Abstract Expressionism is often referred to as the “most powerful original movement in the history of American art” , which dominated American painting from the end of World War II. In examining its styles and themes, this essay is going to illustrate why the movement is deemed a modern and American art practice. Consindering paintings of Jackson Pollock (1912-1956), Willem de Kooning (1904-1997), Mark Rothko (1903-1970) and Barnett Newman (1905-1970), specific attention will be drawn to issues of race and gender.
Table of Contents
1. Abstract Expressionism with regard to issues of race and gender
2. Barnett Newman’s essay “The Sublime is Now”
3. American society and culture after the Second World War
4. Differences in the works of individual artists
5. Pollock’s painting “Out of the Web”
6. Rothko’s paintings and their parallel to Caspar David Friedrich
7. Relation of Abstract Expressionism to race and gender
8. Exclusion of blacks and women from the movement
9. Representation of phallocentric thinking in American art
10. Challenges for female and African-American artists
11. Conclusion on the movement of Abstract Expressionism
Objectives and Themes
The essay examines the evolution of Abstract Expressionism in post-World War II America, analyzing how the movement sought to establish a unique national art by pursuing the "sublime" and prioritizing inner emotional expression over traditional forms. It investigates the inherent paradoxes of this movement, specifically regarding its predominantly white, male, and middle-class identity, and questions how these demographic factors influenced the inclusion or exclusion of black and female artists.
- The theoretical development of the "sublime" in American painting.
- The stylistic and thematic contrasts between "action painters" and "colour field" artists.
- The tension between universal artistic ambition and individual biographical identity.
- Critical analysis of gender dynamics and phallocentric structures within the New York School.
- The struggle for recognition among black and female artists in a marginalized artistic context.
Excerpt from the Book
Abstract Expressionism with regard to issues of race and gender
Abstract Expressionism is often referred to as the “most powerful original movement in the history of American art”, which dominated American painting from the end of World War II. In examining its styles and themes, this essay is going to illustrate why the movement is deemed a modern and American art practice. Consindering paintings of Jackson Pollock (1912-1956), Willem de Kooning (1904-1997), Mark Rothko (1903-1970) and Barnett Newman (1905-1970), specific attention will be drawn to issues of race and gender.
Barnett Newman’s essay “The Sublime is Now” (1948) is one of the most important writings in regard to the ideas behind Abstract Expressionism. From antiquity, the ideals of beauty and the sublime had been prevalent as motives of art. The concept of the sublime, first established by the Greek rhetorician Longinus, probably in the 3rd century AD and later, in 1757 most famously elaborated by Irish philosopher Edmund Burke, terms a powerful feeling that originates from a mixture of fear and astonishment. The sublime, however, faded from the spotlight, as the belief became prevalent that pure feeling was not enough, there had to be a visible statement to the absolute in the artwork, and subsequently art was dominated by notions of beauty and perfect representation.
Summary of Chapters
1. Abstract Expressionism with regard to issues of race and gender: An introduction to the movement as a dominant force in post-war American art, setting the stage for an analysis of race and gender issues.
2. Barnett Newman’s essay “The Sublime is Now”: Discusses the historical evolution of the "sublime" concept and its re-adaptation by Newman to define a new, purely American form of expression.
3. American society and culture after the Second World War: Examines the search for a national identity and the ambivalent attitude of American artists towards European cultural influences.
4. Differences in the works of individual artists: Highlights the diversity within the "New York School" and categorizes the artists into action painters and colour field painters.
5. Pollock’s painting “Out of the Web”: Provides an in-depth visual analysis of Pollock's technique and his immersive approach to the canvas.
6. Rothko’s paintings and their parallel to Caspar David Friedrich: Explores the meditative and spiritual quality of Rothko’s work in comparison to the romantic tradition.
7. Relation of Abstract Expressionism to race and gender: Explains how the movement's focus on the "primitive" and "sublime" linked it to complex notions of identity.
8. Exclusion of blacks and women from the movement: Critically addresses why artists like Norman Lewis were marginalized despite contributing works that mirrored the movement's core features.
9. Representation of phallocentric thinking in American art: Analyzes how the movement’s imagery and critical discourse prioritized male-dominated perspectives and symbols.
10. Challenges for female and African-American artists: Discusses the specific hurdles faced by women and black artists and their struggles for agency within a restrictive environment.
11. Conclusion on the movement of Abstract Expressionism: Summarizes the movement as a predominantly white, male-led project that ultimately failed to fully include diverse artistic perspectives.
Keywords
Abstract Expressionism, The Sublime, Barnett Newman, Jackson Pollock, Mark Rothko, American Art, Race and Gender, New York School, Action Painting, Colour Field, Phallocentrism, Modernism, Identity, Art History, Subconsciousness
Frequently Asked Questions
What is the primary focus of this research paper?
The paper explores the development of Abstract Expressionism in post-war America and critically examines the social and political dynamics, specifically race and gender, that shaped the movement.
What are the central themes discussed in the work?
Key themes include the pursuit of the "sublime," the search for a unique American artistic identity, the role of European influence, and the exclusion of female and minority artists from the movement's canon.
What is the main research question or objective?
The objective is to illustrate how Abstract Expressionism evolved as a modern practice and to determine how its claims to universal "sublime" expression were influenced or limited by a white, male-centric perspective.
Which scientific or analytical methods are applied?
The author uses historical art analysis, comparative analysis of primary literature (such as essays by Newman and Pollock), and critical theory to evaluate the socio-political context of the era.
What topics are covered in the main body of the text?
The body covers the theoretical foundations of the movement, specific artistic techniques (action vs. colour field), and case studies of famous painters alongside an investigation into marginalized artistic figures.
Which keywords best characterize the research?
Key terms include Abstract Expressionism, The Sublime, Identity, Phallocentrism, and Modernism.
How does the author define the relationship between the "sublime" and American art?
The author explains that American artists used the concept of the sublime to break away from "outmoded" European traditions and to express absolute emotions directly through color and form.
Why were female and black artists often excluded from the success of the movement?
The text suggests that they were excluded because the movement's standard for success was tied to a "white, male, middle-class" subjectivity, and their own works were often misread when they did not fully abandon their biographical context.
What role does "phallocentric thinking" play in the author's analysis?
It is analyzed as a framing device used by male artists to define the movement, where the "sublime" was seen as an exclusively male endeavor, often sidelining women who were seen as "accessories" rather than equals.
How is the transition from "art as representation" to "art as self-expression" described?
The author notes that following the horror of World War II and the atomic bomb, artists felt that representing the external world was no longer sufficient, leading them to turn inward to find universal truths within their own psyche.
- Citar trabajo
- Sandra Kuberski (Autor), 2012, Men Only. Abstract Expressionism with regard to issues of race and gender, Múnich, GRIN Verlag, https://www.grin.com/document/286016
