MORRIS LOUIS EXHIBITION HISTORY EXHIBITIONS CITED THROUGHOUT THESIS

WPA Pavilion, World’s Fair in New York, 1939. Emerging Talent, New York, Kootz Gallery, 11–30 Jan, 1954. Morris Louis, Washington D.C., Workshop Art Center Gallery, Washington Workshop Center of the Arts, 12–30 Apr 1953. Morris Louis, New York, Martha Jackson Gallery, 5–23 Nov 1957. Morris Louis, New York, French and Company, 14 Apr–2 May 1959, curated by Clement Greenberg. Morris Louis, New York, French and Company, 23 Mar–16 Apr 1960, curated by Clement Greenberg. Morris Louis, New York, André Emmerich Gallery, 3–21 Oct 1961. Morris Louis, London, Institute of Contemporary Art, Spring 1960. Morris Louis, Vermont, Bennington College, 19 Oct–15 Nov 1960, curated by Clement Greenberg. Morris Louis, Milan, Galleria dell’Ariete, 23 Nov–20 Dec 1960. New American Painting, Paris, Galerie Neufville, 3-13 May 1960. From Space to Perception, Rome, New York Art Foundation, Nov 1960-Feb 1961. Morris Louis, New York, André Emmerich Gallery, 2–21 Oct 1961. American Abstract Expressionists and Imagists, New York, Solomon R. Guggenheim Museum, 13 Oct 1961–1 Jan 1962, curated by H. H. Arnason Morris Louis, New York, André Emmerich Gallery, 16 Oct–10 Nov 1962.

POSTHUMOUS EXHIBITIONS

Morris Louis: Memorial Exhibition: Paintings from 1954–1960, New York, Solomon R. Guggenheim Museum, Sep–Oct 1963, curated by Lawrence Alloway. Post–Painterly Abstraction, Los Angeles, Los Angeles County Museum of Art, 23 Apr–7 June 1964, travelling Minneapolis and Toronto, curated by Clement Greenberg. The Responsive Eye, New York, The Museum of Modern Art, 25 Feb- 25 Apr, 1965, travelling to Seattle, Pasadena and Baltimore, curated by William C. Seitz. Morris Louis 1912–1962, Boston, Boston Museum of Fine Arts, 13 Apr–24 May 1967, travelling to Los Angeles and St. Louis, curated by Michael Fried.

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Morris Louis: The Veil Cycle, Minneapolis, Walker Art Centre, 6 Feb–27 Mar 1977, travelling to Denver, Texas, Syracuse and Baltimore. The Drawings of Morris Louis, Washington, National Collection of Fine Arts, Smithsonian Institution, 6 Dec 1979–3 Feb 1980, travelling to Massachusetts, curated by Diane Upright. Morris Louis, New York, The Museum of Modern Art, 6 Oct 1986–4 Jan 1987, travelling to Texas and Washington D.C., curated by John Elderfield. Morris Louis: The Charred Journal Series, 1951, New York, The Jewish Museum, 19 Jan–13 Apr 1997. Morris Louis, Germany, Landesmuseum für Kunst und Kulturgeschichte Münster, 19 May–28 Jul 1996; France, Musée Grenoble, 28 Sept–16 Dec 1996. Morris Louis: Major Paintings 1953–1962, Scottsdale, Riva Yares Gallery, 31 Mar– 19 May 2001, travelling to Santa Fe. Morris Louis, New York, Paul Kasmin Gallery, 11 Oct- 22 Dec, 2001 and 13 Nov- 31 December, 2003. Morris Louis: 2004: The French & Co. Show of 1960, Santa Fe, Riva Yares Gallery, 13 Aug–27 Sept 2004, travelling to Scottsdale. Morris Louis Now: An American Master Revisited, Atlanta, High Museum of Art, 4 Nov 2006–24 Jan 2007, travelling to San Diego and Washington D.C. Curated by Jeffrey Grove.

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BIBLIOGRAPHY TEXTS ON MORRIS LOUIS CLEMENT GREENBERG MODERNIST PAINTING

TEXTS ON MORRIS LOUIS

Alloway, Lawrence. ‘Notes on Morris Louis’, Morris Louis 1912–1962: Memorial Exhibition, Paintings from 1954–1960, exh. cat, New York, Solomon R. Guggenheim Museum, 1963, unpaginated. Anfam, David. ‘Morris Louis – Grenoble’, The Burlington Magazine, vol. 139, no. 1128, Mar 1997, 215–16. Ayers, Robert. ‘Colour and Motion’, Artscribe, no. 33, Feb 1982, 38–46. Brennan, Marcia. ‘How Formalism Lost its Body but Kept its Gender: Frankenthaler, Louis, and Noland in the Sixties’, in Modernism’s Masculine Subjects: Matisse, the New York School, and Post–Painterly Abstraction, Cambridge, MIT Press, 2004, 116–151. Carmean Jr., E.A. ‘Morris Louis and the Modern Tradition: VI: Principles of Abstraction, Arts Magazine, vol. 51, no. 4, 1976, 116–119. ______. ‘A Possible Reversion in Morris Louis’ work’, Arts Magazine, vol. 50, Apr 1976, 69–75. Elderfield, John. Morris Louis, exh. cat, New York, The Museum of Modern Art, 1987. Fried, Michael. ‘Some Notes on Morris Louis’, Arts Magazine, vol. 38, no. 2, Nov 1963, 22–27. ______. Morris Louis, New York, Harry N. Abrams, 1970. ______. ‘Introduction’, Morris Louis 1912–1962, exh. cat, Boston, Boston Museum of Fine Arts, 1967, 7–23. ______. ‘Blue Veil by Morris Louis’, Fogg Art Museum: Acquisitions 1965, Cambridge, Harvard University, 1965, 177–181. Jacobson, Helen. ‘As I Remember Morris Louis’, Ten Washington Artists: 1950– 1970, exh. cat, Canada, The Edmonton Art Gallery, 5 Feb–8 Mar 1970, 8–9. Krauss, Rosalind. Morris Louis, exh. cat, New Zealand, Auckland Art Gallery, 1971. Lucie–Smith, Edward. Morris Louis: Major Paintings 1953–1962, exh. cat, Scottsdale & Santa Fe, Riva Yares Gallery, 2001. Robbins, Daniel. ‘Morris Louis at the Juncture of Two Traditions’, Quadrum, vol. 18, 1965, 41–54. ______. ‘Morris Louis: Triumph of colour’, ARTNews, vol. 62, no. 2, Oct 1963, 28–29; 57–58.

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Rosenblum, Robert. ‘Morris Louis at the Guggenheim’, Art International, vol. 7, no. 9, 1963, 24–27. Rubin, William. ‘Letter to the Editor’, Artforum, vol. 9, no. 7, Mar 1970, 78. ______. ‘Younger American Painters’, Art International, vol. 4, Jan 1960, 24–31. Rudenstine, Angelica. ‘Chronology’, in Michael Fried, Morris Louis 1912–1962, exh. cat, Boston, Museum of Fine Arts, 1967, 25–28. Singerman, Howard. ‘Noncompositional Effects, or the Process of Painting in 1970’, Oxford Art Journal, vol. 26, no. 1, 2003, 127-150. Siqueiros, David. et.al., ‘A Declaration of Social, Political and Aesthetic Principles’ (1922), reprinted in Charles Harrison and Paul Wood, eds., Art In Theory: 1900– 1990, Oxford, Blackwell Publishers, 1992, 387–388. Swanson, Dean and Upright, Diane. exh. cat, Morris Louis: The Veil Cycle, Minneapolis, Walker Art Centre, 1977. Truitt, James M. ‘Art – Arid D.C. Harbors Touted ‘New’ Painters’, Washington Post, 21 Dec 1961, A20. Upright Headley, Diane. ‘In Addition to the Veils’, Art in America, vol. 66, no.1, Jan–Feb 1978, 84–94. Upright, Diane. The Drawings of Morris Louis, exh. cat, Washington D.C., Smithsonian Institute Press, 1979. ______. Morris Louis: The Complete Paintings: A Catalogue Raisonné, New York, Harry N. Abrams, 1985. ______. ‘Morris Louis: Disposing the Diagonal’, Arts Magazine, vol. 50, April 1976, 69–75. ______. ‘Letter to the Editor’, Art in America, vol. 66, no. 2, Mar–Apr 1978, 5. ______. ‘Documentation: The Veil Paintings’, in Morris Louis: The Veil Cycle, exh. cat, Minneapolis, Walker Art Centre, 1977, 16–32.

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CLEMENT GREENBERG

Note: Essays by Greenberg used from John O’Brien’s edited collections of Greenberg’s essays are indicated by the following abbreviations, with corresponding page numbers:

(O’Brien 1) Clement Greenberg: The Collected Essays and Reviews: Volume 2: Arrogant Purpose, 1945–1949, Chicago, University of Chicago Press, 1986. (O’Brien 2) Clement Greenberg: The Collected Essays and Reviews: Volume 4: Modernism with a Vengeance, 1957–1969, Chicago, University of Chicago Press, 1993

1939–1959

‘Avant–Garde and Kitsch’, Partisan Review, vol. 6, no. 5, Fall 1939, 34–49. ‘Towards a Newer Laocöon, Partisan Review, vol. 7, no. 4, July–Aug 1940, 296–310. ‘The Situation at the Moment’, Partisan Review, vol. 15, no. 1, Jan 1948 (O’Brien 1, 192–196) ‘The Crisis of the Easel Picture’ (1948), Art and Culture: Critical Essays, Boston: Beacon Press, 3rd edition, 1968, (O’Brien 1, 221–225). ‘Feeling is All’, Partisan Review, vol. 19, Jan–Feb, 1952, 97–102. Matisse, New York, Harry N. Abrams, 1953. ‘“American–type” Painting’, Partisan Review, Spring 1955, 179–196. ‘New York Painting Only Yesterday’ (1957) (O’Brien 2, 19–25) ‘Sculpture in our Time’ (1958) (O’Brien 2, 55–60) ‘“American–Type” Painting’ (1958), in Art and Culture: Critical Essays, Boston, Beacon Press, 1968, 3rd edition, 208–229. ‘Introduction’, Barnett Newman: First Retrospective Exhibition, Vermont, Bennington College, 1958 (O’Brien 2, 58) ‘The Pasted–Paper Revolution’ (1958) (O’Brien 2, 61–66) ‘The Case for Abstract Art’ (1959) (O’Brien 2, 75–84)

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1960–1980

‘Modernist Painting’ (1960) (O’Brien 2, 85–93) ‘Louis and Noland’ (1960) (O’Brien 2, 94–99) ‘After Abstract Expressionism’ (1962) (O’Brien 2, 121–133) Post–Painterly Abstraction, exh. cat, Los Angeles, Los Angeles County Museum of Art, 1964 (O’Brien 2, 192–196.) ‘Letter to the Editor of Art International about Morris Louis’ (1965) (O’Brien 2, 209– 212). ‘Complaints of an Art Critic’ (1967) (O’Brien 2, 265–271) Art and Culture: Critical Essays, Boston, Beacon Press, 3rd edition, 1968. ‘Letter to the Editor’, Art in America, vol. 66, no. 2, Mar–Apr 1978, 5 (see also Diane Upright, 1978)

BY OTHER AUTHORS

Florence Rubenfeld, Clement Greenberg: A Life, New York, Scribner, 1997.

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MODERNIST PAINTING

Alloway, Lawrence. ‘Introduction’, Jackson Pollock: Paintings, Drawings and Watercolours from the Collection of Lee Krasner Pollock, exh. cat, London, Marlborough Fine Art, 1961, unpaginated. Arnason, H. H., American Abstract Expressionists and Imagists, New York,, Solomon R. Guggenheim Museum, 1961. Ashton, Dore. The New York School: A Cultural Reckoning, New York, Viking Press, 1972. Barr, Alfred H. The New American Painting: As Shown in Eight European Countries, 1958–1959, exh. cat, New York, Museum of Modern Art, 1959. Broun, Elizabeth. ‘Thomas Hart Benton: A Politician in Art’, Smithsonian Studies in American Art, vol. 1, no. 1, Spring 1987, 58–77. Collins, Bradford R. ‘Life Magazine and the Abstract Expressionists, 1948–51: A Historiographic Study of a Late Bohemian Enterprise’, The Art Bulletin, vol. 73, no. 2, June 1991, 280–308. ______. ‘Clement Greenberg and the Search for Abstract Expressionism’s Successor: A Study in the Manipulation of Avant–Garde Consciousness’, Arts Magazine, vol. 61, May 1987, 36–43. Crook, Jo and Learner, Tom. The Impact of Modern Paints, London, Tate Publishing, 2000. Davenport, Russell W. and Sargeant, Winthrop. ‘A Life Round Table on Modern Art’, Life, 11 Oct 1948, 56–73. Derrida, Jacques. The Truth in Painting, trans. Geoff Bennington and Ian McLeod, Chicago, University of Chicago Press, 1987. Duve, Thierry de. ‘The Monochrome and the Blank Canvas’, Kant After Duchamp, Cambridge, MIT Press, 1998, 199–279. Elderfield, John. ‘High Modern: An Introduction to Post–Pollock Painting in America’, Studio International, vol. 188, no. 968, July–Aug 1974, 4–7. Frascina, Francis. ‘Institutions, Culture, and America’s ‘Cold War Years’: The Making of Greenberg’s “Modernist Painting”’, Oxford Art Journal, vol. 26, no. 1, 2003, 71–96. Fried, Michael. ‘Modernist Painting and Formal Criticism’, The American Scholar, vol. 33, Autumn 1964, 642–48.

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______. ‘Optical Allusions’, Artforum, Issue 8, Apr 1999, 96–103. ______. Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella, exh. cat, Cambridge, Fogg Art Museum, 1965; New York, Garland Publishing Co., 1978. ______. Art and Objecthood: Essays and Reviews, Chicago, University of Chicago Press, 1998. ______. ‘An Introduction to My Art Criticism’, in Art and Objecthood: Essays and Reviews, Chicago, University of Chicago Press, 1998, 1–54. Galenson, David W and Weinberg, Bruce A. ‘Age and the Quality of Work: The Case of Modern American Painters’, Journal of Political Economy, vol. 108, issue 4, Aug 2000, 761–777. Geldzahler, Henry. New York Painting and Sculpture 1940–1970, exh. cat, New York, The Metropolitan Museum of Art, 1969. Heller, Ben. Black Enamel Paintings, exh. cat, New York, Gagosian Gallery, 1990. Hess, Thomas B. ‘de Kooning Paints a Picture’, ARTNews, vol. 52, Mar 1953, 30–32; 64–67. ______. ‘Barnett Newman’, ARTNews, vol. 49, no. 1, March 1950, 48. ______. ‘Reviews and Previews: Barnett Newman’, ARTNews, vol. 50, Summer 1951, 49. Hofmann, Hans. ‘Hans Hofmann on Art’, Art Journal, vol. 22, no. 3, Spring 1963, 180; 182. ‘How Pollock Paints’, Life, 8 Aug 1949, 45. ‘Irascible Group of Advanced Artists Led Fight against Show’, Life, 15 Jan 1951, 34. Karmel, Pepe. ed., Jackson Pollock: Interviews, Articles, and Reviews, New York, The Museum of Modern Art, 1999. Krauss, Rosalind. ‘The Im/pulse to See’, in Hal Foster, ed., Vision and Visuality, Seattle, Bay Press, and the Dia Art Foundation, 1988, 51–74. Lanes, Jerrold. ‘Reflections on Post–Cubist Painting’, Arts, May 1959, 24–26. Lassaw, Ibram. ‘On Inventing our Own Art’ (1938), reprinted in Charles Harrison and Paul Wood, eds., Art In Theory: 1900–1990, Oxford, Blackwell Publishers, 1992, 380. Mauzerall, Hope. ‘What’s the Matter with Matter? Problems in the Criticism of Greenberg, Fried, and Krauss’, Art Criticism, vol. 13, no. 1, 1998, 81–96. Miller, Dorothy C. Fifteen Americans, New York, The Museum of Modern Art, 1952.

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Rosenberg, Harold. ‘A Risk for the Intelligence’, New Yorker, 22 Oct 1962, 152. ______. ‘American Action Painters’, ARTNews, no. 51, no. 8, Dec 1952, 22–23; 48–50 Rubin, William. ‘The New York School – Then and Now’, Art International, no. 4– 5, Apr–May, 1958, 22. Sandler, Irving. ‘Is There a New Academy?’, ARTNews, no. 58, no. 6, Sept 1959, 36– 39; 58–60. Seitz, William C. The Responsive Eye, exh. cat, New York, The Museum of Modern Art, 1965. Shiff, Richard. ‘Whiteout: The Not–Influence Newman Effect’, in Ann Temkin. ed., Barnett Newman, exh. cat, Philadelphia, Philadelphia Museum of Art, Tate Modern, London, 2002–03, 76–104. Steinberg, Leo. ‘Other Criteria’ (1968), reprinted in Other Criteria: Confrontations with Twentieth–Century Art, London, Oxford University Press, 1972, 55–91. Temkin, Ann. ‘Barnett Newman on Exhibition’, in Barnett Newman, exh. cat, Philadelphia, Philadelphia Museum of Art, Tate Modern, London, 2002–03, 18–71. Varnedoe, Kirk and Karmel, Pepe. eds., Jackson Pollock: New Approaches, exh. cat, New York, The Museum of Modern Art, 1999.

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