Conceptual Revolutions in Twentieth-Century Art David W
Cambridge University Press 978-0-521-12909-1 - Conceptual Revolutions in Twentieth-Century Art David W. Galenson Index More information Index abstract art, 250: Abstract Expressionist, A Cast of the Space Under My Chair 259–64 (see also Abstract (Nauman), 316 Expressionism/Expressionists); “accident” in Bacon’s art, 237 color-field abstraction, 265; conceptual accumulations (as artistic genre), 126–27 artists, reactions against Abstract achromes, 123 Expressionism by, 265–66; deceiving action painting, 28, 261, 268 appearances, caution regarding, 250–53; Alberti, Leon Battista, 324–26 experimental artists, embrace of Abstract Aldiss, Brian, 129 Expressionism by, 265–66; experimental Alechinsky, Pierre, 201 vs. conceptual artists in response to Alloway, Lawrence, 221 Abstract Expressionism, 264; pioneers Alpers, Svetlana, 186–87 of: Kandinsky, Mondrian, Malevich, Anastasi, William, 145, 347 250, 253–59; Tachiste, 263; twentieth Andre, Carl, 53, 311 century transformations of, 273–76 Andrew, Geoff, 150–51 Abstract Expressionism/Expressionists: Ankori, Gannit, 236 abstraction in the art of, 259–64;“action anthropometries, 125–26, 190–91, 268 painting” of, 28, 261, 268; attacks on by Apollinaire, Guillaume: on Boccioni, 288; Johns and Rauschenberg, 51–53 (see also creative tendency, spread of, 284;on Johns, Jasper; Rauschenberg, Robert); Duchamp, 145; individual exhibitions Bourgeois’s divergence from, 106; replacing large annual salons, 20, 346; commitment to a single program/style, Paris as the nineteenth-century capital of 141; conceptual artists’ rejection of, fine art, 282; on Picasso, 64; Picasso’s 266–73; experimental vs. conceptual portrait of, 328; Severini’s first exposure artists in response to, 264; globalization to collage, as source of, 286;onUnique of art and, 302–7; importance of for Forms of Continuity in Space, 68 twentieth-century art, 47–50, 263; Appel, Karel, 201 market for the art of, emergence of, Aragon, Louis, 300 329–30; Pop artists, anger at the rise of, Archer, Michael, 320 12–13; Surrealism, influence of, 260.
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