![]() But none of these effects on readers, listeners, or viewers require that it. But the fact remains, the artists, writers and musicians featured among its pages provide an amber-like crystallization of New York’s late 1940s artistic and intellectual milieu and in particular to artists and intellectuals later grouped under Abstract Expressionism’s umbrella: Rosenberg’s essay for Paris’ Galerie Maeght 1947 exhibition on recent American painting, a group show with works by Baziotes, Gottlieb, Motherwell, and Romare Bearden, is published alongside Mark Rothko’s text “The romantics were prompted ” even the space dedicated to previous generations aligns itself to practices loosely associated with the standard roster of the movement’s influences: an interview with Joan Miró, a translation of Jean Arp’s words, as well as Huelsenbeck’s text on Dada juxtaposed with an excerpt from Edgar Allan Poe’s Marginalia on language. Advocates of scientism like me (Rosenberg 2011) accept this definition. In hindsight, the journal has been considered as one of Abstract Expressionism’s “manifestos,” which obviously contradicts the editor’s intentions of opening a field, rather than shoring it up.
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