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Hot Art, Cold War – Western and Northern European Writing on American Art 1945–1990

Edited by: Claudia Hopkins , Iain Boyd Whyte

Print publication date:  September  2020
Online publication date:  September  2020

Print ISBN: 9780815393757
eBook ISBN: 9781351187671
Adobe ISBN:

10.4324/9781351187671
 Cite  Marc Record

Book description

    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,, is a joint initiative of the Terra Foundation for American Art and the editors of the journal  Art 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.

     

     

    Table of contents

    Prelims Download PDF
    Chapter  1:  A “Special Relationship”: British and American Art 1945–1989 Download PDF
    Chapter  2:  Patrick Heron, “‘Opposing Forces’: Paintings by Seven Artists at the ICA,” in The New Statesman and Nation (February 21, 1953): 82 Download PDF
    Chapter  3:  Lawrence Alloway, “US Modern Paintings,” in Art News and Review 7, no. 26 (January 21, 1956): 1, 9 (excerpts) Download PDF
    Chapter  4:  John Berger, “The Battle,” in The New Statesman and Nation (January 21, 1956): 70–71 (excerpt) Download PDF
    Chapter  5:  Herbert Read, “An Art of Internal Necessity,” in Quadrum 1 (1956): 7–22 (excerpts) Download PDF
    Chapter  6:  Patrick Heron, “The Americans at the Tate Gallery,” in Arts 30, no. 6 (1956): 15–17 Download PDF
    Chapter  7:  Lawrence Alloway, “Art in New York Today,” in The Listener (October 20, 1958): 647–648 Download PDF
    Chapter  8:  Patrick Heron, “The Ascendancy of London in the Sixties,” in Studio ­International 172, no. 884 (1966): 280–281 Download PDF
    Chapter  9:  Patrick Heron, “A Kind of Cultural Imperialism,” in Studio International 175, no. 897 (1968): 62–64 (excerpt) Download PDF
    Chapter  10:  Lawrence Alloway, “Popular Culture and Pop Art,” in Studio International 178, no. 913 (1969): 17–21 (excerpt) Download PDF
    Chapter  11:  John Russell, “Pop Reappraised,” in Art in America 57, no. 4 (1969): 78–89 (excerpt) Download PDF
    Chapter  12:  Charles Harrison, “The Late Sixties and London and Elsewhere,” in 1965 to 1972—When Attitudes Became Form, ed. Hillary Gresty (Cambridge: Kettle’s Yard Gallery, 1984), 9–16 (excerpt) Download PDF
    Chapter  13:  “Editorial,” in The Burlington Magazine 118, no. 877 (1976): 187–188 (excerpt) Download PDF
    Chapter  14:  Richard Morphet, “Carl Andre’s Bricks,” in The Burlington Magazine 118, no. 884 (1976): 762–767 (excerpt) Download PDF
    Chapter  15:  Waldemar Januszczak, “Nothing Succeeds Like Excess,” in The Guardian (June 30, 1982): 9; and Peter Fuller, “Julian Schnabel,” Art Monthly 73 (1984): 19–20 (excerpt). Download PDF
    Chapter  16:  Peter Fuller, “The Eastward March of Civilization,” in Art and Design 3 no. 9 (1987): 19–25 Download PDF
    Chapter  17:  The Irish Diaspora, the Cold War and American Art in Ireland Download PDF
    Chapter  18:  Anonymous, “Painting à l’Américaine,” in The Irish Times (April 22, 1953): 6 Download PDF
    Chapter  19:  Brian Fallon, “Magnificent Exhibition of US Paintings,” in The Irish Times (April 16, 1964): 8 Download PDF
    Chapter  20:  Marian Burleigh, “American Art Styles Please and Displease,” in Irish Press (April 17, 1964): 2 Download PDF
    Chapter  21:  Anonymous, “The Great American Art Show,” in Sunday Independent Magazine (April 26, 1964) Download PDF
    Chapter  22:  Anonymous, “832 People a Day at Art Exhibition,” The Irish Times (May 9, 1964): 5 Download PDF
    Chapter  23:  Bruce Arnold, “Artists are Critical of Rosc Exhibition,” in Irish Independent (October 11, 1967): 8 Download PDF
    Chapter  24:  Brian Fallon, “A Hawk’s-Eye View of the World’s Gallery,” in The Irish Times (November 13, 1967) Download PDF
    Chapter  25:  P.F.B., “Rosc ’71 at RDS is Gay and Exciting,” in Evening Herald (October 25, 1971): 8 Download PDF
    Chapter  26:  Bruce Arnold, “The Great Rosc Adventure,” in Irish Independent (October 27, 1971): 6 Download PDF
    Chapter  27:  Brian O’Doherty, “The Irish Imagination 1959–1971,” exhibition catalog (Dublin: Municipal Gallery of Modern Art, 1971): 10–11 Download PDF
    Chapter  28:  Desmond Rushe, “You Must See This Exhibition!,” in Tatler’s Parade, Irish Independent (October 28, 1971): 12 Download PDF
    Chapter  29:  With Love (and Hate) from Paris Download PDF
    Chapter  30:  Anonymous, “Exhibition of American Painters in Paris,” translated from French by Richard George Elliott, originally published as “Exposition de peintres américains à Paris,” in Cahiers d’art 22 (1947): 330 Download PDF
    Chapter  31:  Michel Seuphor, “Paris—New York City 1951,” translated from French by Richard Elliott, originally published as “Paris—New York,” in Art d’aujourd’hui 1–2, no. 6 (1951): 4–15 Download PDF
    Chapter  32:  Michel Tapié, “Jackson Pollock Is with Us,” first translated from French and ­published in Be-Bomb: The Transatlantic War of Images and All That Jazz (Madrid: Museo Nacional Centro de Arte Reina Sofía, 2007), 528–538, originally published as “Jackson Pollock avec nous,” in Jackson Pollock (Paris: Galerie ­Facchetti, 1952), unpaginated Download PDF
    Chapter  33:  Christian Zervos, “Mark Tobey,” translated from French by Richard George Elliott, originally published as “Mark Tobey,” in Cahiers d’art 29, no. 2 (1954): 261–263 Download PDF
    Chapter  34:  Pierre Restany, “America and Europe,” translated from French by Richard George Elliott, originally published as “L’Amérique aux Américains,” in Ring des Arts no. 1 (1960): 22–31 (excerpt) Download PDF
    Chapter  35:  Alain Jouffroy, “Robert Rauschenberg,” translated from French by Susan de Muth, originally published as “R. Rauschenberg,” in L’œil (May 1964): 30–34 Download PDF
    Chapter  36:  Marcelin Pleynet, “On American Painting (Conclusion),” translated from French by John Goodman, originally published as “De la peinture américaine (Fin),” in Les Lettres françaises 1178 (1967): 33 Download PDF
    Chapter  37:  Catherine Millet, “Painting which Viewing Disperses,” translated from French by Susan de Muth, originally published as “David Salle: La peinture que le regard disperse,” in art press 89 (1985): 18–22 Download PDF
    Chapter  38:  Elisabeth Lebovici, “The American Scene: The Middle Kingdom,” translated from French by Susan de Muth, originally published as “La scène américaine: l’empire du milieu,” in art press 118 (1987): 24–26 Download PDF
    Chapter  39:  Art Turned Upside Down: American Art in Belgium 1958–1978 Download PDF
    Chapter  40:  Léon-Louis Sosset, “In the American Pavilion: From Primitives to Abstracts by Way of the Naive,” translated from French by Susan de Muth, originally published as “Au Pavillon Américain: des primitifs aux abstraits en passant par les naïfs,” in Beaux-Arts (May 30, 1958): 7 (excerpt) Download PDF
    Chapter  41:  Francine-Claire Legrand, “New American Painting,” translated from French by Susan de Muth, originally published as “La nouvelle peinture américaine,” in Quadrum 6 (1959): 174–175 Download PDF
    Chapter  42:  Marcel Broodthaers, “Beware the Challengers! Pop Art, Jim Dine, and the Influence of René Magritte,” translated from French by Richard George Elliott, ­originally published as “Gare au Defi! Le Pop art, Jim Dine et l’influence de René Magritte,” in Beaux-Arts 1029 (November 14, 1963): 9 Download PDF
    Chapter  43:  Geert Bekaert, “Happening,” translated from Flemish by Vivien D. Glass, originally published as “Happening,” in Pop. Het wezen van de kunst (Leuven: Davidsfonds, 1966), 33–35, and in Verzamelde opstellen, deel 2: Los in de ruimte 1966–1970, ed. Mil De Kooning and Herman Stynen (Brussels: Stichting Monumenten- en Landschapszorg, 1986), 33–35 Download PDF
    Chapter  44:  Jean Dypréau, “Pop: The American New Wave and the London–New York Axis,” translated from French by Richard George Elliott. Originally published as “Pop: La nouvelle vague américaine et l’axe Londres–New York,” in Beaux-Arts 1127 (April 28, 1966): 7 Download PDF
    Chapter  45:  Adolf Merckx, “Art in Process,” translated from Flemish by Paul Ferguson, originally published as “Art in Process,” in De Vlaamse Gids 3, no. 4 (March 1970): 24–26 Download PDF
    Chapter  46:  Marc Callewaert, “The Piece Need Not Be Built,” translated from Flemish by Vivien D. Glass, originally published as “Het werk moet niet noodzakelijk gemaakt worden,” in Gazet van Antwerpen (December 4, 1973): 212–215 Download PDF
    Chapter  47:  Karel Geirlandt, “From Pop to Hyperrealism,” translated from French by Richard George Elliott, originally published as “Du Pop à l’Hyperréalisme,” in Hyperréalisme: Maîtres Américains et Européens (Brussels: Isy Brachot Editeur, 1973), 9–21 (excerpt) Download PDF
    Chapter  48:  Georges Roque, “Our American Myth,” English version of a text published in the exhibition catalog American Art in Belgium (Palais des Beaux-arts de Bruxelles, May 25–August 28, 1977), 18–24 Download PDF
    Chapter  49:  Collective, “American Art in Belgium: Art Turned Upside Down,” translated from Flemish by Paul Ferguson, originally published as “American Art in Belgium: De Kunst Omgekeerd,” and simultaneously in French as “American Art in Belgium: L’Art à l’Envers,” 1977 Download PDF
    Chapter  50:  The Reception of American Art in the Netherlands Download PDF
    Chapter  51:  Anonymous [Cees Doelman], “American Art: Too Much Action, Too Little Reflection,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Amerikaanse kunst: te veel actie, te weinig bezinning,” in Nieuwe Rotterdamse Courant (March 10, 1956) Download PDF
    Chapter  52:  C. H. Wentinck, “Anti-Form as Goal and Reason: Coincidence Decides All in American ‘Action Painting,’” translated from Dutch by Jan De Meyer, originally published as “De anti-vorm als doel en reden: Toeval allesbepalend in Amerikaanse ‘Action-Painting,’” in Elseviers Weekblad (November 1, 1958) Download PDF
    Chapter  53:  K. Schippers, “Affirmative Irony: A New Way of Observing,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Bevestigende ironie: Een nieuwe wijze van observeren,” in De Groene Amsterdammer (July 18, 1964): 8 Download PDF
    Chapter  54:  W.A.L. Beeren, “A New Regimen for Color,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Een nieuw regiem voor de kleur,” in Museumjournaal voor moderne kunst 11, no. 7 (1967): 180–188 Download PDF
    Chapter  55:  R.H. Fuchs, “American Modernism,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Amerikaans modernisme,” in De Gids 131, no. 1 (1968): 62–68 Download PDF
    Chapter  56:  E. Develing, “Introduction,” Minimal Art, bilingual exhibition catalog (Gemeentemuseum, The Hague, 1968), 11–16 Download PDF
    Chapter  57:  Carel Blotkamp, “The Dilemma of the Square Pegs,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Het dilemma van de losse schroeven,” in Vrij Nederland (April 12, 1969) Download PDF
    Chapter  58:  Antje von Graevenitz, “Paint is Paint: Back to the Basics of Painting: The Stedelijk is Not Risking Much with ‘Fundamental Painting,’” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Verf is verf: Terug naar de basis van het schilderen: Met ‘fundamentele schilderkunst’ riskeert het Stedelijk weinig,” in Vrij Nederland (May 31, 1975): 31 Download PDF
    Chapter  59:  Cor Blok, “Reality According to Dennis Oppenheim,” translated from Dutch by Cor Blok, originally published as “Dennis Oppenheim en zijn interpretaties van de werkelijkheid,” in De Groene Amsterdammer (April 28, 1976): 17 Download PDF
    Chapter  60:  Tineke Reijnders, “‘My Paintings are Crazy’: Julian Schnabel’s Pottery Shards per Running Meter in the Stedelijk,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “‘Mijn schilderijen zijn krankzinnig’: Julian Schnabels potscherven per strekkende meter in het Stedelijk,” in De Groene Amsterdammer (February 17, 1982): 17 Download PDF
    Chapter  61:  American Art in Cold War West Germany Download PDF
    Chapter  62:  Egon Vietta, “Non-Objective Painting: An American Show in Karlsruhe,” translated from German by Richard George Elliott, originally published as “Gegenstandlose Malerei: Eine amerikanische Schau in Karlsruhe,” in Die Zeit (April 4, 1948) Download PDF
    Chapter  63:  Albert Buesche, “The Principle of No Dogmas: American Painting at Rathaus Schöneberg,” translated from German by Margarethe Clausen, originally published as “Prinzip der Dogmenlosigkeit: Amerikanische Malerei im Schöneberger Rathaus,” in Der Tagesspiegel (September 19, 1951) Download PDF
    Chapter  64:  Fritz Nemitz, “Is there Such a Thing as American Painting? A Cross-Section in Munich,” translated from German by Richard George Elliott. Originally published as “Gibt es ein amerikanische Malerei? Ein Querschnitt in München,” in Frankfurter Allgemeine Zeitung (December 5, 1951) Download PDF
    Chapter  65:  Doris Schmidt, “Art from Over There: On the American Exhibition in Frankfurt,” translated from German by Margarethe Clausen, originally published as “Die Kunst von drüben. Zur amerikanischen Ausstellung in Frankfurt,” in Frankfurter Allgemeine Zeitung (November 15, 1955) Download PDF
    Chapter  66:  Rike Wankmüller, “Tachists in the USA,” translated by Iain Boyd Whyte, originally published as “Tachisten in der USA,” in Das Kunstwerk 9 no. 5 (1955/1956): 23–26 (excerpt) Download PDF
    Chapter  67:  Will Grohmann, “The New American Painting: On an Exhibition at the Hochschule für bildende Künste,” translated from German by Richard George Elliott, originally published as “Die neue amerikanische Malerei: Zu einer Ausstellung in der Hochschule für bildende Künste,” in Der Tagesspiegel (September 7, 1958) Download PDF
    Chapter  68:  Richard Huelsenbeck, “Pop Art,” translated from German by Iain Boyd Whyte, originally published as “Pop Art,” in Frankfurter Allgemeine Zeitung (April 18, 1963) Download PDF
    Chapter  69:  Doris Schmidt, “Pop Art as a Mission: Eleven Pop Artists at Friedrich und Dahlem in Munich,” translated from German by Margarethe Clausen, originally published as “Pop Art als Mission: Elf Pop-Artists bei Friedrich und Dahlem in München,” in Süddeutsche Zeitung (March 15, 1966) Download PDF
    Chapter  70:  Rolf-Gunter Dienst, “Documenta 4,” translated from German by Iain Boyd Whyte, originally published as “Die documenta IV,” in Das Kunstwerk 11, no. 11–12 (August–September, 1968): 36, 53–56 (excerpt) Download PDF
    Chapter  71:  Max Imdahl, “Barnett Newman, Who’s Afraid of Red, Yellow and Blue III”, translated from German by Iain Boyd Whyte, originally published in Max Imdahl, Newman, Who’s Afraid of Red, Yellow and Blue III, Werkmonographien zur bildenden Kunst, no. 147 (Stuttgart: Reclam, 1971), republished in Max Imdahl, Gesammelte Schriften, vol. 1, Zur Kunst der Moderne, ed. Angeli Janhsen-Vukic´evic´ (Frankfurt am Main: Suhrkamp, 1996), 244–270 (excerpt) Download PDF
    Chapter  72:  Eduard Beaucamp, “Olympic Misery,” translated from German by Iain Boyd Whyte, originally published as “Olympische Misere,” in Kunstjahrbuch 2 (1972): 77–80 (excerpt) Download PDF
    Chapter  73:  Jutta Held, “Minimal Art—An American Ideology,” translated from German by Iain Boyd Whyte, originally published as “Minimal Art—Eine Amerikanische Ideologie,” in Neue Rundschau 84, no. 4 (1972): 660–677, reprinted in Gregor Stemmrich, ed., Minimal Art: eine kritische Retrospektive (Dresden and Basel: Verlag der Kunst, 1995), 444–470 (excerpt) Download PDF
    Chapter  74:  Lucius Grisebach, “Stations of American Art in Europe after 1945,” translated from the German by Iain Boyd Whyte, originally published as “Stationen amerikanischer Kunst in Europa nach 1945,” in Dieter Honisch and Jens Christian Jensen, eds., Amerikanische Kunst von 1945 bis heute (Cologne: DuMont, 1976), 9–23 (excerpt) Download PDF
    Chapter  75:  Karl Stroher and Rudolf Zwirner, “Statements by Collectors and Gallerists,” translated from the German by Iain Boyd Whyte, originally published in Dieter Honisch and Jens Christian Jensen (eds.), Amerikanische Kunst von 1945 bis heute (Cologne: DuMont, 1976), 135–137, 142–143 Download PDF
    Chapter  76:  Klaus Honnef, “Regaining the Power of Speech: Notes on American Postmodern Art,” translated from German by Richard George Elliott, originally published as “Die wiedergewonnene Sprachfähigkeit: Stichworte zur amerikanischen Kunst der Postmoderne,” in Kunstforum 61 (May 1983): 25–31 (excerpt) Download PDF
    Chapter  77:  Johannes Stahl, “‘The Train is a Part of Me’: New York Graffiti Artist Lee Quinones in Conversation with Johannes Stahl,” translated from German by Richard George Elliott, originally published as “‘Der Zug ist ein Teil von mir’: der New York Sprayer Lee Quinones,” interview in Kunstforum 9 (October–November 1987): 284–286 Download PDF
    Chapter  78:  Markus Brüderlin, “Changes in a Valid Standard for Good Art: Donald Judd in Conversation,” translated from German by Iain Boyd Whyte, originally ­published as “Donald Judd, Veränderungen in einem für gute Kunst gültigen Maß: Ein Gespräch mit Markus Brüderlin,” in Kunstforum 95 (June–July 1988): 111–121 (excerpt) Download PDF
    Chapter  79:  Anon., “Jeff Koons: Total Consumption—from The New to Equilibrium; from Intoxication to Class Structures in Stainless Steel,” translated from German by Richard George Elliott, originally published as “Konsum Total—Vom Neuen zum Gleichgewicht und Rausch und zur Skulptur der Klassenstrukturen aus rostfreiem Stahl,” in Kunstforum 92 (December 1987–January 1988): 84–85 Download PDF
    Chapter  80:  Wolfgang Lange, “Andy Warhol or Reprocessing Art in the Spirit of the Culture Industry,” translated from German by Richard George Elliott, originally published as “Andy Warhol oder die Wiederaufbereitung der Kunst aus dem Geiste der Kulturindustrie,” in Kunstforum International 92 (December 1987–January 1988): 149–157 (excerpt) Download PDF
    Chapter  81:  “Muses with a Cold” Download PDF
    Chapter  82:  Gerhart Egger, “Peintres Naïfs: American Folk Painting from 1670 until Today,” translated from German by Iain Boyd Whyte, originally published as “Vorwort,” in Peintres naïfs: Amerikanische Volksmalerei von 1670 bis heute, exhibition catalog, Österreichisches Museum für angewandte Kunst (Vienna: Reimer, 1954), 6–7 Download PDF
    Chapter  83:  Otto F. Beer, “America’s Art as Guest,” translated from German by Iain Boyd Whyte, originally published as “Amerikas Kunst zu Gast,” in Neues Österreich (May 5, 1956): 3 Download PDF
    Chapter  84:  Otto Wladika, “Modern Art from the USA,” translated from German by Iain Boyd Whyte, originally published as “Moderne Kunst aus der USA,” in Österreichische Volksstimme (May 10, 1956) Download PDF
    Chapter  85:  Gertrude Fröhlich, “Stabiles, Labiles, and Mobiles,” translated from German by Iain Boyd Whyte, originally published as “Stabiles, Labiles und Mobiles,” in Die Furche (May 12, 1956) Download PDF
    Chapter  86:  Anonymous, “Modern American Art in the Shadow of Europe,” translated from German by Iain Boyd Whyte, originally published as “Moderne amerikanische Kunst im Schatten Europas,” in Linzer Volksblatt (May 24, 1956): 6 Download PDF
    Chapter  87:  Otto Antonia Graf, “America: Death and Art,” translated from German by Iain Boyd Whyte, originally published as “Amerika: der Tod und die Kunst,” Pop etc., exhibition catalog (Vienna: Museum des 20. Jahrhunderts, 1964), 47ff.; republished in Antonio Graf, Die Erde ist also ein edler Stern: Gesammelte Schriften 1963–1992 (Vienna: Böhlau, 1997), 126–133. Download PDF
    Chapter  88:  Werner Hofmann, “The Pseudo-Reality of the ‘Happening’,” translated from German by Iain Boyd Whyte, originally published as “Die Pseudo-Wirklichkeit des ‘Happening’,” in Merkur, 20, no. 215 (February 1966): 193–194 (excerpt) Download PDF
    Chapter  89:  Dieter Ronte, “Kienholz in Vienna,” originally published in English and German in J. Harten (ed.), Edward and Nancy Kienholz: 1980s, bilingual exhibition catalog (Düsseldorf/Vienna: Städtische Kunsthalle/Museum des 20. Jahrhunderts, 1989), 12–13 Download PDF
    Chapter  90:  Isle of the Blessed—Audiences Shocked: American Art in Switzerland 1945–1990 Download PDF
    Chapter  91:  Adolf Max Vogt, “Americans as Artists: Exhibition at the Kunsthaus in Zurich,” translated from German by Richard George Elliott. Originally published as “Amerikaner als Künstler: Ausstellung im Zürcher Kunsthaus,” in Neue Zürcher Zeitung (July 28, 1953) Download PDF
    Chapter  92:  Arnold Rüdlinger, “Foreword,” translated from German by Jonathan Blower, originally published as “Vorwort,” in Tendances Actuelles 3 exhibition catalog (Bern: Kunsthalle Bern, 1955), no pagination Download PDF
    Chapter  93:  Max Eichenberger, “Modern Art in the USA,” translated from German by ­Jonathan Blower, originally published as “Moderne Kunst in den USA,” in Die Tat (Zurich) (July 23, 1955) Download PDF
    Chapter  94:  Arnold Rüdlinger, “Through European Eyes,” translated from German by Iain Boyd Whyte, originally published as “Aus europäischer Sicht,” in Die neue amerikanische Malerei, catalog to traveling exhibition (New York: Museum of Modern Art, 1958), no pagination Download PDF
    Chapter  95:  Maria Netter, “The Anniversary Gift of the Swiss National Insurance Society to the Basel Art Museum,” translated from German by Jonathan Blower, originally published as “Die Jubiläumsschenkung der Schweizerischen Nationalversicherungs-Gesellschaft an das Basler Kunstmuseum,” in Das Werk: Architektur und Kunst 47 (1960): 182–184 Download PDF
    Chapter  96:  Georg Schmidt, “Formal Means,” translated from German by Jonathan Blower, originally published as “Die formalen Mittel,” in Umgang mit Kunst (Olten: ­Walter Verlag, 1966), 288–290 Download PDF
    Chapter  97:  Hans Neuburg, “Nihilistic Art,” translated from German by Iain Boyd Whyte, originally published as “Nihilistische Kunst,” in Die Tat (February 22, 1969): 31 Download PDF
    Chapter  98:  Johannes Gachnang, “From Continent to Continent,” translated from German by Richard George Elliott, originally published as “From Continent to Continent,” in Europa/Amerika, exhibition catalog (Cologne: Museum Ludwig, 1986), 337–342 Download PDF
    Chapter  99:  American Art Viewed from Denmark: From Skepticism to Acceptance Download PDF
    Chapter  100:  Albert Mertz, “From a Paris Diary Spring,” translated from Danish by Marianne Ølholm, originally published as “Af en pariserdagbog,” in Louisiana Revy 1 (1963): 3–6 Download PDF
    Chapter  101:  K.G. Hultén, “On Painting in New York after Pollock, that is on Pop Art,” translated from Danish by Marianne Ølholm.Originally published as “Om maleriet i New York efter Pollock. Dvs om Pop-kunsten,” in Louisiana Revy 4 (1964): 10–14. Download PDF
    Chapter  102:  Knud W. Jensen, “Pop Art at the Louisiana,” translated from Danish by Marianne Ølholm, originally published as “Pop-kunst på Louisiana,” in Louisiana Revy 4 (1964): 3 Download PDF
    Chapter  103:  Eric Andersen, “After Cage,” translated from Danish by Marianne Ølholm, originally published as “Efter Cage,” in Dansk Musiktidsskrift (DMT) 2 (1966): 44–46 Download PDF
    Chapter  104:  Per Kirkeby, “Letter from New York: Moving Pictures,” translated from Danish by Marianne Ølholm, originally published as “Brev fra New York: Levende billeder,” in Billedkunst 1 (1967): 6–7 (excerpt) Download PDF
    Chapter  105:  Jane Pedersen, “The New Abstraction,” translated from Danish by Marianne Ølholm, originally published as “Den ny abstraktion,” in Billedkunst 1 (1967): 24–36 (excerpt) Download PDF
    Chapter  106:  Stig Brøgger, “Some Recent Trends,” translated from Danish by René Lauritsen, originally published as “Nogle nyere tendenser,” in A+B 2 (1970): 43–46 Download PDF
    Chapter  107:  Erik Thygesen, “The Atrocity Exhibition,” translated from Danish by Marianne Ølholm, originally published as “Grusomhedsudstillingen,” in A+B 1 (1970): 40–42 Download PDF
    Chapter  108:  Øystein Hjort, “The 1980s: A Forest of Signs,” translated from Danish by Marianne Ølholm, originally published as “1980erne: En skov af tegn,” in Amerikansk Kultur efter 1945, ed. Øystein Hjort, Paul Levine, Jakob Levinsen, and Peter Schepelern (Copenhagen: Spektrum, 1992), 159–163 Download PDF
    Chapter  109:  Øystein Hjort, “Staged Photography,” translated from Danish by Marianne Ølholm, originally published as “Det iscensatte fotografi,” in Amerikansk Kultur efter 1945, ed. Øystein Hjort, Paul Levine, Jakob Levinsen, Peter Schepelern (Copenhagen: Spektrum, 1992), 165–168 Download PDF
    Chapter  110:  Norway and American Postwar Art during the Cold War Download PDF
    Chapter  111:  Per Hovdenakk, “Abstract Expressionism in Europe and the USA,” translated from Norwegian by Anna Paterson, originally published as “Abstrakt ekspresjonisme i Europa og USA,” in Kunst og Kultur 64 (1981): 77–87 Download PDF
    Chapter  112:  Even Hebbe Johnsrud, “Barnett Newman: The Tragic Dimension in Art,” translated from Norwegian by Anna Paterson, originally published as “Barnett Newman—den tragiske dimensjon i kunsten,” in Kunst og Kultur 66, no. 3 (1983): 18–28 Download PDF
    Chapter  113:  Per Hovdenakk, “Art in the USA Today,” translated from Norwegian by Lucy Moffatt.Originally published as “Kunsten i USA i dag,” in Kunst og Kultur 66, no. 1 (1983): 157–165 Download PDF
    Chapter  114:  Åsmund Thorkildsen, “An Old Master among the Wild Youth,” translated from Norwegian by Lucy Moffatt, originally published as “En gammel mester blant de unge ville,” in Kunst og Kultur 69, no. 1 (1986): 17–30 Download PDF
    Chapter  115:  American Art in Swedish Art Criticism: An Introduction Download PDF
    Chapter  116:  Ludvig Rasmusson, “Pop,” translated from Swedish by Donald S. MacQueen, originally published as “Pop,” in Rondo 3 (1963): 25–32 Download PDF
    Chapter  117:  Torsten Bergmark, “Pop—The American Dream,” translated from Swedish by Donald S. MacQueen, originally published as “Pop—den amerikanska drömmen,” in Dagens Nyheter (February 25, 1964): 3 Download PDF
    Chapter  118:  Öyvind Fahlström, “A Street Full of Presents: New York, October 1961,” Konsthistorisk tidskrift/Journal of Art History 76 no 1–2 (2007), 119–126, translated by Kathryn Boyer and edited by Petrea Frid, Sharon Avery-Fahlstrom and Erik Rune, originally published in Swedish as “En gata full av presenter,” in Konstrevy, 37, no. 5–6 (1961), 176–181 Download PDF
    Chapter  119:  Öyvind Fahlström, “Untitled”, translated from Swedish by Donald S. MacQueen, originally published in the exhibition catalog Claes Oldenburg: skulptur och teckningar 17 Sept–30 Okt 1966 (Stockholm: Moderna Museet, 1966), 56 Download PDF
    Chapter  120:  Öyvind Fahlström, “Andy Warhol: Pop Artist with No Inhibitions—‘Everybody Should Be Machines’,” translated from Swedish by Donald S. MacQueen, originally published as “Andy Warhol: Popkonstnär utan hämningar—‘Alla Borde Vara Maskiner’,” in Dagens Nyheter (February 4, 1968): 2–3 Download PDF
    Chapter  121:  Leif Nylén, “Pentagon Structures?,” translated from Swedish by Donald S. MacQueen, originally published as “Pentagon Structures?,” in Paletten 3 (1968) Download PDF
    Chapter  122:  Tord Bæckström, “New York Collection—A Donation to the People of Sweden: Test-Tube Art,” translated from Swedish by Donald S. MacQueen, originally published as “New York Collection, en donation till det svenska folket: Provörkonst,” in Paletten 1 (1974): 36–37 Download PDF
    Chapter  123:  Jan Håfström, “Sights in New York,” translated from Swedish by Donald S. MacQueen, originally published as “Syner i New York,” in Paletten 2 (1977): 2–4 Download PDF
    Chapter  124:  Olle Granath, “Viewpoint,” English translation by Keith Bradfield, originally published in Swedish and English as “Blickpunkter/Viewpoints,” in Flyktpunkter/Vanishing Points, edited by Olle Granath and Margareta Helleberg (Stockholm: Modern Museet, 1984), 47–60 Download PDF
    Chapter  125:  Ulf Linde, “Claes Oldenburg,” translated from Swedish by Donald MacQueen, originally published as “Claes Oldenburg” in Efter hand: Texter 1950–1989, ed. Ulf Linde and Lars Nygren (Stockholm: Bonnier, 1985), 264–266 Download PDF
    Chapter  126:  An Introduction to American Art in Finland after 1945 Download PDF
    Chapter  127:  Sakari Saarikivi, “American Art Exhibition,” translated from Finnish by Jyri Kokkonen, originally published as “Amerikkalaisen taiteen näyttely,” in Suomen Sosialidemokraatti (February 3, 1951) Download PDF
    Chapter  128:  Einari J. Vehmas, “American Contemporary Art,” translated from Finnish by Jyri Kokkonen, originally published as “Amerikan nykytaidetta,” in Uusi Suomi (January 17, 1954) Download PDF
    Chapter  129:  Einari J. Vehmas, “Past and Present in the Guggenheim Collection,” translated from Finnish by Jyri Kokkonen, originally published as “Nykyisyys ja menneisyys Guggenheimin kokoelmassa,” in Uusi Suomi (October 13, 1957) (excerpt) Download PDF
    Chapter  130:  Lars-Gunnar Nordström, “The Magic of the Sign: Observations on the Arts in America,” translated from Finnish by Jyri Kokkonen, originally published as “Merkin magia—huomioita Amerikan taide-elamasta,” in Taide 1 (1961): 19–23 Download PDF
    Chapter  131:  Juhani Harri, “Pop,” translated from Finnish by Jyri Kokkonen, originally published as “Pop,” in Taide 4 (1964): 176–181 Download PDF
    Chapter  132:  Pekka Tarkka, “Pop—Ecclesiastic Art for Machines?,” translated from Finnish by Jyri Kokkonen, originally published as “POP—koneiden kirkkotaidettako,” in Uusi Suomi (April 19, 1964) Download PDF
    Chapter  133:  Petra Uexküll, “Here and Overseas,” translated from Finnish by Jyri Kokkonen originally published as “Meiltä ja meren taka,” in Suomi–Finland–USA 2–3 (May 18, 1965): 20 Download PDF
    Chapter  134:  Antero Kare, “Art as a Weapon of the Cold War: The Image of America is Seeking its Form,” translated from Finnish by Jyri Kokkonen, originally published as “Amerikan kuva etsii muotoaan: Taide kylman sodan aseena,” in Taide 1 (1975): 20–23 Download PDF
    Chapter  135:  Sakari Määttänen, “The Other Face of America,” translated from Finnish by Jyri Kokkonen, originally published as “Amerikan toiset kasvot,” in Taide 6 (1975): 24–27 Download PDF
    Chapter  136:  Timo Valjakka, “Spiral, Center, and Edges,” translated from Finnish by Itha O’Neill, originally published as “Spiraali, keskus ja reunat,” in Taide 1 (1983): 19–22 Download PDF
    Chapter  137:  Kimmo Sarje, “Neo-Geo—The New Clothes of Abstract Art,” translated from Finnish by Itha O’Neill, originally published as “Neogeo—Abstraktin taiteen uudet vaatteet,” in Helsingin Sanomat (April 5, 1987) and reprinted in the author’s anthology Romantiikka ja postmoderni (Helsinki: Valtion painatuskeskus, 1989), 196–207 Download PDF
    Chapter  138:  Timo Valjakka, “Sketches for Heroic Acts,” translated from Finnish by Itha O’Neill, originally published as “Luonnoksia sankarillisiin tekoihin: Claes Oldenburg Tampereen taidemuseossa 12.1.– 6.3.1990,” in Arkkitehti 2 (1990): 22 Download PDF
    Chapter  139:  Leena-Maija Rossi, “Lost by Society and the Disneyland of Art,” translated from Finnish by Jyri Kokkonen, originally published as “Yhteiskunnan kadottamat ja taiteen Disneyland,” in Helsingin Sanomat (January 28, 1990) Download PDF
    Chapter  140:  Text copyright Download PDF
    Colour PlatesA Download PDF
    Colour PlatesC Download PDF
    Colour PlatesB Download PDF
    Index Download PDF
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