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Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990

Edited by: Claudia Hopkins , Iain Boyd Whyte

Print publication date:  December  2020
Online publication date:  December  2020

Print ISBN: 9780367437879
eBook ISBN: 9781003009979
Adobe ISBN:

10.4324/9781003009979
 Cite  Marc Record

Book description

Hot Art, Cold War ? Southern and Eastern 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.

Translated into English for the first time from sixteen languages and introduced by scholarly essays, the texts in this volume offer a representative selection of the diverse responses to American art in Portugal, Italy, Spain, Greece, Yugoslavia, Romania, Bulgaria, Soviet Union (including the Baltic States), Czechoslovakia, Poland, Hungary, and East Germany (GDR). 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 ? Northern and Western 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.

Table of contents

Prelims Download PDF
Chapter  1:  A Difficult Gap: Download PDF
Chapter  2:  José-Augusto França, “The 32nd Venice Biennale,” translated from Portuguese by Ruth Rosengarten, originally published as “A 32ª Bienal de Veneza,” in Colóquio, Revista de Artes e Letras 30 (October 1964) Download PDF
Chapter  3:  Fernando Pernes, “Ten Years of Painting and Sculpture at the Tate Gallery,” translated from Portuguese by Ruth Rosengarten, originally published as “Dez anos de pintura e escultura na Tate Gallery,” in Colóquio: Artes 30 (October 1964): 22–30 (excerpt) Download PDF
Chapter  4:  Rui Mário Gonçalves, “Painting and Sculpture of a Decade: 1954–1964,” translated from Portuguese by Ruth Rosengarten, originally published as “Pintura e escultura de uma década 1954–1964,” in Arquitectura: Revista de arte e construção 84 (November 1964): 147–156 (excerpt) Download PDF
Chapter  5:  José-Augusto França, “Mythologic Presentation: The New Imagery,” translated from Portuguese by Ruth Rosengarten, originally published as “Apresentação Mitológica da Nova Imagística,” in Oito Ensaios sobre Arte Contemporânea ­(Lisbon: Europa América, 1967), 121–149 (excerpts) Download PDF
Chapter  6:  José Augusto França, “Problems of Artistic Consumption: From the Centers of Artistic Production,” translated from Portuguese by Ruth Rosengarten, published as “Problemas do consumo artístico: II Parte (dos centros artísticos),” in Oito Ensaios sobre Arte Contemporânea (Lisbon: Europa-América, 1967), 33–35 Download PDF
Chapter  7:  Edígio Álvaro, “Letter from Kassel: Hyperrealism at Documenta 5,” ­translated from Portuguese by Ruth Rosengarten, originally published as “Carta de ­Kassel 2: O Hiper-Realismo na Documenta 5” and “Carta de Kassel. Quinta Documenta (III): O Desmoronar das Fronteiras,” in Diário de Notícias (January 4 and February 1, 1973) Download PDF
Chapter  8:  Ernesto de Sousa, “The One Hundred Days of Documenta 5,” translated from Portuguese by Ruth Rosengarten, originally published as “Os 100 dias da 5ª Documenta,” in Lorenti’s 11 (February 1973) and subsequently in de Sousa, Ser Moderno … Em Portugal (Lisbon, 1989), 55–65 (excerpt) Download PDF
Chapter  9:  Sílvia Chicó, “The Last Twenty Years,” translated from Portuguese by Ruth Rosengarten, originally published as “Os últimos vinte anos,” in Jornal de letras, artes e ideias 23 (July 8, 1983), II Download PDF
Chapter  10:  Alexandre Melo, “Madrid: Where New York Meets Old Europe,” translated from Portuguese by Ruth Rosengarten, originally published as “Madrid: onde Nova Iorque encontra a velha Europa,” in Expresso, February 21, 1987 (excerpt) Download PDF
Chapter  11:  Alexandre Melo, “Signs from America,” translated from Portuguese by Ruth Rosengarten, originally published as “Sinais da América,” in Expresso, May 27, 1989 Download PDF
Chapter  12:  Bienvenido! Welcoming American Art in Francoist Spain 1950s–1963 Download PDF
Chapter  13:  “A Truly Extraordinary Experience” of an Unknown World: From American Pop Art to Neo-Expressionism in Spain 1963–1989 Download PDF
Chapter  14:  Ricardo Gullón, “The New Phase,” translated from Spanish by Paul David Martin, originally published as “Introducción al arte abstracto,” in El arte abstracto y sus problemas (Madrid: Ediciones Cultura Hispánica, 1956), 28–32; in English in Be-Bomb: The Transatlantic War of Images and all that Jazz 1946–1956 (Barcelona: Museo de Arte Contemporaneo de Barcelona, 2007), 592–593 Download PDF
Chapter  15:  Mercedes Molleda, “New American Painting,” translated from Spanish by Cleo Clauson, originally published as “La nueva pintura americana,” in Revista de actualidades, artes y letras 333 (August 30, 1958): 16 (excerpt) Download PDF
Chapter  16:  Luis Trabazo, “New American Painting,” translated from Spanish by Antonio Romero Limón, originally published as “La nueva pintura norteamericana,” in Indice de Artes y Letras (August–September 1958): 19–20 Download PDF
Chapter  17:  Antonio Saura, “Notes on Pollock,” translated from Spanish by Isabel Adey, from Saura, Visor sobre artistas 1958–1998 (Barcelona: Galaxia Gutenberg, 2001), 9–14, first published in a reduced version as “Notas sobre Pollock,” in Carta de El Paso 4 (1958) Download PDF
Chapter  18:  Vicente Aguilera Cerni, “Willem de Kooning,” translated from Spanish by Cleo Clauson, originally published “William de Kooning,” in Problemas del arte contemporaneo single issue no. 1 (Madrid: 1959) Download PDF
Chapter  19:  Xavier Rubert de Ventós, “Abstraction and Pop Art,” translated from Spanish by Antonio Romero Limón, originally published as “Abstracción y Pop Art,” in Revista de Occidente (January–March 1965), 89–91 Download PDF
Chapter  20:  Simón Marchán Fiz, “‘Documenta 4 in Kassel,” translated from Spanish by Isabel Adey, originally published as “Documenta 4 de Kassel,” in Goya (September–October 1968): 113–119 (excerpts) Download PDF
Chapter  21:  Simón Marchán Fiz, “Minimal Art or Primary Structures,” translated from Spanish by Isabel Adey, originally published as “El minimal art o las estructuras primarias,” in Del arte objetual al arte concepto 1960–1974, reprint of 1974 second edition (Madrid: Akal, 1994), 97–107 Download PDF
Chapter  22:  J. M. Bonet, Antoni Tàpies, Grup de Treball, “Controversy Tàpies/Spanish Conceptual Group”, translated from Spanish by Isabel Adey from Spanish (excerpts). Originally published as “Polémica Tàpies/Grupo Conceptual Español,” in Revista Lente, no. 21, (November 1973): 20–25. Download PDF
Chapter  23:  Enrique García-Herráiz, “New York Chronicle,” translated from Spanish by Antonio Romero Limón (excerpt), originally published as “Crónica de Nueva York,” in Goya 166 (1982): 226–228 Download PDF
Chapter  24:  José Luis Brea, “Non-specific Objects,” translated from Spanish by Antonio Romero Limón, originally a lecture “Objetos inespecíficos” (1989), published in Nuevas Estrategias Alegóricas (Madrid: TECNOS, 1991), 34–52 Download PDF
Chapter  25:  Pragmatic, Pioneering and Excessive: Download PDF
Chapter  26:  Bruno Alfieri, “The United States at the 24th Biennale,” translated from Italian by Laura Bennett, originally published as “Gli Stati Uniti alla XXIV Biennale,” in Arte Contemporanea (October 1948) Download PDF
Chapter  27:  Enrico Crispolti, “Franz Kline,” translated from Italian by Lucinda Byatt, origin­ally published as “Franz Kline,” in I 4 Soli: Rassegna d’arte attuale 6 (November–December 1957): 16–18 Download PDF
Chapter  28:  Enrico Crispolti, “Pollock, a Critical Essay,” translated from Italian by Lucinda Byatt, originally published as Pollock, un saggio critico (Milan: All’insegna del pesce d’oro, 1958), 13–20 (excerpt) Download PDF
Chapter  29:  Gillo Dorfles, “‘Action Painting’,” translated from Italian by Madeline Robinson, originally published as “La ‘pittura d’azione’,” in Ultime tendenze nell’arte d’oggi (Milan: Feltrinelli, 1961), 77–81 and 87–89 (excerpt) Download PDF
Chapter  30:  Gabriella Drudi, “American Painting Today (Today?),” translated from Italian by Madeline Robinson, originally published as “Pittura americana oggi (oggi?),” in Almanacco letterario Bompiani 1962 (1961): 260–273 (excerpt) Download PDF
Chapter  31:  Carla Lonzi, “An Operative Category,” translated from Italian by Madeline Robinson, originally published as “Una categoria operativa,” in Marcatrè 8–10 (1964): 190–193 Download PDF
Chapter  32:  Marisa Volpi Orlandini, “On the Debate: America or Europe?,” translated from Italian by Madeline Robinson, originally published as “In margine a un dibattito: America o Europa?,” in Bit 2, no. 1 (April 1968): 12–13 Download PDF
Chapter  33:  Mario Diacono, “Matter—Destructure: Richard Serra, Bruce Nauman, Joseph Kosuth,” translated from Italian by Lucinda Byatt, originally published as ­“Materia-destruttura: Richard Serra, Bruce Nauman, Joseph Kosuth,” in Collage 9 (1970): 6-21 (excerpt) Download PDF
Chapter  34:  Germano Celant, “Documenta 5: Hyperrealism as Imperialism,” translated from Italian by Madeline Robinson, originally published as “Documenta 5: Iperrealismo come imperialismo,” in Qui arte contemporanea 9 (1972): 44–49 (excerpt) Download PDF
Chapter  35:  Tommaso Trini, “Art that is More Realistic than Reality,” translated from Italian by Lucinda Byatt, originally published as “Un’arte più realista della realtà,” in Corriere della Sera, September 19, 1974, 3 Download PDF
Chapter  36:  Pier Paolo Pasolini, “Ladies and Gentlemen,” translated from Italian by Madeline Robinson, originally published as “Ladies and gentlemen,” in Andy Warhol: Ladies and Gentlemen, exhibition catalog (Milan: Edizione della Galleria Anselmino, 1976), 3–4 Download PDF
Chapter  37:  Giuseppe Panza di Biumo, “Environmental Art,” translated from Italian by Madeline Robinson, originally published as “L'arte ambientale,” in Europa/America, L’astrazione determinata 1960/1976 (Bologna: Galleria d’Arte Moderna, 1976), 155–159 (excerpt) Download PDF
Chapter  38:  Francesca Alinovi, “Frontier Art,” translated from Italian by Lucinda Byatt, originally published as “Arte di Frontiera,” in Flash Art 107 (February–March 1982): 22–29 (excerpt) Download PDF
Chapter  39:  Achille Bonito Oliva, “The Accomplished Nihilist,” a revised translation by Lucinda Byatt, originally published as “Il nichilista compiuto,” with an English translation, in Transavanguardia Italia/America (Modena: Cooptip, 1982), 2–18 (excerpt) Download PDF
Chapter  40:  Carolyn Christov-Bakargiev, “Julian Schnabel,” translated from Italian by Lucinda Byatt, originally published in Flash Art (December 1985): 36–39 Download PDF
Chapter  41:  Towards a Geopolitics of Reception: Download PDF
Chapter  42:  Aggelos G. Prokopiou, “Abstract Art,” translated from Greek by Michael Eleftheriou, originally published as “Αφηρημένη Τέχνη,” in Καθημερινή, Athens (April 14, 1957) Download PDF
Chapter  43:  Efi Ferentinou, “Issues in the Arts: American Painting,” translated from Greek by Michael Eleftheriou, originally published as “Καλλιτεχνικά Θέματα: Αμερικανική ζωγραφική,” in Kathimerini (May 7, 1958) Download PDF
Chapter  44:  Giorgos Petris, “Abstract Art and Us,” translated from Greek by Michael Eleftheriou, originally published as “Η αφηρημένη τέχνη κι εμείς,” in Επιθεώρηση Τέχνης 45 (1958): 223–226 Download PDF
Chapter  45:  Leonidas Christakis, “Abstract Art and the Americans,” translated from Greek by Michael Eleftheriou, originally published as “Η αφηρημένη τέχνη και οι Αμερικανοί,” in Επιθεώρηση Τέχνης (August 1958): 144–145 Download PDF
Chapter  46:  Anonymous, “Paris Has Lost Its Primacy in the Fine Arts. Its Rival: New York,” translated from Greek by Michael Eleftheriou, originally published as “Τò Παρίσι έχασε πλέον τα πρωτεία στις Καλές Τέχνες,” in Έθνος, July 20, 1964 Download PDF
Chapter  47:  Eleni Vakalo, “The Xceron Show,” translated from Greek by Michael Eleftheriou, originally published as “Η έκθεση του Ξέρον,” in Τα Νέα, October 14, 1966 Download PDF
Chapter  48:  Yiannis Valavanidis, Cleopatra Dinga, Kyriakos Katzourakis, Chronis Botsoglou, and Giannis Psychopaidis, “The Function of an Artwork,” translated from Greek by Michael Eleftheriou, originally published as “Η λειτουργία του έργου τέχνης,” in Χρονικό (1971): 134–135 Download PDF
Chapter  49:  Natasha Hadjidaki, “A Text and a Collage, or a Product that Can’t be Bought,” translated from Greek by Michael Eleftheriou, originally published as “Ένα κείμενο κι ένα κολλάζ ή ένα προϊόν που δεν αγοράζεται,” in Σήμα 2 (1975) Download PDF
Chapter  50:  Manos Stefanidis, “American Art Today: Impasses and Perspectives, or the Painful Quest for the Artistically New,” translated from Greek by Michael Eleftheriou, originally published in “Η Αμερικάνικη Τέχνη Σήμερα: Αδιέξοδα και Προοπτικές ή η Επώδυνη Αναζήτηση του Εικαστικά Καινούργιου”, in Η Αμερικάνικη Τέχνη στα Τέλη της Δεκαετίας του '80 (Athens: National Gallery, Museum Alexandros Soutzos, 1989), 9-15 Download PDF
Chapter  51:  American Art in Yugoslavia 1945–1964 Download PDF
Chapter  52:  An Insight into the Reception of American Art in Yugoslavia 1965–1991 Download PDF
Chapter  53:  Marko Ristić, “Contemporary Art in the USA: Selected Works from the Museum of Modern Art in New York,” translated from Serbian by Terence McEneny, originally published as “Savremena umetnost u SAD: Izbor iz zbirki Muzeja moderne umetnosti u Njujorku,” in Međunarodna Politika (1956): 14. Download PDF
Chapter  54:  Lazar Trifunović, “American Painting,” translated from Serbian by Stefana Djokic, originally published as “Američko slikarstvo,” in Nin, September 23, 1961; republished in D. Bulatović (ed.), Lazar Trifunović (Belgrade: Muzej Savremene Umetnosti, 1990), 101–104 Download PDF
Chapter  55:  Dragoslav Djordjević, “The Exhibition American Vanguard Painting,” translated from Serbian by Stefana Djokic, originally published as “Izložba savremene Američke umetnosti,” in Borba (October 1, 1961): 8 Download PDF
Chapter  56:  Josip Broz Tito, “On Intellectualism and Quasi-Art,” translated from Serbian by Terence McEneny, a speech (1963) first published as “O intelektualizmu i kvazi-umetnosti,” in Govori i članci, Knjiga XVIII (Zagreb: Naprijed, 1966); republished in Josip Broz Tito: O Umetnosti, Kulturi i Nauci, ed. Miloš Nikolić (Subotica-Belgrade: Minerva, 1978): 42–44 Download PDF
Chapter  57:  Dragoslav Djordjević, “Alongside a Pop Art Exhibition,” translated from Serbian by Stefana Djokic, originally published as “Uz jednu izložbu pop-arta,” in Borba, October 8, 1964, 7 Download PDF
Chapter  58:  Radoslav Putar, “Pop Art Op Art: Art or Trend,” translated from Croatian by Terence McEneny, originally published as “Pop-art Op-art,” in 15 Dana 9–10 (1965): 12–13 Download PDF
Chapter  59:  Marija Pušić, “Robert Rauschenberg,” translated from Serbian by Terence McEneny, originally published as “Robert Rauschenberg,” in Umetnost 5 (1966): 100 Download PDF
Chapter  60:  Lazar Trifunović, “Contemporary American Art,” translated from Serbian by Stefana Djokic, originally published as “Savremena Američka umetnost,” in Umetnost 17 (January–March 1969): 5–11 Download PDF
Chapter  61:  Dragoljub Raša Todosijević, “Ad Reinhardt,” translated from Serbian by Mark Brogan, originally published as “Ad Reinhardt—Dvanaest pravila za novu akademiju,” in Književna reč 23 (1974): 70–73 Download PDF
Chapter  62:  Zoran Popović, “Struggle in New York,” translated from Serbian by Terence McEneny, originally published as “Borba u New Yorku,” in Umetnost 52–53 (1977): 73–75 Download PDF
Chapter  63:  Miško Šuvaković, “The Californian Scene: Empire of Signifiers,” translated from Serbian by Terence McEneny, originally published as “Kalifornijski Scenario: imperija označitelja,” in Moment 13 (Belgrade, 1989): 61–67 (extract) Download PDF
Chapter  64:  Writings on Art in the United States ca. 1945–1990: Cases from Bulgaria Download PDF
Chapter  65:  Atanas Stoykov, “Pop Art,” translated from Bulgarian by David Mossop, originally published as “Поп-арт” in След заника на абстракционизма (Sofia: Publishing House of the Bulgarian Communist Party, 1970), 75–94 Download PDF
Chapter  66:  Atanas Stoykov, “The New Abstraction: Primary Sculpture,” translated from Bulgarian by David Mossop, originally published as “Новата абстракция. Първичната скулптура” in След заника на абстракционизма (Sofia: Publishing House of the Bulgarian Communist Party, 1970), 26–38 Download PDF
Chapter  67:  Luchezar Boyadjiev, “Graffiti: A Portrait of a Non-traditional Activity,” translated from Bulgarian by David Mossop, originally published as “портрет на една нетрадиционна дейност,” in Izkustvo 6 (1984): 46–48 Download PDF
Chapter  68:  Luchezar Boyadjiev, “Neo-Expressionism as a Reaction against a Discredited Utopia,” translated from Bulgarian by David Mossop, originally published as “Неоекспресионизмът като реакция срещу една дискредитирана утопия,” in Krugozor 2 (1984): 183–195 Download PDF
Chapter  69:  The Reception of US Art in Postwar Romania: Stylistic Diversities Unite! Download PDF
Chapter  70:  Camilian Demetrescu, “The Post-Painterly,” translated from Romanian by Jozefina Komporaly, originally published as “Postpictura,” in Contemporanul no. 5 (January 31, 1969) Download PDF
Chapter  71:  Mihai Domocoș, “American Painting,” translated from Romanian by Jozefina Komporaly, originally published as “Pictura americană,” in România literară 3 (January 1969): 26–27 (excerpt) Download PDF
Chapter  72:  Dan Grigorescu, “The Disappearance and Re-appearance of Image: American Painting after 1945,” translated from Romanian by Jozefina Komporaly, originally published as “Dispariţia şi reapariţia imaginii în pictura americană de după 1945,” in Arta 2 (1969): 30–34 Download PDF
Chapter  73:  Titus Mocanu, “Dominant Trends in Western Art,” translated from Romanian by Jozefina Komporaly, originally published as “Tendințe fundamentale în arta occidentală,” in România literară no. 36(9) (1969): 26 Download PDF
Chapter  74:  Anonymous, “Daily Sketches,” translated from Romanian by Jozefina Komporaly, originally published as “Crochiuri la zi,” in Săptămîna (January 3, 1969) Download PDF
Chapter  75:  Anonymous, “Highlights,” translated from Romanian by Jozefina Komporaly, originally published as “Relief,” in Săptămîna 8 (1970) (excerpt) Download PDF
Chapter  76:  Dan Hăulică, “Creative Form and Process,” translated from Romanian by Jozefina Komporaly, originally published as “Forma şi procesul de creaţie,” in Arta 8–9 (1972): 50 (excerpt) Download PDF
Chapter  77:  Dan Grigorescu, “Prerequisites,” translated from Romanian by Jozefina Komporaly, originally published as “Premise,” in Pop Art (Bucharest: Meridiane, 1974): 5–22 (excerpts) Download PDF
Chapter  78:  Iulian Mereuță, “Screen Prints by R. B. Kitaj,” translated from Romanian by Jozefina Komporaly, originally published as “Serigrafii de R. B. Kitaj,” in Arta 5 (1976) Download PDF
Chapter  79:  Iulian Mereuță, “Mark Tobey,” translated from Romanian by Jozefina Komporaly, originally published as “Mark Tobey,” in Arta 11 (1976): 28 Download PDF
Chapter  80:  Iulian Mereuță, “Josef Albers,” translated from Romanian by Jozefina Komporaly, originally published as “Josef Albers,” in Arta 4 (1977): 26–28 Download PDF
Chapter  81:  Dan Grigorescu, “Untitled,” translated from Romanian by Jozefina Komporaly, originally published in Arta 8 (1979): 32–33 Download PDF
Chapter  82:  Tiltott, Tűrt, Támogatott: Views of American Art in the Hungarian People’s Republic Download PDF
Chapter  83:  György Szabó, “Buddha’s Heart and the Modern World,” translated from Hungarian by Jozefina Komporaly, originally published as “Buddha szíve és a modern világ,” in György Szabó, Képek és lagúnák (Budapest: Kossuth, 1964), 58–60, 61–65, 72–76 (excerpt) Download PDF
Chapter  84:  Géza Perneczky, “Idols and Counter-Idols,” translated from Hungarian by Esther T. Thyssen, originally published as “Bálványok és Antibálványok,” in Tanulmányút a pávakertbe (Budapest: Magvető Könyvkiadó, 1969), 162–173 Download PDF
Chapter  85:  Péter Sinkovits, “Minimal Art,” translated from Hungarian by Jozefina Komporaly, originally published as “Minimal Art,” in Képzőművészeti Almanach/Art Almanac 3, ed. Judit Szabadi (Budapest: Corvina, 1972): 103–107 Download PDF
Chapter  86:  Krisztina Passuth, “Contemporary American Art,” translated from Hungarian by Esther T. Thyssen, originally published as “Kortárs amerikai művészet,” in Művészet 15, no. 10 (October 1974): 40–43 Download PDF
Chapter  87:  Katalin Néray, “New Conservativisms?,” translated from Hungarian by Jozefina Komporaly, originally published as “Új konzervativizmus?,” in Művészet 22, no. 7 (July 1981): 41–43 Download PDF
Chapter  88:  Lóránd Hegyi, “After the Expansion III—‘New Decorativism’ and ‘New Subjectivism’,” translated from Hungarian by Jozefina Komporaly, originally published as “Az expanzió után III—‘Új dekorativizmus’ és ‘új szubjektivizmus’,” in Mozgó Világ (1983): 23–30 Download PDF
Chapter  89:  Gábor Klaniczay, “Andy Warhol,” translated from Hungarian by Jozefina Komporaly, originally published in Filmvilág 30, no. 5 (1987): 28–34; republished in Gábor Klaniczay, Ellenkultúra a hetvenes-nyolcvanas években (Budapest: Noran, 2003) Download PDF
Chapter  90:  “Looking from the Earth to the Moon”—US Art through Czechoslovak Eyes 1947–1989 Download PDF
Chapter  91:  František Doležal, “American Modern Painting,” translated from Czech by John Minahane, originally published as “Americké moderní malířství,” in Svobodné noviny (April 5, 1947): 5 Download PDF
Chapter  92:  Jaroslav Bouček, “Formalist ‘Art’ in the Service of Warmongers,” translated from Czech by Eva Spišiaková, originally published as “Formalistické ‘umění’ ve službách válečných paličů,” in Výtvarné umění (1951–1952): 343–345 Download PDF
Chapter  93:  Ivan Jirous, “Americans in Prague,” translated from Czech by John Minahane, originally published as “Američané v Praze,” in Výtvarná práce 17 (1969): 8 Download PDF
Chapter  94:  Radislav Matuštík, “New American Painting: Notes on the Exhibition Painting in the United States since 1945 in the Slovak National Gallery, Bratislava,” translated from Slovak by John Minahane, originally published as “Nové americké maliarstvo: Poznámky k výstave Maliarstvo USA po roku 1945 v SNG v Bratislave,” in Výtvarný život 14, no. 10 (1969): 22–29 (excerpt) Download PDF
Chapter  95:  Jindřich Chalupecký, “Zero Time,” translated from Czech by Eva Spišiaková, originally published as “Nultý čas,” in Manuscript and Data 18 (1975): 80–87; reprinted in Jindřich Chalupecký, Cestou necestou (Prague, 1999), 178–193 Download PDF
Chapter  96:  Petr Rezek, “Phenomenology of Pop Art,” translated from Czech by Eva Spišiaková, originally published as “Fenomenologie pop-artu,” in Tělo, věc a skutečnost v současném umění (1982), 11–28 Download PDF
Chapter  97:  Róbert Cyprich, “Ex alio loco,” translated from Slovak by John Minahane, originally a samizdat text under the same title (1983), published posthumously in Radislav Matuštík, Terén: Alternatívne akčné zoskupenie 1982–1987 (Bratislava: SCCA, 2000), 136–150 (excerpt) Download PDF
Chapter  98:  On and under the Radar: American Art in Soviet Russia in the Early Cold War Download PDF
Chapter  99:  From Thaw to Perestroika—Battle for Contemporaneity: Download PDF
Chapter  100:  K. Nepomniashchii, “Charles White Tells …,” translated from Russian by David Mossop, originally published as “Charl’z Uait rasskazyvaet …,” in Ogonek, 6 (1952): 24–25 Download PDF
Chapter  101:  Vladimir Semenovich Kemenov, “The Myth of Diversity and the Freedom of the Individual,” translated from Russian by David Mossop, originally published as “Mif o mnogoobrazii i svobode individual’nosti,” in Sovetskaia kul’tura (1959); reprinted in Protiv abstraktsionizma. V sporakh o realizme. Sbornik statei (Leningrad: Khudozhnik RSFSR, 1969), 72–74 (excerpt) Download PDF
Chapter  102:  Vladimir Semenovich Kemenov, “The New Tactics of Abstractionism,” translated from Russian by David Mossop, originally published as “Novaia taktika abstraktsionizma,” in Sovetskaia kul’tura (1959); reprinted in Protiv abstraktsionizma. V sporakh o realizme. Sbornik statei (Leningrad: Khudozhnik RSFSR, 1969), 74–76 (excerpt) Download PDF
Chapter  103:  Andrei Chegodaev, “The Art of the United States of America: From The War of Independence to Today,” translated from Russian by Dina Akhmadeeva, originally published as Iskusstvo Soedinennykh Shtatov Ameriki. Ot voiny za nezavisimost’ do nashikh dnei (Moscow: Iskusstvo, 1960), 100–116 (excerpt) Download PDF
Chapter  104:  Iosif Maseev, “Beyond the Limits of Art,” translated from Russian by Christina Lodder, originally published as “Za predelami iskusstva,” in Iskusstvo, 2 (1968): 55–58 (excerpt) Download PDF
Chapter  105:  Lidiia Reingardt, “Abstraction and Reality,” translated from Russian by David Mossop, originally published as “Аbstraktsiia i deistvitel’nost’,” in Mikh. Lifshits and L. Reingardt, Krizis bezobraziia. Ot kubizma k pop-art (Moscow: Iskusstvo, 1968), 106–116 (excerpt) Download PDF
Chapter  106:  Jaak Kangilaski, “A Look Inside US Art Museums,” translated from Estonian by Kristopher Rikken, originally published as “Pilk USA kunstimuuseumidesse,” in Kunst (1970): 56–68 (excerpt) Download PDF
Chapter  107:  Varvara V. Turova, “Concerning Several Trends in Contemporary Painting,” translated from Russian by Christina Lodder, originally published as “O nekotorykh tendentsiiakh sovremennoi zhivopisi,” in G.A. Nedoshivin (ed.), Sovremennoe zapadnoe iskusstvo. Ideinye motivy. Puti razvitiia (Moscow, Nauka, 1971), 316–347 (excerpt) Download PDF
Chapter  108:  Valerii Turchin, “Hyperrealism: Verisimilitude without the Veritas,” translated from Russian by David Mossop, originally published as “Giperrealizm: pravopodobie bez pravdy,” in Iskusstvo, 12 (1974): 48–53 Download PDF
Chapter  109:  Tõnis Vint, “Hyperrealism and the Man-made Environment,” translated from Estonian by Kristopher Rikken, originally published as “Hüperrealism ja tehiskeskkond,” in Kunst, 2 (1974): 31 Download PDF
Chapter  110:  Svetlana Batrakova, “The Utopia of ‘Open Art’,” translated from Russian by Christina Lodder, originally published as “Utopiia ‘otkrytogo iskusstva’,” in Inostrannaia literature (May 1981): 222–232 (excerpt) Download PDF
Chapter  111:  Eduards Kļaviņš, “Andy Warhol: Zvaigznes nekrologi,” translated from Latvian by Valdis Bērziņš, originally published in Avots, 2 (1988): 36–40 Download PDF
Chapter  112:  Natalia Martynenko, “American Painting in the Twentieth Century,” translated from Russian by David Mossop, originally published as Zhivopis’ SShA XX veka. Puti razvitiia (Kiev: Naukova Dumka, 1989), 118–139 (excerpt) Download PDF
Chapter  113:  Ilze Putniņa, “Accidental Aesthetics,” translated from Latvian by Andris Mellakauls, originally published as “Gadījuma estētika,” in Māksla, 4 (1989): 58–63 Download PDF
Chapter  114:  Official and Unofficial Introductions: Download PDF
Chapter  115:  Stefan Morawski, “The Two Faces of Bourgeois Culture in the USA,” translated from Polish by Joanna Wolańska, originally published as “Dwa oblicza kultury burżuazyjnej w USA,” in Przegląd Artystyczny. Pismo Państwowego Instytutu Sztuki i Związku Polskich Artystów Plastyków 3 (1953): 73–75 Download PDF
Chapter  116:  Mieczysław Porębski, “The 28th Biennale,” translated from Polish by Joanna Wolańska, originally published as “XXVIII Biennale”, Nowa Kultura 43 (1956); reprinted in Mieczysław Porębski, Pożegnanie z krytyką (Kraków: Wydawnictwo Literackie, 1966), 102–104 Download PDF
Chapter  117:  Tadeusz Kantor, “Abstract Art is Dead, Long Live Abstract Art: On Art Informel,” translated from Polish by Joanna Wolańska, originally published as “Abstrakcja umarła, niech żyje abstrakcja: O sztuce informel,”, Życie Literackie, supplement to Plastyka, no. 50, 1957, 6; reprinted in Krzysztof Pleśniarowicz (ed.) Tadeusz Kantor. Pisma, 1934–1974 (Krakow: Cricoteka, Centre for Documentation of the Art of Tadeusz Kantor, 2004–2005), 167–169 Download PDF
Chapter  118:  Wojciech Skrodzki, “32nd Venice Biennale,” translated from Polish by Alicja Weikop. Originally published as “XXXII Biennale w Wenecji,” in Przegląd Artystyczny 6, no. 22 (1964): 38–46 (excerpt) Download PDF
Chapter  119:  Jerzy Ludwiński, “Art in the Post-Artistic Age,” 1970, republished in English in Magdalena Ziólkowska (ed.), Notes from the Future of Art: Selected Writings by Jerzy Ludwiński (Eindhoven: Van Abbemuseum Public Research, 2007), 17–27 Download PDF
Chapter  120:  Urszula Czartoryska, “Reaching Out into a New Dimension,” translated from Polish by Joanna Wolańska, originally published as “Sięgnięcie w granice nowego wymiaru,” in Od pop-artu do sztuki konceptualnej (Warsaw: Wydawnictwa Artystyczne i Filmowe, 1973), 230–243 (excerpt) Download PDF
Chapter  121:  Piotr Piotrowski, “Against Institutions,” translated from Polish by Joanna Wolańska, originally published as “Przeciwko instytucjom,” in Sztuka (1976): 52–56 Download PDF
Chapter  122:  Sławomir Magala, “Art on a Quest,” translated from Polish by Alicja Weikop, originally published as “Sztuka, która szuka,” in Sztuka 2 (1981): 40–43 Download PDF
Chapter  123:  US Art in Cold War East Germany: Download PDF
Chapter  124:  Herbert Sandberg, “Realist Painters at the 28th Biennale,” translated from ­German by Richard George Elliott, originally published as “Die realistischen Maler auf der XXVIII. Biennale,” in Bildende Kunst (1956): 586–593 Download PDF
Chapter  125:  Hans-Jürgen Papies, “Pluralism at Play in the Visual Arts? On the 1960s Art Scene in the United States,” translated from German by Richard George Elliott, originally published as “Praktizierter Pluralismus bildkünstlerischer Tendenzen? Zur künstlerischen Situation in den USA während der sechziger Jahre,” in Bildende Kunst 8 (1973): 402–404 Download PDF
Chapter  126:  Klaus Weidner, “Foreword,” translated from German by Margarethe Clausen, originally published as “Vorwort” to the exhibition catalog Ausstellung der amerikanischen Künstler Anton Refregier, Tecla Selnik, Charles White. Malerei— Plastik—Grafik (Berlin: Ausstellungszentrum Fernsehturm, March, 1974) Download PDF
Chapter  127:  Hermann Raum, “Documenta Ltd. and Its Impacts on the Art Business,” translated by Iain Boyd Whyte, originally published as “Die Documenta-GmbH und ihre Wirkungen im Kunstbetrieb,” in Die bildende Kunst der BRD und Westberlins (Leipzig: VEB E. A. Seemann Verlag, 1977), 71–73; this translation and introduction first published in Art in Translation 5, no. 1 (March 2013): 137–143 Download PDF
Chapter  128:  Peter Guth, “Pop Art: American Art from the Ludwig Collection in the Gallery of the Leipzig Academy of Art,” translated from German by Iain Boyd Whyte, originally published as “Amerikanische Kunst aus der Sammlung Ludwig in der Galerie der Leipziger Hochschule,” in Sächsisches Tageblatt, June 13, 1984 Download PDF
Chapter  129:  Peter H. Feist, “America’s Sculpture is Different,” translated from German by Richard George Elliott, originally published as “Amerikas Plastik ist anders,” in Bildende Kunst 4 (1986): 174–176 Download PDF
Chapter  130:  Hermann Raum, “Between Las Vegas and Golgotha: On the Work of Edward and Nancy Kienholz,” translated from German by Margarethe Clausen, originally published as “Zwischen Las Vegas und Golgatha. Zum Werk von Edward & Nancy Kienholz,” in Bildende Kunst 9 (1988): 396–398 Download PDF
Chapter  131:  Sergej Gladkich “ROCI in Moscow,” translated from German by Iain Boyd Whyte, originally published as “ROCI in Moskau,” in Bildende Kunst (June 1989): 46–48 Download PDF
Chapter  132:  Text copyright Download PDF
Colour PlatesA Download PDF
Colour PlatesB Download PDF
Colour PlatesC Download PDF
Index Download PDF
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