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Full Fathom Five

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Description: Full Fathom Five
Related content: Chapters (6) Images (3)

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Description: The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci
~Like the other two artists at the center of this study, Carolee Schneemann focused her work on the everyday materiality of bodies, but in her case that meant first...
PublisherYale University Press
Related print edition pages: pp.77-121
https://doi.org/10.37862/aaeportal.00130.005
Description: The Language of Twentieth-Century Art: A Conceptual History
Surrealism grew as a systematic response to the moral and social disasters of the First World War, and to the lack of positive social change after these disasters. It had one immediate cultural precedent, namely those complex tendencies focused in the Dadaist movement between 1916 and 1920. This movement is usually characterized in terms of its critical, destructive...
PublisherYale University Press
Related print edition pages: pp.87-128
https://doi.org/10.37862/aaeportal.00150.008
Description: Mexico and American Modernism
If he wasn’t exactly an “action painter” like Jackson Pollock, was Robert Motherwell a “mythmaker” in the sense of his other colleagues Mark Rothko, Adolph Gottlieb, and Barnett Newman, all of whom reinvestigated archetypes and ancient motivations in their initial...
PublisherYale University Press
Related print edition pages: pp.149-166
https://doi.org/10.37862/aaeportal.00082.009
Description: Seeing Through Paintings: Physical Examination in Art Historical Studies
Technical examination of the paint layer can confirm a work’s age or authenticity and add to knowledge of the painting’s execution and the artist’s intended effects. Examination can address either the materials or the ways they were handled—the techniques. Study of paint materials offers information that is specific but of limited interpretive use to the art historian. Pigment identification can deny (but rarely confirm) a paintings age, or can identify areas of repaint. Precise identification …
PublisherYale University Press
Related print edition pages: pp.101-210
https://doi.org/10.37862/aaeportal.00110.006
Description: Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s
Although several of the New York School painters took pains to make it clear, at certain stages of their careers, that their art engaged “the unconscious,” none pursued this engagement more insistently than Jackson Pollock. As his friend and colleague James Brooks put it, Pollock’s “break into the irrational was the most violent of any of the artists’, and his exploration of the unconscious, the most daring and persistent.” Although persistent, Pollock’s engagement with the unconscious was by no …
PublisherYale University Press
Related print edition pages: pp.121-202
https://doi.org/10.37862/aaeportal.00101.006
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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