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Number 1A, 1948

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Description: Number 1A, 1948
Related content: Chapters (4) Images (500)

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Description: The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci
~In a photograph taken in 1963 during a performance of Yvonne Rainer’s evening-length dance Terrain, two young men in tights stand on a scuffed stage behind a traffic blockade brought in from the street (fig. 1). They rest their hands and wrists on the blockade’s smudged horizontal bar, looking off to the right...
PublisherYale University Press
Related print edition pages: pp.1-29
https://doi.org/10.37862/aaeportal.00130.003
Description: Mexico and American Modernism
Prodded by interviewers to reminisce about the start of her relationship with Jackson Pollock, Lee Krasner invariably mentioned the continuing impact of Mexican muralism on her future husband and...
PublisherYale University Press
Related print edition pages: pp.62-87
https://doi.org/10.37862/aaeportal.00082.006
Description: Abstract Expressionism: Other Politics
JACKSON POLLOCK PEERS from a dark interior over a foreground crowded with cans of paint, squinting warily at readers from the pages of the 9 November 1959 issue of Life magazine (fig. 2). Despite its title, “Baffling U.S. Art,” the article accompanying the photograph calls Pollock’s work the most influential in the world and credits him with having created a style that was “tense, explosive, mysterious, and altogether new.” The tone of the posthumous article (Pollock died in an automobile …
PublisherYale University Press
Related print edition pages: pp.1-17
https://doi.org/10.37862/aaeportal.00006.005
Description: Farewell to an Idea: Episodes from a History of Modernism
Once Upon a Time. When I first came across the lines by the duke of Aquitaine some years ago, naturally I imagined them in Jackson Pollock’s mouth. They put me in mind of modernism; or of one moment of modernism, which I realized I had been trying (and failing) to get in focus ever since I had read Harmonium or looked at Le Bonheur de vivre. Two things were clarified. Not just that modern artists often turned away from the detail of the world in order to revel in the work of …
PublisherYale University Press
Related print edition pages: pp.299-369
https://doi.org/10.37862/aaeportal.00048.009

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