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The Museum of Modern Art No. 78 BARBARA ROSE p., .. „ Public information Barbara Rose organized LEE KRASNER: A RETROSPECTIVE for the Museum of Fine Arts, Houston, where she is Consulting Curator, and collaborated in its installation at The Museum of Modern Art. She received a B.A. from Barnard College and a Ph.D. in the History of Art from Columbia University. In 1961- 62, she was a Fulbright Fellow to Spain. She has taught at Yale University; Sarah Lawrence and Hunter Colleges; the University of California, Irvine; and was Regent's Professor at the University of California, San Diego. A prominent critic of contemporary art, Miss Rose is currently an associate editor of Arts Magazine and Partisan Review. She was formerly New York correspondent for Art International and a contributing editor to Artforum and Art in America. Her writings have twice received the College Art Associa tion Frank Jewett Mather Award for Distinguished Art Criticism. Miss Rose has curated and co-curated many exhibitions, including Claes Oldenburg (1969); Patrick Henry Bruce - An American Modernist (1980); Lee Krasner - Jackson Pollock: A Working Relationship (1980); and Miro in America (1982). She has recently co-authored the exhibition catalogues Leger and the Modern Spirit (1982) and Goya: The "Disasters of War" and Selected Prints from the Collection of the Arthur Roth Foundation (1984). In addition to the catalogue accompanying LEE KRASNER: A RETROSPECTIVE, Miss Rose is the author and editor of American Painting, American Art Since 1900, Readings in American Art, and several monographs. She has also made films on American artists, among them North Star: Mark di Suvero, Sculptor, and Lee Krasner: The Long View, a Cine Film Festival Gold Eagle Recipient in 1980. 11 West 53 Street, New York, NY 10019 Tel: 212-708-9400 Cable: MODCtNAW Telex: 62370MODARI .

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CLAES OLDENBURG by Barbara Rose, the First Comprehensive Treatment of Oldenburg's
No. 56 V»< May 31, 1970 he Museum of Modern Art FOR IMT4EDIATE RELEASE jVest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart (N.B. Publication date of book: September 8) CLAES OLDENBURG by Barbara Rose, the first comprehensive treatment of Oldenburg's life and art, will be published by The Museum of Modern Art on September 8, 1970. Richly illustrated with 224 illustrations in black-and-white and 52 in color, this monograph, which will retail at $25, has a highly tactile., flexible binding of vinyl over foam-rubber padding, making it a "soft" book suggestive of the artist's well- known "soft" sculptures. Oldenburg came to New York from Chicago in 1956 and settled on the Lower East Side, at that time a center for young artists whose rebellion against the dominance of Abstract Expressionism and search for an art more directly related to their urban environment led to Pop Art. Oldenburg himself has been regarded as perhaps the most interesting artist to emerge from that movement — "interesting because he transcends it," in the words of Hilton Kramer, art critic of the New York Times. As Miss Rose points out, however, Oldenburg's art cannot be defined by the label of any one movement. His imagination links him with the Surrealists, his pragmatic thought with such American philosophers as Henry James and John Dewey, his handling of paint in his early Store reliefs with the Abstract Expressionists, his subject matter with Pop Art, and some of his severely geometric, serial forms with the Mini malists.
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Reinhardt, Martin, Richter: Colour in the Grid of Contemporary Painting by Milly Mildred Thelma Ristvedt A thesis submitted to the Graduate Program in Art History, Department of Art in conformity with the requirements for the Degree of Master of Arts Queen‘s University Kingston, Ontario, Canada Final submission, September, 2011 Copyright ©Milly Mildred Thelma Ristvedt, 2011 Abstract The objective of my thesis is to extend the scholarship on colour in painting by focusing on how it is employed within the structuring framework of the orthogonal grid in the paintings of three contemporary artists, Ad Reinhardt, Agnes Martin and Gerhard Richter. Form and colour are essential elements in painting, and within the ―essentialist‖ grid painting, the presence and function of colour have not received the full discussion they deserve. Structuralist, post-structuralist and anthropological modes of critical analysis in the latter part of the twentieth century, framed by postwar disillusionment and skepticism, have contributed to the effective foreclosure of examination of metaphysical, spiritual and utopian dimensions promised by the grid and its colour earlier in the century. Artists working with the grid have explored, and continue to explore the same eternally vexing problems and mysteries of our existence, but analyses of their art are cloaked in an atmosphere and language of rationalism. Critics and scholars have devoted their attention to discussing the properties of form, giving the behavior and status of colour, as a property affecting mind and body, little mention. The position of colour deserves to be re-dressed, so that we may have a more complete understanding of grid painting as a discrete kind of abstract painting.
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