans.Jyri Kokkonen 490 12.4 Lars-Gunnar Nordström, “The Magic of the Sign: Observations on the Arts in America” (1961), trans. Jyri Kokkonen 491 12.5 Juhani Harri,“POP” (1964), trans.Jyri Kokkonen 12.6 Pekka Tarkka, “Ecclesiastical Art for Machines?” (1964), trans. Jyri Kokkonen 12.7 Petra Uexkiill,“Here and Overseas” (1965), trans. Jyri Kokkonen 12.8 Antero Kare,“Art As a Weapon of the ColdWar:The Image ofAmerica is Seeking its Form” (1975), trans. Jyri Kokkonen 503 xiii 496 498 502
Contents 12.9 Sakari Määttänen, “The Other Face ofAmerica” (1975), trans. Jyri Kokkonen 509 12.10 Timo Valjakka, “Spiral, Center, and Edges” (1983), trans. Itha O’Neill 512 12.11 Kimmo Sarje,“Neogeo—The New Clothes ofAbstract Art” (1987), trans. Itha O’Neill 516 12.12 Timo Valjakka, “Sketches for Heroic Acts” (1990), trans. Itha O’Neill 520 12.13 Leena-Maija Rossi,“Lost by Society and the Disneyland ofArt” (1990), trans. Jyri Kokkonen 521 524 526 Text copyright Index xiv
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CONTENTS List of Plates χν xviii Acknowledgments Editors’ Introduction χχ PARTI United Kingdom David Hopkins, “A ‘Special Relationship’: British and American Art 1945-1989” 1.1 Patrick Heron, “Opposing Forces’: Paintings by Seven Artists at the ICA” (1953) 1 3 15 1.2 Lawrence Alloway, “US Modern Paintings” (1956) 16 1.3 John Berger, “The Battle” ( 1956) 17 1.4 Herbert Read, “An Art of Internal Necessity” (1956) 19 1.5 Patrick Heron, “The Americans at the Tate Gallery” (1956) 22 1.6 Lawrence Alloway,“Art in New York Today” (1958) 1.7 Patrick Heron, “The Ascendancy of London in the Sixties” (1966) 29 1.8 Patrick Heron, “A Kind of Cultural Imperialism” (1968) 32 v 26
Contents 1.9 Lawrence Alloway, “Popular Culture and Pop Art” (1969) 34 1.10 John Russell, “Pop Reappraised” (1969) 36 1.11 Charles Harrison, “The Late Sixties and London and Elsewhere” (1984) 39 1.12 “Editorial,” The Burlington Magazine (1976) 44 1.13 Richard Morphet, “Carl Andre s Bricks” (1976) 46 1.14 Waldemar Januszczak, “Nothing Succeeds Like Excess” (1982): 9; and Peter Fuller, “Julian Schnabel” (1984) 48 1.15 Peter Fuller, “The Eastward March of Civilization” (1987) 50 PART 2 Ireland Brenda Moore-McCann, “The Irish Diaspora, the Cold War and American Art in Ireland” 57 59 2.1 Anonymous, “Painting à l’Américaine” (1953) 2.2 Brian Fallon, “Magnificent Exhibition of US Paintings” (1964) 2.3 Marian Burleigh, “American Art Styles Please and Displease” (1964) 73 Anonymous, “The Great American Art Show” (1964) 74 2.4 68 70 2.5 Anonymous, “832 People a Day at Art Exhibition” (1964) 74 2.6 Bruce Arnold, “Artists are Critical of Rose Exhibition” (1967) 75 2.7 Brian Fallon, “A Hawk s-Eye View of the Worlds Gallery” (1967) 77 2.8 P.F.B., “Rose ’71 at RDS is Gay and Exciting” (1971) 80 2.9 Bruce Arnold, “The Great Rose Adventure” (1971) 81 2.10 Brian O’Doherty,“The Irish Imagination 1959—1971” (1971) 83 2.11 Desmond Rushe, “You Must See This Exhibition!” (1971) 85 vi
Contents PART З France Serge Guilbaut, “With Love (and Hate) from Paris” 3.1 “Exhibition ofAmerican Painters in Paris” (1947), trans. Richard George Elliott 89 91 106 Michel Seuphor, “Paris—New York City 1951” (1951), trans. Richard George Elliott 107 Michel Tapié, “Jackson Pollock Is with Us” (1952), trans, anon in Be-Bomb 116 3.4 Christian Zervos, “Mark Tobey” (1954), trans. Richard George Elliott 118 3.5 Pierre Restany,“America and Europe” (1960), trans. Richard George Elliott 120 3.6 Alain Jouffroy,“Robert Rauschenberg” (1964), trans. Susan de Muth 122 3.7 Marcelin Pleynet, “On American Painting (Conclusion)” (1967), trans. John Goodman 130 Catherine Millet, “Painting which Viewing Disperses” (1985), trans. Susan de Muth 132 3.2 3.3 3.8 3.9 Elisabeth Lebovici,“The American Scene: the Middle Kingdom” (1987), trans. Susan de Muth 138 PART 4 Belgium Johan Pas, “Art Turned Upside Down: American Art in Belgium 1958—1978” 4.1 4.2 Léon-Louis Sosset, “In the American Pavilion: From Primitives to Abstracts by Way of the Naive” (1958), trans. Susan de Muth 156 Francine-Claire Legrand, “New American Painting” (1959), trans. Susan de Muth 157 145 147 4.3 Marcel Broodthaers, “Beware the Challengers! Pop Art, Jim Dine, and the Influence of René Magritte” (1963), trans. Richard George Elliott 159 4.4 Geert Bekaert,“Happening” (1966), trans.Vivien D. Glass vii 161
Contents 4.5 Jean Dypréau,“Pop:The American NewWave and the LondonNew York Axis” (1966), trans. Richard George Elliott 4.6 Adolf Merckx, “Art in Process” (1970), trans. Paul Ferguson 4.7 Marc Callewaert, “The Piece Need Not Be Built” (1973), trans. Vivien D. Glass 4.8 163 165 168 Karel Geirlandt, “From Pop to Hyperrealism” (1973), trans. Richard George Elliott 170 4.9 Georges Roque, “Our American Myth” (1977) 178 4.10 Collective, “American Art in Belgium: Art Turned Upside Down” (1977), trans. Paul Ferguson 182 PART 5 The Netherlands Jonneke Jobse, “The Reception ofAmerican Art in the Netherlands” 5.1 185 187 Anonymous [Cees Doelman], “American Art: Too Much Action, Too Little Reflection” (1956), trans.Wendy L. van Os-Thompson 197 5.2 C. H.Wentinck, “Anti-Form as Goal and Reason: Coincidence Decides All in American ‘Action Painting’” (1958), trans. Jan De Meyer 200 5.3 K. Schippers, “Affirmative Irony: A New Way of Observing” (1964), trans.Wendy L. van Os-Thompson 202 5.4 Wim Beeren,“A New Regimen for Color” (1966), trans. Wendy L. van Os-Thompson 205 5.5 R.H. Fuchs,“American Modernism” (1968), trans.Wendy L. van Os-Thompson 5.6 Enno Develing, “Introduction” (1968) 5.7 Carel Blotkamp, “The Dilemma of the Square Pegs” (1969), trans. Wendy L. van Os-Thompson 5.8 208 214 219 Antje von Graevenitz, “Paint is Paint: Back to the Basics of Painting: The Stedelijk is Not Risking Much with ‘Fundamental Painting’” (1975), trans.Wendy L. van Os-Thompson 222 viii
Contents 5.9 Cor Blok,“Reality According to Dennis Oppenheim” (1976), trans. Cor Blok 227 5.10 Tineke Reijnders,“‘My Paintings are Crazy’:Julian Schnabels Pottery Shards per Running Meter in the Stedelijk” (1982), trans. Wendy L. van Os-Thompson 230 PART 6 Federal Republic of Germany (West Germany) Iain Boyd Whyte, “American Art in Cold War West Germany” 235 237 6.1 EgonVietta,“Non-Objective Painting: An American Show in Karlsruhe” (1948), trans. Richard George Elliott 251 6.2 Albert Buesche,“The Principle of No Dogmas: American Painting at Rathaus Schoneberg” (1951), trans. Margarethe Clausen 252 6.3 Fritz Nemitz, “Is there Such a Thing as American Painting? A Cross-Section in Munich” (1951), trans. Richard George Elliott 254 6.4 Doris Schmidt, “Art from Over There: On the American Exhibition in Frankfurt” (1955), trans. Margarethe Clausen 255 6.5 Rike Wankmüller, “Tachists in the USA” (1955/1956), trans. Iain В oyd Whyte 257 Will Grohmann, “The New American Painting: On an Exhibition at the Hochschule fur bildende Künste” (1958), trans. Richard George Elliott 261 6.6 6.7 Richard Huelsenbeck,“Pop Art” (1963), trans. Iain Boyd Whyte 6.8 Doris Schmidt, “Pop Art as a Mission. Eleven Pop Artists at Friedrich und Dahlem in Munich” (1966), trans. Margarethe Clausen 265 6.9 Rolf-Gunter Dienst, “Documenta 4” (1968), trans. Iain Boyd Whyte 6.10 Max Imdahl, “Barnett Newman, Who’s Afraid of Red, Yellow and Blue ІІГ’ (1971), (1996), trans. Iain Boyd Whyte 263 267 268 6.11 Eduard Beaucamp, “Olympic Misery” (1972), trans. Iain Boyd Whyte 6.12 Jutta Held, “Minimal Art—An American
Ideology” (1972), trans. Iain Boyd Whyte ix 273 272
Contents 6.13 Lucius Grisebach, “Stations ofAmerican art in Europe after 1945” (1976), trans. Iain BoydWhyte 276 6.14 “Statements by Collectors and Gallerists” (1976), trans. Iain BoydWhyte 278 6.15 Klaus Honnef, “Regaining the Power of Speech: Notes on American Postmodern Art” (1983), trans. Richard George Elliott 279 6.16 Johannes Stahl,‘“The Train is a Part ofMe’: New York Graffiti Artist Lee Quinones in Conversation with Johannes Stahl” (1987), trans. Richard George Elliott 283 6.17 Markus Briiderlin, “Changes in aValid Standard for Good Art: Donald Judd in Conversation” (1988), trans. Iain BoydWhyte 285 6.18 Anon, “Jeff Koons: Total Consumption—from The New to Equilibrium; from Intoxication to Class Structures in Stainless Steel” (1988), trans. Richard George Elliott 286 6.19 Wolfgang Lange, “Andy Warhol or Reprocessing Art in the Spirit of the Culture Industry” (1988), trans. Richard George Elliott 288 PART 7 Austria 291 Oliver Sukrow and Iain Boyd Whyte,‘“Muses with a Cold’: Austria, the Visual Arts, and the Cold War” 293 “Peintres Naïfs: American Folk Painting from 1670 until Today” (1954), trans. Iain BoydWhyte 306 7.2 Otto E Beer,“Americas Art as Guest” (1956), trans. Iain BoydWhyte 307 7.3 Otto Wladicka,“Modern Art from the USA” (1956), trans. Iain BoydWhyte 309 7.1 7.4 7.5 7.6 Gertrude Fröhlich, “Stabiles, Labiles, and Mobiles” (1956), trans. Iain В oyd Whyte 310 Anonymous, “Modern American Art in the Shadow of Europe” (1956), trans. Iain Boyd Whyte 311 Otto Antonia Graf, “America: Death and Art” (1964), trans. Iain BoydWhyte 313 x
Contents 7.7 Werner Hofmann, “The Pseudo-Reality of the ‘Happening’” (1966), trans. Iain Boyd Whyte 319 7.8 Dieter Ronte, “Kienholz in Vienna” (1989) 320 PART 8 Switzerland Nathalie Ritter and Thomas Schmutz, “Isle of the Blessed—Audiences Shocked: American Art in Switzerland 1945—1990” 8.1 Adolf Max Vogt, “Americans as Artists: Exhibition at the Kunsthaus in Zurich” (1953), trans. Richard George Elliott 8.2 Arnold Riidlinger,“Foreword” (1955), trans. Jonathan Blower 8.3 Max Eichenberger,“Modern Art in the USA” (1955), trans. Jonathan Blower 8.4 323 325 335 337 338 Arnold Riidlinger,“Through European Eyes” (1958), trans. Iain Boyd Whyte 341 8.5 Maria Netter, “The Anniversary Gift of the Swiss National Insurance Society to the Basel Art Museum” (1960), trans. Jonathan Blower 343 8.6 Georg Schmidt, “Formal Means” (1966), trans. Jonathan Blower 346 8.7 Hans Neuburg, “Nihilistic Art” (1969), trans. Iain Boyd Whyte 348 8.8 Johannes Gachnang,“From Continent to Continent” (1986), trans. Richard George Elliott 350 PART 9 Denmark Vibeke Petersen Gether and Tania Ørum, “American Art Viewed from Denmark: From Skepticism to Acceptance” 9.1 9.2 Albert Mertz, “From a Paris Diary Spring” (1963), trans. Marianne Ølholm 355 357 366 K. G. Hultén, “On Painting in New York after Pollock, that is on Pop Art” (1964), trans. Marianne Ølholm 368 xi
Contents 9.3 Knud W. Jensen, “Pop Art at the Louisiana” (1964), trans. Marianne Ølholm 372 9.4 Eric Andersen, “After Cage” (1966), trans. Marianne Ølholm 9.5 Per Kirkeby, “Letter from New York Moving Pictures” (1967), trans. Marianne Ølholm 377 9.6 Jane Pedersen, “The New Abstraction” (1967), trans. Marianne Ølholm 379 9.7 Stig Brøgger, “Some Recent Trends” (1970), trans. René Lauritsen 383 9.8 Erik Thygesen,“The Atrocity Exhibition” (1970), trans. Marianne Ølholm 390 Øystein Hjort,“The 1980s:A Forest of Signs” (1992), trans. Marianne Ølholm 393 9.9 373 Øystein Hjort, “Staged Photography” (1992), trans. Marianne Ølholm 9.10 396 PART 10 Norway Åsmund Thorkildsen, “Norway and American Postwar Art during the Cold War” 399 401 10.1 Per Hovdenakk, “Abstract Expressionism in Europe and the USA” (1981), trans. Anna Paterson 408 10.2 Even Hebbe Johnsrud, “Barnett Newman: The Tragic Dimension in Art” (1983), trans. Anna Paterson 413 10.3 Per Hovdenakk, “Art in the US Today” (1983), trans. Lucy Moffatt 10.4 Åsmund Thorkildsen, “An Old Master among the Young Wild” (1986), trans. Lucy Moffatt 424 419 PARTII Sweden Annika Ohrner, “American Art in Swedish Art Criticism: An Introduction” 433 435 11.1 Ludvig Rasmusson, “Pop” (1963), trans. Donald S. MacQueen 443 11.2 Torsten Bergmark, “Pop—The American Dream” (1964), trans. Donald S. MacQueen xii 449
Contents 11.3 Öyvind Fahlström,“A Street Full of Presents. New York, October 1961” (1961), trans. Kathryn Boyer 452 11.4 Öyvind Fahlström,“Untitled” (1966), trans. Donald S. MacQueen 459 11.5 Öyvind Fahlström, “Andy Warhol: Pop Artist with No Inhibitions— ‘Everybody Should Be Machines’” (1968), trans. Donald S. MacQueen 461 11.6 Leif Nylén, “Pentagon Structures?” (1968), trans. Donald S. MacQueen 465 11.7 Tord Baeckström, “New York Collection—a Donation to the People of Sweden: Test Tube Art” (1974), trans. Donald MacQueen 467 11.8 Jan Håfstom, “Visions in New York” (1977), trans. Donald MacQueen 470 11.9 Olle Granath,“Viewpoint” (1984), trans. Keith Bradfield 472 11.10 Ulf Linde, “Claes Oldenburg” (1985), trans. Donald MacQueen 477 PART 12 Finland 481 Maritta Melláis, “An Introduction to American Art in Finland after 1945” 483 12.1 12.2 Sakari Saarikivi,“American Art Exhibition” (1951), trans. Jyri Kokkonen 487 Einari J.Vehmas, “American Contemporary Art” (1954), trans. Jyri Kokkonen 488 12.3 Einari J.Vehmas, “Past and Present in the Guggenheim Collection” (1957), trans.Jyri Kokkonen 490 12.4 Lars-Gunnar Nordström, “The Magic of the Sign: Observations on the Arts in America” (1961), trans. Jyri Kokkonen 491 12.5 Juhani Harri,“POP” (1964), trans.Jyri Kokkonen 12.6 Pekka Tarkka, “Ecclesiastical Art for Machines?” (1964), trans. Jyri Kokkonen 12.7 Petra Uexkiill,“Here and Overseas” (1965), trans. Jyri Kokkonen 12.8 Antero Kare,“Art As a Weapon of the ColdWar:The Image ofAmerica is Seeking its Form” (1975), trans. Jyri Kokkonen 503 xiii 496 498 502
Contents 12.9 Sakari Määttänen, “The Other Face ofAmerica” (1975), trans. Jyri Kokkonen 509 12.10 Timo Valjakka, “Spiral, Center, and Edges” (1983), trans. Itha O’Neill 512 12.11 Kimmo Sarje,“Neogeo—The New Clothes ofAbstract Art” (1987), trans. Itha O’Neill 516 12.12 Timo Valjakka, “Sketches for Heroic Acts” (1990), trans. Itha O’Neill 520 12.13 Leena-Maija Rossi,“Lost by Society and the Disneyland ofArt” (1990), trans. Jyri Kokkonen 521 524 526 Text copyright Index xiv |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author2 | Hopkins, Claudia Whyte, Iain Boyd 1947- |
| author2_role | edt edt |
| author2_variant | c h ch i b w ib ibw |
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| author_facet | Hopkins, Claudia Whyte, Iain Boyd 1947- |
| building | Verbundindex |
| bvnumber | BV047229125 |
| classification_rvk | LH 61060 |
| ctrlnum | (OCoLC)1224481392 (DE-599)BVBBV047229125 |
| discipline | Kunstgeschichte |
| discipline_str_mv | Kunstgeschichte |
| era | Geschichte 1945-1990 gnd |
| era_facet | Geschichte 1945-1990 |
| format | Book |
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With the exception of those originally published in English, the majority of these texts are translated into English for the first time from eight languages, and are introduced by scholarly essays. They offer a representative selection of the diverse responses to American art in Great Britain, Ireland, France, Belgium, the Netherlands, West Germany (FRG), Austria, Switzerland, Denmark, Norway, Sweden, and Finland. There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural, and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism.This book, together with its companion volume Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990, isa joint initiative of the Terra Foundation for American Art and the editors of the journalArt in Translation at the University of Edinburgh. The journal, launched in 2009, publishes English-language translations of the most significant texts on art and visual cultures presently only available only in their source language. 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| index_date | 2024-07-03T16:59:52Z |
| indexdate | 2024-07-10T09:06:17Z |
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| isbn | 9781032012247 9780815393757 |
| language | English |
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| publisher | Routledge, Taylor & Francis Group |
| record_format | marc |
| spelling | Hot art, cold war – Western and Northern European writing on American art 1945-1990 edited by Claudia Hopkins and Iain Boyd Whyte New York ; London Routledge, Taylor & Francis Group [2021] © 2021 xxvi, 551 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. With the exception of those originally published in English, the majority of these texts are translated into English for the first time from eight languages, and are introduced by scholarly essays. They offer a representative selection of the diverse responses to American art in Great Britain, Ireland, France, Belgium, the Netherlands, West Germany (FRG), Austria, Switzerland, Denmark, Norway, Sweden, and Finland. There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural, and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism.This book, together with its companion volume Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990, isa joint initiative of the Terra Foundation for American Art and the editors of the journalArt in Translation at the University of Edinburgh. The journal, launched in 2009, publishes English-language translations of the most significant texts on art and visual cultures presently only available only in their source language. It is committed to widening the perspectives of art history, making it more pluralist in terms of its authors, viewpoints, and subject matter Geschichte 1945-1990 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Kunstkritik (DE-588)4033659-1 gnd rswk-swf Kunstgeschichtsschreibung (DE-588)4033643-8 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf Westeuropa (DE-588)4079215-8 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf Nordeuropa (DE-588)4075455-8 gnd rswk-swf Südeuropa (DE-588)4078023-5 gnd rswk-swf Osteuropa (DE-588)4075739-0 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content USA (DE-588)4078704-7 g Kunst (DE-588)4114333-4 s Rezeption (DE-588)4049716-1 s Nordeuropa (DE-588)4075455-8 g Westeuropa (DE-588)4079215-8 g Kunstkritik (DE-588)4033659-1 s Kunstgeschichtsschreibung (DE-588)4033643-8 s Geschichte 1945-1990 z DE-604 Südeuropa (DE-588)4078023-5 g Osteuropa (DE-588)4075739-0 g Hopkins, Claudia (DE-588)1224975502 edt Whyte, Iain Boyd 1947- (DE-588)118104608 edt Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032633641&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Hot art, cold war – Western and Northern European writing on American art 1945-1990 Kunst (DE-588)4114333-4 gnd Kunstkritik (DE-588)4033659-1 gnd Kunstgeschichtsschreibung (DE-588)4033643-8 gnd Rezeption (DE-588)4049716-1 gnd |
| subject_GND | (DE-588)4114333-4 (DE-588)4033659-1 (DE-588)4033643-8 (DE-588)4049716-1 (DE-588)4079215-8 (DE-588)4078704-7 (DE-588)4075455-8 (DE-588)4078023-5 (DE-588)4075739-0 (DE-588)4143413-4 |
| title | Hot art, cold war – Western and Northern European writing on American art 1945-1990 |
| title_auth | Hot art, cold war – Western and Northern European writing on American art 1945-1990 |
| title_exact_search | Hot art, cold war – Western and Northern European writing on American art 1945-1990 |
| title_exact_search_txtP | Hot art, cold war – Western and Northern European writing on American art 1945-1990 |
| title_full | Hot art, cold war – Western and Northern European writing on American art 1945-1990 edited by Claudia Hopkins and Iain Boyd Whyte |
| title_fullStr | Hot art, cold war – Western and Northern European writing on American art 1945-1990 edited by Claudia Hopkins and Iain Boyd Whyte |
| title_full_unstemmed | Hot art, cold war – Western and Northern European writing on American art 1945-1990 edited by Claudia Hopkins and Iain Boyd Whyte |
| title_short | Hot art, cold war – Western and Northern European writing on American art 1945-1990 |
| title_sort | hot art cold war western and northern european writing on american art 1945 1990 |
| topic | Kunst (DE-588)4114333-4 gnd Kunstkritik (DE-588)4033659-1 gnd Kunstgeschichtsschreibung (DE-588)4033643-8 gnd Rezeption (DE-588)4049716-1 gnd |
| topic_facet | Kunst Kunstkritik Kunstgeschichtsschreibung Rezeption Westeuropa USA Nordeuropa Südeuropa Osteuropa Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032633641&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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