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Showing 1-20 of 1129 results

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  1. Article
    James Finch

    The trajectory of Barnett Newman’s Adam 1951, 1952 (Tate T01091), from its display in a disastrous exhibition to its acquisition by a major...

  2. Article
    Michael Leja

    The title of Barnett Newman’s painting Adam 1951, 1952 (Tate T01091; fig.1) aligns it with a cluster of other pictures by the artist...

  3. Article
    Michael Schreyach

    Critics, scholars and public audiences alike recognise that Barnett Newman’s body of work comprises some of the most challenging examples of...

  4. Article
    Michael Schreyach

    In late 1947 – not long after the atrocities of the Second World War and just four years before he began painting Adam 1951, 1952 (Tate T01091;...

  5. Article
    Michael Schreyach

    I wish to declare … an eloquence that means what it says, that gives life to mud. Barnett Newman, 1965[fn]Barnett Newman, ‘From Exhibition of the...

  6. Article
    Michael Schreyach

    The American abstract expressionist artist Barnett Newman considered his painting Adam 1951, 1952 a major achievement in his efforts to visualise...

  7. Article

    We are grateful to Michael Schreyach for his development of this project, and to James Finch and Michael Leja for their valuable contributions....

  8. Article
    Sophie Halart

    As an Argentine artist based in New York for most of the second half of the twentieth century, Liliana Porter’s work has reflected the dominant...

  9. Article
    Sophie Halart

    In an analysis of Liliana Porter’s work, critic and curator Inés Katzenstein remarks on its ability to never quite fit into any fixed category: [W...

  10. Article

    We are grateful to Sophie Halart for her development of this project, and to Allen Fisher for his valuable contribution to the research. Sophie...

  11. Article
    Allen Fisher

    Emmett Williams was a poet and performance artist who worked with a variety of artists, often as part of the amorphous conceptual art group Fluxus,...

  12. Article
    Sophie Halart

    Following her move to New York in 1964, Liliana Porter studied printmaking at the Pratt Graphic Arts Center in Manhattan. It was while attending...

  13. Article
    Sophie Halart

    The Argentine artist Liliana Porter has developed a multifaceted body of work since the 1960s, using engraving, photography, installation and...

  14. Article
    Sophie Halart

    Liliana Porter’s Wrinkle 1968 recasts printmaking as a conceptual art form rather than a labour-intensive craft.

  15. Article
    Elissa Auther

    A good Hofmann has to have a surface somewhere between ice cream, chocolate, stucco, and flock wallpaper. Its colors have to reek of Nature – of...

  16. Article
    Emily Warner

    Space is not a static, inert thing. Space is alive; space is dynamic; space is imbued with movement expressed by forces and counterforces; space...

  17. Article
    Emily Warner

    What are Hans Hofmann’s legacies – his meaning, or meanings, for subsequent artists, historians and critics? If the answer is unclear today, it was...

  18. Article
    Emily Warner

    Hans Hofmann’s Pompeii 1959 (Tate T03256) met its first viewers in January 1960, at the Samuel Kootz Gallery in midtown Manhattan, as one of...

  19. Article
    Emily Warner

    How do we make sense of Hans Hofmann’s Pompeii 1959 (Tate T03256; fig.1) – a vibrating, flowering canvas, thick with accreted paint slabs and...

  20. Article
    Emily Warner

    Pompeii 1959 gained an international reputation in the 1960s, representing Hans Hofmann and his ‘slab’ paintings across the US, Europe and South...

Showing 1-20 of 1129 results

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