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"Landau, Ellen G"
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Mexico and American modernism
\"In the years between the two world wars, the enormous vogue of \"things Mexican\" reached its peak. Along with the popular appeal of its folkloric and pictorialist traditions, Mexican culture played a significant role in the formation of modernism in the United States. Mexico and American Modernism analyzes the complex social, intellectual, and artistic ramifications of interactions between avant-garde American artists and Mexico during this critical period.In this insightful book, Ellen G. Landau looks beyond the well-known European influences on modernism. Instead, she probes the lesser-known yet powerful connections to Mexico and Mexican art that can be seen in the work of four acclaimed mid-century American artists: Philip Guston (1913-1980), Robert Motherwell (1915-1991), Isamu Noguchi (1904-1988), and Jackson Pollock (1912-1956). Landau details how these artists' relationships with the Mexican muralists, expatriate Surrealists, and leftist political activists of the 1930s and 1940s affected the direction of their art. Her analysis of this aesthetic cross-fertilization provides an important new framework for understanding the emergence of Abstract Expressionism and the New York School as a whole\"-- Provided by publisher.
Book
Robert Motherwell among the Surrealists
Carefully choosing politically charged terminology, art historian Dickran Tashjian characterized American painter Robert Motherwell as a “fellow-traveler” capable of “rais[ing] the surrealist arsenal without feeling bound to ideas he could not embrace.” More directly involved in exile surrealism and outspoken about its impact on American modernism during World War II than any other artist of his generation, Motherwell’s art and critical writings display his deep understanding of surrealism’s benefits, as well as his doubts about the movement’s importance to abstract expressionism’s genesis. Analyzing primary source materials in the collections of the Archives of American Art and the Dedalus Foundation, this essay explores how surrealism stimulated Motherwell’s speculative mind and visual intellect.
Journal Article
“A Kinetic Pleasure”: Jackson Pollock’s Mural as Critical Intertext
Many key parameters for Jackson Pollock’s “comet”-like trajectory first became established in 1943, the year he painted Mural. Close friendship with photographer Herbert Matter gave Pollock access to sculptor Alexander Calder and curator/critic James Johnson Sweeney, who recommended him to Art of This Century gallery. Concepts involving “a kinetic pleasure—the rhythmic gesture,” displayed at two Museum of Modern Art exhibitions held during the creation of Mural (each organized by Sweeney and designed by Matter), appear crucial to the success of Peggy Guggenheim’s painting. One of these exhibitions focused on Calder and another presented and defined concepts of Action Photography. Hans Namuth’s famous photos of Pollock at work demonstrate his conversion by 1950 of what Sweeney had termed Calder’s “primitive strength of rhythmic evocation,” and utilization of the “unpredictable nature of natural movements and the esthetic possibilities of the unexpected” into an unprecedented externalization of psychological and bodily experience generative of art’s subsequent focus on performativity.
Journal Article
Double Consciousness in Mexico
Visitors to the Museo Michoacano in Morelia, Mexico, often react with puzzlement and awe when they come upon its most unusual feature, an epic 1930s mural that decorates the wall of an interior patio. The mural, known variously asThe Struggle Against Terrorism, The Struggle against War and Fascism,orThe Inquisition,takes viewers on an abbreviated journey from biblical times through the Middle Ages and beyond, to the eras of the Ku Klux Klan and Adolf Hitler. It is clear that its young American painters, Phillip Goldstein (later Philip Guston) and Reuben Kadish, worked hard to summarize a worldwide historical legacy of malefaction. What is not as immediately obvious, perhaps, is how a specific confluence of insecurity, persecution, and violence, a topos of Mexico equal in intensity to its natural beauty, is ingeniously signified. Deeply encoded in the mural's iconography of evil and pain are distinct clues, triggered by their understanding of Mexican alterity, to the artists' own sense of “otherness” and profound desire to redress racial inequities. Referenced in particular is their shared relation to a heritage of Jewish persecution and ethical commitment.
Journal Article
\A Kinetic Pleasure\
Many key parameters for Jackson Pollock's \"comet\"-like trajectory first became established in 1943, the year he painted Mural. Close friendship with photographer Herbert Matter gave Pollock access to sculptor Alexander Calder and curator/critic James Johnson Sweeney, who recommended him to Art of This Century gallery. Concepts involving \"a kinetic pleasure—the rhythmic gesture,\" displayed at two Museum of Modern Art exhibitions held during the creation of Mural (each organized by Sweeney and designed by Matter), appear crucial to the success of Peggy Guggenheim's painting. One of these exhibitions focused on Calder and another presented and defined concepts of Action Photography. Hans Namuth's famous photos of Pollock at work demonstrate his conversion by 1950 of what Sweeney had termed Calder's \"primitive strength of rhythmic evocation,\" and utilization of the \"unpredictable nature of natural movements and the esthetic possibilities of the unexpected\" into an unprecedented externalization of psychological and bodily experience generative of art's subsequent focus on performativity.
Journal Article
The Pollock‐Krasner House and Study Center
Discusses the Pollock-Krasner House and Study Center in New York, formerly belonging to the artists Jackson Pollock (1912-1956) and Lee Krasner (1918-1984). The author notes that works by Pollock including Autumn Rhythm and Blue Poles were created in his barn studio in New York, considers the importance of the house as a scholarly resource, and describes how actors portraying Pollock and Krasner in the film Pollock used the location. She examines the importance of accessibility to the site, details interviews and catalogues stored at the house, and comments on her own use of the house as a resource for her book Jackson Pollock (New York, 1989).
Journal Article