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dc.creatorPrice, Justine Danaen_US
dc.date.accessioned2008-08-28T23:44:59Z
dc.date.available2008-08-28T23:44:59Z
dc.date.created2007en_US
dc.date.issued2008-08-28T23:44:59Z
dc.identifier.urihttp://hdl.handle.net/2152/3391
dc.description.abstractThis following is a study on abstract painting: the critical reception and analysis of painterly practice--performative, experimental, dissenting--in New York from 1936 to 1951. By metonymy, this study also looks at the figure in the political realm via the critiques offered by socially-oriented critics at this time (some of whom were also art critics). As the boundless secondary literature on this period has noted, the painting of the New York School would "triumph" with "stunning success" by the late 1950s. In other regards, the subject of this dissertation is that of failure. The revolution (or, "the idea of Revolution") that had been hoped for by so many left-wing radicals in the 1930s never quite came to pass or, later, went horribly wrong: first in Spain and then elsewhere. "Modern art, like modern literature and modern life," Clement Greenberg concluded in a 1948 essay on the Old Masters "has lost much." Greenberg's essay on the Old Masters appeared in the same number of Partisan Review as Hannah Arendt's essay, "The Concentration Camps." This is the generation of critics, intellectuals and artists who bore the brunt of articulating the unspeakable horrors of the Camps and the Bomb--manmade places and events that were "beyond human comprehension." This study is also about belief, of kinds: a Modernist belief in the agency of the artist, in the discernment of the critic, and of a "superstitious regard for print," to which Greenberg referred with irony in a 1957 essay (artists didn't always believe what they read, he would conclude). Irving Howe, the founder of Dissent in 1954, supposedly once quipped that, "when intellectuals can do nothing else, they start a magazine." The dissertation at hand contains a number of kinds of critical statements: ones of ambiguity and of skepticism, and others of crisis and disinterest, directed towards art objects and elsewhere, and expressed by writers at mid-century, some especially subtle and acute. Modernist belief, even if betrayed too often, allowed these critics often to escape velleities, or other empty gestures, in their writing.en_US
dc.format.mediumelectronicen_US
dc.language.isoengen_US
dc.rightsCopyright © is held by the author. Presentation of this material on the Libraries' web site by University Libraries, The University of Texas at Austin was made possible under a limited license grant from the author who has retained all copyrights in the works.en_US
dc.subject.lcshPainting, Abstract--New York (State)--20th centuryen_US
dc.subject.lcshArt criticismen_US
dc.titleAbstraction, expression, kitsch: American painting in a critical context, 1936-1951en_US
dc.title.alternativeAmerican painting in a critical context, 1936-1951
dc.description.departmentArt and Art Historyen_US
dc.identifier.oclc180288445en_US
dc.type.genreThesisen_US
thesis.degree.departmentArt and Art Historyen_US
thesis.degree.disciplineArt Historyen_US
thesis.degree.grantorThe University of Texas at Austinen_US
thesis.degree.levelDoctoralen_US
thesis.degree.nameDoctor of Philosophyen_US


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