Index

Gibson, Ann Eden

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Index

Ann Eden Gibson

Abstract Expressionism: Other Politics

Index

Author

Ann Eden Gibson

PublisherYale University Press

CopyrightYale University Press 1999

https://doi.org/10.37862/aaeportal.00006.014

Stable URL: https://aaeportal.com/?id=-14804

Index

Names of artists whose biographical sketches are at the end of the book appear in boldface type. The biographical sketches are not indexed.

Abrams, Ruth, xi, xxv, xxxv, 131–32, 152–53; Fruitscape, 152; Leda and the Swan, 153; St. Tropez (Fisherman’s Cove), 153; Thoughts After Hiroshima, 153

absence/lack, xxvi, xxix, 147, 154, 165, 232n67

Abstract Expressionism: The Critical Developments, xi

abstraction, xxvii, xxviii, 32, 36, 45, 47, 88, 94, 106, 119, 122, 140, 165, 229n93; biomorphic, 63, 80, 140; and class, 99; geometric, 63, 81, 84, 132; and race, 122, 225n28; styles within, 100–101, 128, 147; and gender, 157. See style

ACA Gallery, 120, 152

Actaeon, 12

Action Painting, xxvii, 14

African American(s), xxv, xxvi, xxxii–xxxiii, xxxv, xxxvii, 30–32, 57, 59; artists, 57, 60, 65–72; exhibition of art, 111, 120–21, 206n76; Contemporary Art of the American Negro, 71; white beliefs/perceptions of, 65, 117–23, 153; and working class, 67, 69; as a term, xiv, 59. See men, women

African art, 48, 65, 45, 108; Fang reliquary figure, 45, 46, 39; Kifwebe mask, 162; Kota reliquary figure, 157–59; Liberia (Poro) staff, 125, 135; influence on European American art, xxxiii, 36, 38, 45–48, 65, 76, 125–26; on African American art, xxii, xxxiii, 69, 71, 108, 114, 123, 128, 157, 162, 224n2; on Brazilian art, 60; on Picasso, 48. See Museum of Modern Art, African Negro Art

African culture(s), 66–67, 128

African heritage, 69, 71, 115, 122

“African Idiom,” 68, 112

AfriCobra, 113

Afrocentrism, 113

Agee, James: Let Us Now Praise Famous Men, 44

ageing, 140

alienation, xxxiii

allegory, 45, 88–90, 99

Alloway, Lawrence, xxi, xxviii; Topics in American Art since 1945, xxix

Alston, Charles, xxxi, 107–10, 113, 222n52; his commercial art, 109; album cover for Ellington, 109; influence on Rose Piper, 111; African Theme (1949–50), 108; African Theme (1952), 108–9; Blues Singer II, 109; Blues Singer I, 109; Figures at Table, 108; Flowers of Evil, 108; Golden State Life Insurance Company murals, 107–8; Painting, 108; Palaver, 108; Tropic Variation, 108

Althusser, Louis, 26

ambiguity, ix, xxvi, xxvii, 19–20, 55, 101, 103

Americana, 64

American Artists’ Congress, 44

American identity, 31, 32, 43–45, 65, 122, 157

American Scene painting, 5, 65

ancestral, 72, 113, 114, 115, 163

Anderson, Judith, 51

anecdote, 27, 58

anti-intellectualism, 12

apoliticism, ix, xxvi

architectural, 36

Arendt, Hannah, xxvii, 28

Armenians, 227n53

Armstrong, O. K., 64

Art Digest, 111, 147

art history, xxxi

artifact(s), 47, 65

Artists’ Gallery, 127, 146, 147

Art News, 85, 111, 130

Art Students League, 64, 65, 83, 111, 119

Asher, Elise, 143

Ashton, Dore, xxviii; The Life and Times of the New York School, xxix

Asian, xxxv; as a term, xiii

assimilation, 64, 69

Atelier 17, 153, 163

Atkinson, Brooks, 18

Atlanta University Annual Art Exhibits, 111, 121

Auden, W. H., 112; The Age of Anxiety, 18

authenticity, xxvii, xxxvii, 20, 24, 27, 37, 58, 101, 112, 126, 159, 161; and style, 88

avant-garde, xx, xxvi, xxxvi, xxxvii, 2, 20, 35, 59; history of, 43, 163; magazines, ix

Avery, Sally, 139

Bakhtin, M. M., 214n8

Barnes, Albert, 222n54

Barrell, Lloyd, 32

Barrell, Robert, 64, 119

Barrer, Gertrude, 146–47; The Apocalypse: War and the Machine, 147; Metamorphosis, 146; Untitled, 146

Barthes, Roland, 26, 58, 191n7

Bataille, Georges, xii, 166, 214n10; The Accursed Share, xii

Baur, John, 55, 83

Baziotes, William, xxxiii, 11, 37, 222n52; Night Form, 50

Bearden, Romare, x, xxvi, xxix, xxxiv, 68–69, 76, 118, 119, 120, 121, 123 ; on cartooning, 109; Annunciation, 69; The Blues Has Got Me, 31, 32; Two Figures, 61; Untitled, 62; Woman with an Oracle, 50

beauty, 14, 34, 85–56, 95, 155, 166, 167

Beckmann, Max, 108

Benton, Thomas Hart, 5

Bess, Forrest, xxxii, 130–32; The Warrior, 130–31; Untitled (The Dicks), 131; Untitled, 131

Bhabha, Homi, 214n8

Billops, Camille, x, 116–17

binarisms, xxviii, 7, 160; male and female, 49, 54–55, 129, 130, 156

biography, xxxii, 58

bisexuality, 49, 129, 212n64

black: as a term, xiv, 214n9

Black art, 69, 222n52

blackface, 69

black magic, 68, 111

Blaine, Nell, xxxiv, 100–101; on jazz, 205n62; Greenberg on, 221n36; Composition (Duck), 100; The Great White Creature, 100; Grey Motif, 100; Lester Leaps, 205n62; Monument, 101; Red and Black, 101

Blesh, Rudi, 6

blindness, 49, 142, 165

blood, xxxiii, 12, 115, 150, 212n69, 217n57, 232n67

blues, 31, 32, 110, 111, 112, 119, 139, 205n66

Bocour, Leon, 5

Bogart, Humphrey, 5; in The Two Mrs. Carrols, 11

Bohr, Niels, 44

Bollingen Foundation, 48

bop, 31–33, 122

Bourgeois, Louise, x, xi, xxxii, 24, 125, 142, 154–55, 164–65; Breasted Woman, 134; Corner Piece, 125; Femme Couteau, 164; Femme Maison, 142; Persistent Antagonism, 125; Pregnant Woman, 142; Sleeping Figure, 164

Brach, Paul, xxxiv

Brancusi, Constantin, 154

Braque, Georges: Uranie, 50

Brazilian influence, 60

breasts, 52–53, 55, 212n70

Brooklyn College, xxxvi

Brooklyn Museum, 45

Brown, Milton, 122

Brown, Sterling, 111, 206n66

Browne, Byron, 50

Bruening, Margaret, 147

Bryson, Norman, 36

Bultman, Fritz, x, 11–12, 143–44; The Hunter, 12

Burke, Selma, 226n33

Burroughs, William, 51

Busa, Peter, 64

Butler, Judith, xiv

Cahill, Holger, 84

Calas, Nicolas, 154

California School of Fine Arts, 114

Callery, Mary, xiv

camp, 23

Campbell, Joseph, 48

Camus, Albert, xxvii

canon, xix, xxi, xxii, xxxi–xxxii, xxxiii, xxxviii, 87, 163, 192n7, 214n8; and Judaism, 95–96; and metaphor, 99

capitalism, 73

Carmean, E. A.: American Art at Mid-Century: The Subjects of the Artist, xxxi, 25–27

castration, 49, 198n28

Catholicism, 90, 94

Caucasians, xxxiv, 65

Cavallon, Giorgio, 152

Celtic manuscripts as influence, 135

Certeau, Michel de, 214n8

Cézanne, Paul, 25, 47

Chamberlain, John, xxxiv

chance/accident, 37, 153

Chave, Anna, 136

children’s art, 20, 161

China/Chinese, xxxiv, xxxvi, 15, 20, 90, 153; influence on art, 94, 219n96

Christianity, 88–90, 115

city, 130

Clarke, Claude, 120

class, 69, 99–100, 111, 112, 122

Club, The, ix, xxv, 21, 122, 132, 152–53

Coates, Robert, 109

Coker, Gylbert, xxi

Cold War, xxvi

collage, 85, 88

Collier, Oscar, 64

color, 48, 55, 78–79, 86, 87, 100, 111, 143

commercial art, xxxvii, 109, 112

commercialism, xxiv, 38, 132, 166

Communism, xxiii, xxv, xxv, 18, 19, 40, 44, 146

composition, allover: ix, xxvi, xxvii, 68, 91, 101, 103–04, 114, 128, 129, 132

Cooper, Gary, 5

Corbusier, Le, 36

Corcoran, 121, 152

Cortor, Eldzier, 114

cowboy, 31

crafts, xxxvi, 36

Craven, David, 73–74

Creeley, Robert, 2

Crichlow, Ernest, 120

criticism, xxv, 11, 87, 210n42

Cubism, 19

Day, Esther Worden, 233n76

“death of the author,” 40, 58

DeCarava, Roy, 31, 32; Two Women, Mannequin’s Hand, 31; Ellington #9, Session Break, 32

decontextualization, 49

decorative, xx, xxxvii, 10, 34–37, 76, 129, 212n66; and class, 99, 125, 144, 166

Dehner, Dorothy, 11, 95, 120, 139, 196n48, 208n107; Damnation series, 140; Untitled, 140–41; Desert, 140; Living and Dead; Untitled, 140

Delaney, Beauford, x, xi, xii, xxviii, xxxiv, 101–06, 119, 122; Elaine de Kooning on, 106; The Burning Bush, 103, 104; Can Fire in the Park, 103, 104; Greene Street, 102–03; Self-Portrait, 103, 132; Still Life with Snake and Bird, 105; Untitled, 105–06

Deleuze, Gilles, “Kafka: Towards a Minor Literature,” 214n8; and Félix Guattari, The Anti-Oedipus, 26

D’Emilio, John, xiv

democracy, 44, 90

Denby, Edward, xxvii

Deren, Maya, 114

derivative, xxxi, 7, 10, 36, 78, 113, 135

Derrida, Jacques, 19, 26, 213n74, 214n8

Deutsch, Helene, 147–48

Dewey, John, 124

D’Harnoncourt, René, 44

difference, 99, 123, 217n57, 60

Diggory, Terence, xxxv

disinterest, xxvii, 58

diversity, 45

divorce, 147

Doane, Mary Anne, 157

domestic/domesticity, 6, 36, 37, 73, 95, 112, 134, 135, 138, 139–56, 164; and men, 143–44

Dondero, Sen. George, 146

double voice/vision/consciousness, xxxi, xxxii, 32, 107, 123, 160, 162

Douglas, Aaron, xxix

Downtown Gallery, 66, 120

draft, the, 10

Driskell, David, xxi, 69

Du Bois, W. E. Β., xxxii, 107, 160, 214n8

Duchamp, Marcel, 164

Duel in the Sun, 64

Dunham, Katherine, xxii, 114, 159, 233n82

Egan, Charles, Gallery, xi, 63, 221n48

El Greco, 37

Ellington, Duke, 32, 73, 109, 72

Ellison, Ralph, xxiii, 57, 91, 119–20

Emerson, Ralph W., 43

employment, 134, 135, 139, 140, 153, 230n27

Ernst, Max, 124, 125

essential, the, 47, 72–73, 77

“essential eight,” xx, xxii, xxvi, xxxi, xxxii, xxxiv, 100, 221n48

ethnicity, 40, 60, 76

ethnocentrism, xix

Ethnology, Bureau of: Annual Reports, 3, 215n31

everyday, the, 85

excess, xii, 36, 54, 160

exhibition, 202n17, 206n76, 210n40. See also names of museums, galleries

existentialism, xxvii, 18, 19, 20, 27, 28, 34; and commercial art, 109

exoticism, 47, 61

eye, representation of, 49, 55, 139

Fabian, Johannes: Time and the Other, xxxvi

fabric design, 129, 159

Fang reliquary figure, 45, 46

Farber, Manny, 5

father, 49

fear, 18, 19, 150, 163, 164, 218n71; white, 57, 61, 115, 157

Federation of American Painters and Sculptors, 44

feminine, xxxiii, 7, 9, 10, 11, 26, 35, 230n23; power of, 49, 54; representing the feminine, 10, 36, 49, 54–55, 150, 157, 163–65; feminization of art, 7, 10, 36, 55, 84

feminists, 124

Fenichel, Otto, 128–29

Ferber, Herbert, xxiii, xxxv, 6–7, 14, 28; He Is Not a Man

figuration, ix, xxii, 4, 90, 99, 132, 153

film noir, 53

Fine, Perle, xxxii, 80, 87–88; Atmospheric, 80; Child with Head Thrown Back, 80, 88; Inflated Ego, 87; Maze, 80, 88; Nautical Composition Provincetown, 87

fine art, xxxvi, 109

Firestone, Evan, 12

flatness, ix, xx, xxvi, 31, 68, 81, 85, 101, 103, 111, 132, 143

folk, 34, 65, 69, 110, 111, 112, 122

formal/formalism, xxvi–xxvii, xxxiii, 32, 46, 47, 59, 94, 147

Foucault, Michel, 19, 26, 58, 191n7, 213–14n8

Frank, Robert, 32

Frankenthaler, Helen, xxxiv

freedom, xx, xxiv, xxvi, 27, 37, 38, 44, 63, 72, 90, 115, 164

Fried, Michael, 59

Frost, Rosamond, 10

Fuller, Buckminster, 232n68

Fuss, Diana, xiv

Gadamer, Hans-Georg, xix, xxxviii, 115

Galerie Neuf, 146

Gates, Henry Louis, 214

Gauguin, Paul, 45

Gee, Yun, xxxvi

Genauer, Emily, 3

gender, xx, xxxii, xxxiii, 32–33, 36–37, 40–42, 157; indeterminate, 49, 91, 163; in Jung, 48, 129; race and, 54, 72–76; as a term, xiii

generative/genitalia: female, 49, 127; male, 49, 53, 155

genius/geniuses, 3, 10, 20, 37, 44

gesturalism, 63, 68

Gillespie, Dizzy, 31, 119, 122

Goldwater, Robert, 45, 142; Primitivism in Modern Art, 45, 126; and Bourgeois, 125–26

Golubov, Maurice, x

Gomez-Peña, Guillermo, 214n8

Goodman, Paul, 15; “The Emperor of China,” 15

Goodnough, Robert, xxxiv

Gorky, Arshile, xxviii, 149, 156

Gottlieb, Adolph, xxxiii, 29, 45; Sorceress, 50, 53, 85, 214n10; Symbols and a Woman, 76; The Token, 45

Graham, John, 47–48, 60, 85, 108, 139

Graham, Martha, xxix, 63, 159, 230n21

Graves, Morris, xxviii

Graves, Robert, 49

Greek ethnicity, 122

Greek legend: Actaeon, 12; Aeschylus, 48–49; Diana, 12; Euripides, 51; Gea, 52; Leda, 112; Medea, 51; “the Orestes Complex,” 52; Orpheus, 52; Osiris, 52

Greenberg, Clement, xx, xxiv, xxv, xxvii, xxviii, xxix, xxxii, 11, 20, 22, 26, 27, 34–35, 59, 119, 125, 146, 147, 160, 197n2, 202n19, 221n36; definition of Abstract Expressionism, 100; Piper on, 112; Woodruff on, 222n50

Greene, Gertrude, 9; Monumentality

Greene, Stephen, 108

Grippe, Peter, 163, 204n53

Guggenheim, Peggy, 7, 22, 23, 125; Art of This Century, 84, 124, 125, 127, 210n40; Thirty-One Women Artists, 7, 37

Guilbaut, Serge, 44; How New York Stole the Idea of Modern Art, xxxi

Guillaume, Paul, and Munro, Thomas: Primitive Negro Sculpture, 45–46

Guston, Philip, 105

Haiti, 224n5

Hale, Robert Beverly, 121

Halle, David, 99

Handy, W. C., 119

Hare, David: Pregnant Woman, 51

Harlem, 94, 110

Harlem Renaissance, 65, 112, 115, 118–19

Harlem Riots (1943), xxxiii, 115

Harmon Foundation, 118

Hartigan, Grace, xxxiv, xxxv, 9

Hatch-Billops Archives, x

Hayter, Stanley William, 153–54

hero, heroism: xxvi, 19, 24, 34, 40, 43, 44, 54, 57, 59, 121, 131, 134, 164–65; and race, 213nn7, 8; perceived absence of, in Mason, 78; in Sterne, 95; Oedipus, 48; Othello, 48

Hess, Thomas, 20, 23, 24, 44, 94; Abstract Painting, 44

heterosexuality, xxxiii, 11, 12, 30, 40–42, 132; compulsory, 55, 129

“high” art, xxi

Hines, Felrath, 227n47

Hiroshima, 40, 153

Hofmann, Hans, xi, 11–12, 37, 144, 152

Holocaust, 40

homophobia, 15, 60, 131–32

homosexuality, xxv, xxvi, 128–29, 131, 144, 166; rejection/denial of, 10–12, 229n86; representations of, in print, 11; visually, 49, 131. See also men, military

homosocial/homosociality, 40, 131

Hook, Sidney: The Hero in History, 13–14

hooks, bell, xiv

“Hottentot,” 73

Hughes, Langston, 66–67, 112

Hult, Edward T., 4

humanism, xxvi, 40, 223n88

humor as resistance, 230–31n35

Hunter, Sam, 59

Hurston, Zora Neale, 25, 71, 112

iconic, xxix, 55

Iconograph, 146

iconography, 26, 29, 127

identity, xxvi, xxviii, xxxii, 59, 86, 112, 123, 127, 128, 157, 163, 165, 213n5, 216n49, 217n61, 231n37; Greenberg on, 96; Rosenberg on, 48

ideology, xxiv, xxv, xxviii, 193n19, 203n38

illustration, 139; denigrated, 6, 30, 34, 109, 111, 156–57

immigrants, xxxiii

improvisation, 31, 32

inauthenticity, xxxvii

Indian Reorganization Act, 63–64

Indian Space painters, 64–65, 146

individualism, xix, xx, xxiii, xxix, 7, 14, 18–19, 30, 136, 138, 201n4; absence of, 78–79, 88; and Native American culture, 64; critiques of, 38; versus the personal, 100; and style, 88

integration, 71, 116, 123

intellectualism, 13–14, 15

intention, xxi

intentional fallacy, xxxii

interpellation, 18–19

intuition, 61, 63, 127

invisibility, ix, 228n60

Irascibles, xxix, xxx, 11, 143

Jackson, Harlan, 114; Maya Deren, 114; Untitled, 114; Mask No. 11, 115

Janis, Sidney, 124

Japanese, xxxiii, xxxvi; calligraphy, 135

jazz, 31–32, 119, 122, 205n62

Jeffers, Robinson: Medea’s Terrible Triumph, 51

Jenkins Street Bands, 32

Jensen, Alfred, xxxiv

Jewell, Edwin Alden, 31, 44, 124

Jews/Jewish, xxxiii, 53, 95–99, 122–23, 137; anti-Semitism, 227nn45, 53; Greenberg on, 96; Hebrew script as influence, 135

Johns, Jasper, xxxiv

Johnson, Buffie, x, 84–85; Reflections, 85; Soul’s Joy Now I Am Gone, 85; Spiral, 85; Yellow Day, 85

Johnson, William H., 119, 120

Jones, Kelly, xxi

Jones, Lois Mailou, 121

Joseph, Ronald, ix, x, xxxii, xxxiv, 60, 65–66, 94–95, 143–44, 217n57; Untitled, 94; Untitled; Untitled (Paris), 66

Joyce, James: Ulysses, Finnegans Wake, 14

Judd, Donald, 14, 59

Jung, Carl, 48, 50, 149

Kadish, Ruben, 161

Kafka, 147

Kamrowski, Gerome, x

Karpel, Bernard, x

Katz, Jonathan, xxxv

Kees, Weldon, 11, 211n47

Kifwebe mask, 162, 186

Kirschenblatt-Gimblett, Barbara, 99

kitsch, 20

Klee, Paul, xxviii, 10, 127–28, 146, 206n75

Kline, Franz, 120

Knaths, Karl, x

Knoedler, M., and Company, 46

Kooning, Elaine de, xxix, 37, 134–35, 139, 153, 196n197; “gyroscope men,” 50–51, 134–35; comments on other artists, 9, 84, 106; Black Mountain #6, 77–78; Conrad #2, 50, 134; Untitled #2, 37

Kooning, Willem de, ix, x, xix, xxi, xxiii, xxv, xxvii, xxviii, xxxii, 6–7, 21, 22, 26, 28, 52–53, 55, 72, 85, 161; Dutch heritage, 123; Elaine de Kooning on, 134; Schwabacher on, 150–52; Abrams on, 153; Pink Angels; Woman, 134; Woman 1; Excavation, 28, 78, 153, 25

Kootz, Samuel, Gallery, xi, xxxiv, 144; Hines on, 227n47; Piper on, 223, 65; Woodruff on, 222n50; and women, 202; Homage to Jazz, 31; New Talent, 147; Women, 49–50, 76, 120

Kota reliquary figure, 157–59

Krasner, Lee, ix, x, xi, xii, xxix, xxxiii, 3, 4, 9, 55, 88, 135–36, 157, 196n48; little images, 135, 137; on Newman and Rothko, 88; “grey slabs,” 135; Blue Painting, 135; Nude Study from Still Life, 135; Promenade, 9; Untitled, 135; Untitled, 135; Painting No. 19, 135

Krauss, Rosalind, 36, 59

Kuniyoshi, Yasuo, xxxvi, 73, 111

Kwakiutl, 36

Lacan, Jacques, 26, 136, 191n7, 230n17, 232n67

Ladies’ Home Journal, 149

Lam, Wifredo, x, 108, 115

Lassaw, Ibram, xxv, xxxv, 9, 10

Latin America(n), xxxv, 214n8

Lauretis, Theresa de, xiv, xxxii, 214n8

Lawrence, Jacob, 120

Leja, Michael, 5, 27, 40, 52, 204n53

Levi, Carlo, 18

Levine, Sherrie, 219n3

Levitt, Helen, 29–30, 40; New York, 40

Lewis, Norman, x, xi, xxiii, xxxii, xxxiv, 24, 58, 60, 67–68, 120, 121, 123, 162–63, 165, 206n66, 208n107; Drunk, 67; Musicians, 32; Shapes, 68; Untitled (All), 67; Untitled, 162; Untitled

Liberia (Poro) staff, 125, 135

Life, xxxv, 1, 2, 73

Lightfoot, Elba, 120

Lipton, Seymour, xxxv

literary, xx, xxviii, 84, 146

Locke, Alain, 66–67, 69, 72, 112, 121, 208n107; judges “An Art Commentary on Lynching,” 226n42; The New Negro, 112, 115, 119

Long, Richard, 106

Lynes, Russell, 14

Lyotard, Jean-François, 214n8

MacArthur, General Douglas, 14

McBride, Henry, 60

McCarthyism, xxiii, 18, 146

McCausland, Elizabeth, 84

MacIver, Loren, x

Mademoiselle, 134

Magazine of Art, 231n38

Mailer, Norman, 51

“major” status, xii, xxxii, xxxvii, 10, 11, 36

male, as a term, 59

Man, xiii

marginality, xix

Marin, John, xxviii

marriage, 137

Martin, Robert K., xxxii–xxxiii

Martins, Maria, xxxv, 60

Marxism, xxv

masculine/masculinity, xxi, xxiii, xxxvii, 5–7, 9–11, 30, 36, 43, 54, 157; necessary for success, 156, 157, 165; “masculinity complex,” 147

masculinism, 35, 43

Mason, Alice Trumbull, xxiii; Latitude of Identical Shapes; L’Hasard, 78, 80; White Burden, 78

masquerade/masking, 157, 160–61, 162–64

masterpiece/mastery, xxvii, 19, 59, 161

Matisse, Henri, 9

Matta, xxviii

Mattison, Robert, 15

Mayan influence, 60

meaning(s), xii, xxviii, xxxi, 27, 45, 167

memory, 85

men, representations of, 3–4, 5–6, 11–12, 14–15, 40, 49, 50–51, 53, 85, 94, 129, 132, 134–35, 147; African American, 157; gay, xiii, xxix, xxxii–xxxiii, xxxiv, 11, 59, 94, 131–32; heterosexual, xxii, xxvi, xxxvi, 37, 40, 54, 59, 76, 165; white, xxii, xxvi, xxxvi, 40, 54, 59, 65, 76, 157, 165

men’s work, 88, 138, 147

Merleau-Ponty, Maurice, xxvii, 40

metaphor, 55, 88–90, 99, 104

metonymy, 90, 99, 104–06, 127

Metropolitan Museum of Art, 121

Middleton, Sam, 120, 205n62

Miles, Jeanne, 142–43; Fire, 143; The Kiss, 143; Vision, 143

military service, 90, 91, 134; and Pollock, Motherwell, homosexuality, 199n52

Miller, Dorothy, 84

Miller, Henry, 51, 132

mimesis/mimetic/naturalistic, xxiii, xxvi, xxxii, 30, 32, 55, 95, 99, 104–06, 119, 132, 159, 166

mimicry, 87

“minor” status, x, xi, xxviii, xxxvii, 7, 10, 59

minstrel show, 122

Mirko, x

Miró, Joan: admired by Bearden, 204n54

miscegenation, 123

Mitchell, Joan, xxxiv

modern art, 44, 47, 126

Modern Artists in America, x

modernist/modernism, xxiii, 6, 20, 26, 44, 73, 132; African American, 65, 118, 119, 160; rejection of realism, 232n66

Mondrian, Piet, xxiv, 23, 61, 78, 88, 157; and “men’s art,” 88; vs. Picasso, 81

Morrison, George, 60, 64–65, 66; Subjugation, 65; Shells and Bones, 65; Pacific, 65

motherhood/maternity, 35, 134, 138, 139, 140–56, 166

Motherwell, Robert, x, xix, xxiii, xxiv, 6, 7, 14, 15, 23, 27, 37, 55, 221n34; Emperor of China, 15, 55; The Homely Protestant, 14, 29, 55; Je t’aime series, 98; Pancho Villa, Dead and Alive, 6; The Red Skirt, 55; Woman in Ochre and White, 55

Mueller, Jan, xxxiv

Museum of Modern Art, xi, 44, 215n30; African Negro Art, 46–47, 68, 108, 162; Fourteen Americans, 10; Indian Art of the United States, 65; “Primitivism” in the Twentieth Century, 127

myth/mythic, ix, xix, xxiii, xxiv, xxv, 2–3, 23, 30, 40, 45, 57, 61, 120

Nagasaki, 40

name (women using men’s), 156–57

Namuth, Hans, 5

narrative, xx, xxvi, 32, 45, 99

Nation, xxiv

national differences, 122

National Society of Mural Painters, 110

Native American artists, 60–66; Cherokee/Chickasaw/Choctaw, 61–62; Chippewa, 64; identity, xxxv, 66; art, 46, 61; Northwest Coast, 37, 146; as a term, xiv; influence on non-Native American art, xxii, xxxiv, 20, 45, 48, 146, 157–59

negotiation, xxii

Negritude, 65

Negro/Colored, 25, 32, 160; artist, 57, 69; as terms, xi, xiii

Nevelson, Louise, x, 137–38, 155, 163–65, 207n208; The Clown Is the Center of His World, 137; Moon Lady; Mountain Woman, 163; The Owl, 163

New Criticism, 3, 58–59

New Deal, 40; New Deal Reorganization Act, 64

Newman, Barnett, ix, xxi, xxiv, xxv, xxviii, 5, 11, 14, 22, 23, 27, 36, 37, 63, 85–86, 94, 122–23, 143, 154, 204n53; on Tamayo and Gottlieb, 214n10; reception of geometric paintings, 101; Gea, 52; Genesis—The Break, 30; Vir Heroicus Sublimis; Slaying of Osiris, 52; The Song of Orpheus

New York, xxxiii, 96, 131

New York Psychoanalytic Society, 48

New York University, xxxiii, 71, 222n52

Nierendorf Gallery, 163

“night journey” (Jung), 48

Noguchi, Isamu, x, xxix, xxxv, xxxvi, 159; Rothko on, 95

Norlyst Gallery, xi, 137

nostalgia, ix, xxiv

objectivity, 20

object-matter, 26–27, 54

Oceania, 38, 47; influence of art of, 50, 125

Okada, Kenzo, xxxvi

Old Testament, 94, 98

optical, xx

“Oriental,” 20

originality, xxviii, 20–25, 28–30, 38, 40, 58, 160, 219n3; loss of, 124

Orozco, José Clemente, 67; Derrida, Spivak, and Krauss on, 202n14

Ossorio, Alfonso, xii, xxxiv, xxxv, 11, 90–92, 100; Klan Picnic, 91, 113; Mother Church, 90; Perpetual Sacrifice, 91, 94, 113; Variegated Family, 90

“other,” xxii, xxxiv, 54, 126–27, 218n71

Ozenfant, Amédee, 36

paradox, xxvii

Paris, 111

Parker, Charlie, 31, 122, 205n62

parody, 136, 137, 157, 160, 163, 165, 218n3

Parsons, Betty, 3, 95, 120, 129, 130, 131, 137, 142, 143, 204n53, 229n80

Parsons, Betty, Gallery, xi, xxxvi, 11, 85, 127–28, 143, 221n48

Partisan Review, xxv, 28

Passedoit, Georgette, Gallery, 149

passing, 125, 156

Passlof Patricia, xxv

patriarchy, patriarchal, 73, 88, 136

Pavia, Philip, ix, 122, 132, 152

Peirce, C. S., 214

Pereira, I. Rice, 10, 83–84, 152, 157; Green Depth, 84; Shadows with Painting, 84; Transverse Parallels, 84; Transversion; Washington, 83

Peridot Gallery, xi

Pershing, General John, 6

phallus/penis, 49, 52, 55, 147, 164, 165, 198n28

Phillips, Helen, x, 153–54; Moto Perpetuo, 154; Metamorphosis, 154

Phillips, William, 12–13

photographers/photography xxxi, 29–31

Picasso, Pablo, 22, 47; Women in Green Costume, 49

Pierce, Delilah, 121

pink, 6, 48, 55

Piper, Adrian, 73

Piper, Rose, xi, xxi, xxii, 32, 110–12, 113, 120, 138–39, 205nn62, 66; Backwater Blues; Conjur; Death of Bessie Smith, 32, 111; Empty Bed Blues, 139; Grievin' Hearted; Slow Down Freight Train, 111

Pippin, Horace, 113, 120, 124, 125

Pittsburgh Courier, 115

Polcari, Stephen, 86, 140, 207n93, 219n104

politics, xxiv, xxvi, xxviii, 38, 44, 46, 146, 164

Pollock, Jackson, x, xix, xxviii, xxxii, 10, 11, 19, 20–23, 26, 28, 31, 32, 36, 125, 127, 129, 135–37; response of peers, 81, 112; reception, 1–6; in Life, 1–2, 5, 2, 3; support of Krasner, 135, 229n10; Autumn Rhythm: Number 30, 1950, 4; Composition with Donkey Head, 4; Male and Female, 55; Naked Man with Knife, 3–4; Number 1A, 1948, 4; Number 4, 4; Number Nine, 1, 2; She Wolf 5; Totem Lesson II, 47, 127; Unformed Figure

polyphony, 159–60

Popular Front, xxv

pornography, 216n43

Porter, David, 210n40, 233n76

Porter, James, 66

positivism, xxviii

Possibilities, 15

Pousette-Dart, Richard, 19, 38, 81, 143, 209n22; African Head, 47; Figure, 143; Opaque Harmony, 48

Powell, Richard, xiv, 119, 204n205

presence, xix, xxvii, xxviii, xxix, 30, 126

“primitive”/primitivism, xiii, xxii, xxviii, xxxiii, xxxvi, xxxvii, 20, 30, 36, 38–40, 136, 140, 161, 166; and African Americans, 66, 72, 112–13, 160, 163, 223n73; and Native-Americans, 60–61, 65; gendering of, 54, 72–77; and Robert Goldwater, 45; Primitivism and Modern Art, 125; and John Graham, 47–48; neoprimitivism, 161

process, 19, 20

progress, xxiii

pure/purity, 20, 80, 86, 88, 160; critique of, 98

Pyramid Club, 71

quality, xx, xxi, xxviii, 20, 21, 81, 99, 118

Quirt, Walter, 69, 109

race/racialize, xx, xxiv, xxxii, xxxiii, xxxv, 36, 59–60, 71–73, 90–91, 121, 125, 115; in Jung, 48; Locke on, 112; and metaphor, 100; race records, 111; as terms, xiii

racism, 60, 72, 118, 168, 227n55

Rank, Otto: The Myth and Birth of the Hero, 15

Rauschenberg, Robert, xxxiv, 24; Factum I, Factum II, 24

realist/realism, 38, 232n66

Rebay, Hilla, 87

reception, xxi

regionalism, xix

Reinhardt, Ad, ix, x, xxiv, 13–14, 63, 101, 207n107; on Mason, 218n76; Schwabacher on, 98; No. 7, 101

Rembrandt, 37

resistance, 60, 113

Resnick, Milton, 21–22, 24–25, 34, 81, 152; Untitled

Reynal, Jeanne, 232n68

Ride ‘Em Cowboy, 64

Riley, Maude, 48

Rivera, Diego, 67, 216n37

Rivers, Larry, xxxiv

Riviere, Joan, 157, 163

Rohn, Matthew, 32

RoKo Gallery, 111, 120, 121, 139

Rosenberg, Harold, xxvii, xxix, 20, 44, 94, 159

Rosenwald Fellowship, 110, 225n25

Rosenzweig, Phyllis: The Fifties: Aspects of Painting in New York, xxxi

Roszak, Theodore, 7

Rothko, Mark, xix, xxiii, xxiv, xxxvi, 21, 26, 57, 73, 85, 94, 123, 127, 143, 161; and commercial art, 109; on Noguchi, 95; Schwabacher on, 98; Number 15; Rites of Lilith, 53–54; Slow Swirl at the Edge of the Sea, 48; Tiresias, 48–49

Ryan, Anne, 34, 85–86, 154, 157, 219n1; Amazon, 34; Collage 256, 154; Personal World, 154; Untitled, no. 234, 34

Sachs, H. F., gallery, 46

Sage, Kay, x

Sandler, Irving, xxviii; Triumph of American Painting, xxix, 227n50

Santería, 115

Sartre, Jean-Paul, xxvii, 43; The Wall, xxvii

“savage,” 61

Savage, Augusta, 121

Schapiro, Meyer, 13–14, 26–27, 44, 131, 147, 210n39

Schlesinger, Arthur M.: The Vital Center, 44

Schuyler, George, 115

Schwabacher, Ethel, xii, 98, 147–50; Ode VIII, Oh Rose Thou Art Sick, 98; Where Light Is as Darkness, 149; Woman: Red Sea, Dead Sea (#11), 149, 150; Woman III, 149–50

Schwartzman, Myron, 123

Scott, James C., 113

Scott, Joan W., 43

sculptors/sculpture, xxxi, 29–30; African, 45–47, 108

segregation, xxvi, 48, 64, 91, 94–95, 111, 116, 163; exceptions, 116n42

Seitz, William, xxviii; Abstract Expressionist Painting in America, xxix, 26

Sekula, Sonia, x, xxviii, xxxiv, 127–30; African Moonsun, 127, 128; (Bermuda) The Burning Forrest, 129; City of the Poor, 129; Private Totem, 128

Seligmann, Jacques, and Company, 46; Exhibition of Sculptures of Old African Civilizations, 108

separatism, 64

sexism, 60, 78

sexuality, xiii, 40, 137; conflicted, 49; in Jung, 48, 57

Shiff, Richard, 24–25

significant form, 47

signifying, 163

silence, 5

Sims, Lowery Stokes, xiv, xxi, xxxvii

sincerity, xxvii, 109, 161. See authenticity

Siskind, Aaron, 31; Seaweed, Martha’s Vineyard; photograph of Adolph Gottlieb

size, xxiii, 36, 129–30, 131, 154

Smith, Bessie, xxii, 111, 139, 223nn72, 73

Smith, David, xxxi, 10, 12, 15–16, 28, 37, 139, 140; The Hero, 15–16, 55–56; Hudson River Landscape; Spectre of Mother

Smith, Leon Polk, 61–64, 65, 66, 101; on Nevelson, 163; Black-Black, 63; Georgia Chain Gang, 63; New York City; White Woman, 63

Smith, Paul, 214n8

Smith, Tony, 154, 222n52

Smith, Trixie, 111

Smith, Valerie, xxviii

Snake Pit, The, 134

Sobel, Janet, 22, 23, 124–25, 194n32; Greenberg on, 202n18; The Attraction of Pink; title unknown; title unknown; Untitled; Untitled

Soby, James Thrall, 19, 84

socialism, 40, 44

Social realism, 68, 111

South, the, 110, 111

South America, 20

Southgate, Patsy, 11

space: indeterminate, ix, 143; shallow, ix, 91

specificity, 85, 98, 100, 104–05, 114, 126; among abstractionists, 122

spiritual, 46

Spock, Dr. Benjamin, 140–41

spontaneity, xxiii, xxvii, 27, 28–34, 37–38, 66, 135, 136, 210n210; lack of, 37, 84, 100, 106, 126, 130, 136; doubts as index of sincerity, 63, 101; and primitivism, 127

Stamos, Theodoros, x, 9, 11, 21, 23, 122–23, 129, 143; Mistra, 7

stereotype, xxii, xxxvii, 54, 60–61, 118, 122, 134, 143, 206n72, 215n17; antistereotype, 140, 157

Sterne, Hedda, x, xxix, xxxii, 9, 36, 95, 103, 156; Annalee Newman, 95, 102; Birds, 95; Cross, 95; Fixtures, 95, 113; Toy I

Still, Clyfford, 5–6, 23, 37–38, 94

Streat, Thelma Johnson, xvi, xxi, xxii, 120, 157–62, 164, 165, 208n107; Rabbit Man, 157–58; Red Dots, Flying Baby, and Barking Dog, 161; Streat dancing, 157–59

Studio 51, xiv

Studio Museum in Harlem, 132

style, ix, xxiii, xxviii, xxxi, 86, 90, 127, 129; consistency, 95, 113; critique of, 88, 95, 113; inconsistent/mixed, 80, 87–88, 94–95, 106, 109, 124, 132, 165, 219n1, 222n59, 223n60; Greenberg on, 95

subject, the, 26–27, 136, 138, 213n2 ; split, 123, 147, 156, 157, 160, 227n58

subject matter, xxiv, xxv, xxvi, xxviii–xxix, xxx, 19, 20, 26–27, 48, 86, 88, 109, 134, 139, 147, 212n65; and class, 99, 104

Surrealism/Surrealists, 50, 166

Sweeney, James Johnson, 47

Swiss, 128

symbol, xxiv, 44, 45, 99

syncretic, 108

Tam, Ruben, x

Tamayo, Rufino, xxxv, 60

texture, 81, 86

theory, ix, xii, xx, 213–14n8

Theweleit, Klaus, 35

They Died with Their Boots On, 64

Thompson, Bob, xxxiv

Time, 18

titles, 211n53

Tobey, Mark, xxviii, 10, 22, 23, 116, 135

Tompkins, Jane, 6

Tomlin, Bradley Walker, 143

Torgovnik, Marianna, 38, 76

transcendence, xxiii, xxiv, 44, 58, 99

transgression, 36, 54, 72, 76–77

transvestism, 163

Trinh T. Minh-Ha, 166, 67

Truman, Harry S., 14, 73

Turner, Frederick Jackson, 43

unconscious mind, the, 47–50, 131

universality/universalism, xx, xxii, xxv, xxvi, xxxiii, 20, 38, 40, 80, 126, 217n60; African Americans and, 69–71, 119, 123, 160; critiques of, 99, 123; versus local knowledge, 100

vagina, 49, 150

Valentine Gallery, 46

value, xxvii, xxxi, 24, 59

Varnedoe, Kirk, 65

viewer(s), 14, 127

Villa, Pancho, 6, 15

violence, 3–4, 6–7, 10, 77, 81, 139, 140, 142, 152

Voudou, 114–15

Vytlacil, Vaclaw, 108

Wagner, Anne, 136

Wallace, Michele, xiv, 214n8

wealth, 14

Wechsler, Jeffrey: Abstract Expressionism, Other Dimensions, 36, 202n18, 206n76

Weinberg, Jonathan, xxxv

Wertham, Frederick: Dark Legend, 52

West, Cornel, 113

West, Michael [Corinne], 19, 20, 156–57; Blue Figure, 81; Transfiguration, 76

Western art/culture, xxxvii, 15, 20, 40, 43; criticism of African Art, 46–47, 209n22

Weyhe Gallery, 46; African Negro Art, 108

Wheat, Ellen Harkins, xiv

Wheeler, Steve, 37, 64, 146; Curly Legs, 37

White, Charles, 120

White, Hayden, 214n8

white supremacism, 73; concepts of, 117–19

whiteness/Caucasian, xx, xxi, xxxiii, xxxvii, 30, 40–42, 47, 57, 122–23, 165, 227nn50, 59; as terms, xiii–xiv. See also men, women

Whitney Museum, 55

Wiegand, Charmion von, xxxii, 88–90, 157, 160; City Lights, 88; St. John the Baptist, 88; Untitled, 88; Untitled, 157

Willard, Marian, Gallery, xi, xxxiv, 120, 121

Williams, William Carlos, 7, 76

Wilson, Judith, x, xxxiv, 69

Wilson, Woodrow, 6

Wingert, Paul, 125

Wittig, Monique, 191n7

Woman, xiii, 76–77

“woman problem,” xxxiv

women, 59, 146; absent, 49, 154; African American, xxxvi, xxxviii, 111; and class, 124; contemporary, 50, 109, 134; heterosexual, xxxvi, xxxvii; lesbian, xiii, xxix, xxxii, xxxiv, xxxvi, xxxvii, 128–30; as a term, 59; need of men, 147; representation of, 49–53, 55–56, 109, 111, 129, 139–40, 149–52, 162; as devouring mother, 51–52, 150–52; as femme fatale, 51, 52–53, 140, 164; as Great Mother, 149, 153; as infantilized, 50, 125; position in art world, 154–56, 163–64; as racialized, 73–77; white, 123–24, 125, 157, 228n60

Wood, Grant, 5

Woodruff, Hale, xiv, xxxiii, 69–70, 106–08, 121, 122, 208n107, 209n22; Afro Emblems, 106; Carnival, 71; Girls Skipping, 106; Golden State Life Insurance Murals, 107–08; Landscape, 71; Untitled, 71

Woolf, Virginia, 77

World War II, 10–11, 34, 40, 64, 164, 215n25

WPA (Works Progress/Projects Administration), xxiv–xxv, 10, 11, 40, 90, 120, 161

Wright, Richard, 160

Wye, Deborah, xxi

Wylie, Philip: Generation of Vipers, 51–52

Zarnower, Theresa, 23

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