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xix | |
Introduction |
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xxi | |
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1 | (2) |
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The Romantics Were Prompted |
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3 | (4) |
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Two Statements from The Tiger's Eye |
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5 | (2) |
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The First Man Was an Artist |
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7 | (10) |
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11 | (3) |
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14 | (3) |
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17 | (13) |
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(from) The Amazing and Invariable Beauford Delaney |
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30 | (8) |
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Introduction to Helen Levitt's A Way of Seeing |
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38 | (14) |
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52 | (8) |
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Mondrian, Kleenex, and You |
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60 | (4) |
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The Renaissance and Order |
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64 | (13) |
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What Abstract Art Means to Me |
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69 | (8) |
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77 | (19) |
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82 | (8) |
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Katz: Collage, Cutout, Cut-up |
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90 | (4) |
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94 | (1) |
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"At first sight, not Pollock, Kline scared" |
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94 | (1) |
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"Alex Katz paints his north window" |
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95 | (1) |
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Jackson Pollock: The Infinite Labyrinth |
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96 | (4) |
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Elie Nadelman: Sculptor of the Dance |
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100 | (13) |
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113 | (2) |
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(from) Evil Under the Sun |
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115 | (10) |
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(from) The Search for the Real in the Visual Arts |
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125 | (8) |
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Review of an Exhibition of Willem de Kooning |
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133 | (36) |
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The Role of Nature in Modern Painting |
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136 | (5) |
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141 | (19) |
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160 | (9) |
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169 | (5) |
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An Open Letter to an Art Critic |
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170 | (4) |
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An Alphabetical Guide to Modern Art |
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174 | (6) |
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177 | (2) |
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Acrostic for Jackson Pollock |
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179 | (1) |
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180 | (5) |
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What Abstract Art Means to Me |
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181 | (4) |
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185 | (6) |
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187 | (4) |
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191 | (6) |
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The Visionary Painting of Morris Graves |
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197 | (9) |
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Painting in the American Grain |
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206 | (8) |
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214 | (4) |
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(from) Action on West Fifty-Third Street |
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218 | (7) |
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The American Action Painters |
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225 | (38) |
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Parable of American Painting |
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238 | (7) |
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245 | (4) |
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Mobile, Theatrical, Active |
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249 | (14) |
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263 | (6) |
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269 | (7) |
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271 | (1) |
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Four Excerpts from a Journal |
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272 | (4) |
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276 | (3) |
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(from) An Emotional Memoir of Franz Kline |
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279 | (12) |
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291 | (8) |
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Introduction to Robert Frank's The Americans |
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299 | (5) |
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304 | (4) |
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308 | (2) |
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Against Abstract Expressionism |
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310 | (6) |
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Excerpts from an Unfinished Manuscript Titled "Art" |
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316 | (6) |
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322 | (5) |
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327 | (14) |
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What Abstract Art Means to Me |
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341 | (3) |
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(from) The Shape of Content |
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344 | (15) |
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(from) A Sculptor's World |
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359 | (8) |
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367 | (6) |
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373 | (7) |
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The Question---what is your hope |
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375 | (1) |
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The Question---what are your influences--- |
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376 | (2) |
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"there is something rather noble about junk" |
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378 | (1) |
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379 | (1) |
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Four Soldiers: A Sculpture in Iron by David Smith |
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380 | (2) |
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382 | (5) |
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383 | (1) |
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384 | (3) |
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Piero della Francesca: The Impossibility of Painting |
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387 | (5) |
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Faith, Hope and Impossibility |
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389 | (3) |
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Philip Guston: The Last Painter |
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392 | (11) |
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Give My Regards to Eighth Street |
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395 | (8) |
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403 | (7) |
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404 | (6) |
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410 | (15) |
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411 | (2) |
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On the Road: Notes on Artists and Poets 1950-1965 |
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413 | (12) |
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425 | (9) |
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Painting a Portrait of the President |
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431 | (3) |
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The Liberating Quality of Avant-Garde Art |
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434 | (20) |
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On the Humanity of Abstract Painting |
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448 | (6) |
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454 | (5) |
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457 | (2) |
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459 | (13) |
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460 | (12) |
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472 | (20) |
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David Smith: The Color of Steel |
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473 | (6) |
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479 | (7) |
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486 | (6) |
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492 | (10) |
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502 | (13) |
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The Painting of Jane Freilicher |
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503 | (5) |
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Short Reviews from Art News |
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508 | (7) |
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(from) Beyond the Machine |
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515 | (7) |
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At the Museum of Modern Art |
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522 | (2) |
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The Legacy of Jackson Pollock |
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524 | (9) |
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Happenings: An Art of Radical Juxtaposition |
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533 | (12) |
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On the Painter Beauford Delaney |
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545 | (3) |
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Bruce Conner: A New Sensibility |
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548 | (9) |
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552 | (5) |
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557 | (7) |
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564 | (4) |
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(from) Iconographical Extensions |
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568 | (9) |
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577 | (6) |
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583 | (7) |
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Month in Review, January 1962 |
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590 | (18) |
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599 | (1) |
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Philip Pearlstein and the New Philistinism |
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600 | (8) |
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Jasper Johns: Stories and Ideas |
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608 | (15) |
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623 | (4) |
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624 | (3) |
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627 | (1) |
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Contemporary Art and the Plight of its Public |
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628 | (15) |
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643 | (10) |
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(from) The Philosophy of Andy Warhol |
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647 | (6) |
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653 | (5) |
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The New American "Sign Painters" |
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658 | (8) |
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666 | (9) |
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The Paintings of E. E. Cummings |
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675 | (21) |
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677 | (3) |
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680 | (5) |
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685 | (5) |
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690 | (4) |
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A Painter Obsessed By Blue |
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694 | (2) |
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Edward Hopper: An American Vision |
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696 | (5) |
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The Art of Romare Bearden |
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701 | (10) |
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711 | (5) |
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The Battle of Paris, Strip-tease and Trotsky: Some Non-Scenic Travel Notes |
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716 | (6) |
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722 | (22) |
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744 | (20) |
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755 | (9) |
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Allusion and Illusion in Donald Judd |
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764 | (7) |
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771 | (5) |
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776 | (31) |
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778 | (29) |
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807 | (26) |
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810 | (4) |
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814 | (8) |
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The Invisible Avant-Garde |
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822 | (11) |
Sources and Acknowledgments |
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833 | (16) |
Index |
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849 | |