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. see Arman (Armand Pierre Fernandez), also de Kooning, Willem; Motherwell, 126–27 Robert; Pollock, Jackson; Rothko, Mark Arnason, H. H., 113 Academy of Fine Arts, 18 Arnheim, Rudolf, 72 423 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-12909-1 - Conceptual Revolutions in Twentieth-Century Art David W. Galenson Index More information 424 Index Arp, Jean: accident incorporated into the centuries in advanced art, failure to art of, 297–98; artistic genres introduced understand, 360–63; style as focus of by, 116–17; co-authorship of art by, 201; analysis, limitations in perception based as German Surrealist, 301; the origin of on, 361–62; systematic comparison or Dada, 295–96, 300; painting by proxy, generalization, disdain for, 135 189; stabiles, coining of the term, 120 art history: access to through photography, art: abstract (see abstract art); appearance, 24–25; quantitative methods as lacking methods and goals of the artist and, 253; in, 2; successive artistic breakthroughs as authentic production of, the act of the subject of, 79 painting and (see production of art); Artigas, Josep Llorens, 143 balkanization of, 350–51; balkanization artistic breakthroughs: best five-year of, implications of, 353–54; periods in the careers of the greatest co-authorship of (see co-authorship of twentieth-century artists, 88–90;best art); defining the essential nature of, 40; three-year periods in the careers of the dematerialization of, 311–13; kinds of greatest twentieth-century artists, 87–88; (see artistic genres); locations for the best years in the careers of the greatest production of (see artistic centers); twentieth-century artists, 81–87;dataset market for (see economics of art, the); for the analysis of, 80–81; results of the modern (see modern art); ranking of the analysis of, 91–92; as the subject of art most important works from 1975 to the history, 79–80 present, 351–54; ranking of the artistic centers: Dresden, 289–90; twentieth century’s most important globalization of art and (see works of, 63–64 globalization of art); London, 313–18; Art as Idea as Idea (Kosuth), 222 Moscow, 291–95; New York (see New art dealers: early Impressionist works, York); Paris (see Paris); place, the reluctance to exhibit, 19–20; galleries of, importance of, 278–79; shift in from group exhibitions replaced by, 20–22, Paris to New York, 302–3; Zurich, 345–46; generation gaps between 295–97 innovators and the error of aging artistic genres: accumulations, Arman’s experts, 8–9; Picasso and, 328, 340, invention of, 126–27; achromes, 346 Manzoni’s invention of, 123; age of art historians/scholars: commentary on a artists at the time of their innovation, single artist without noticing parallel 130–31; anthropometries, Klein’s cases, examples of, 136–37, 140–41, invention of, 125–26, 190–91, 268; 157–58, 347 (see also stylistic assemblage, Dubuffet’s invention of, versatility); distinction between 121–22; auto-destructives, Metzger’s experimental and conceptual innovators, invention of, 125; biomorph, Arp’s implications of failure to perceive, 198, invention of, 116; collage, Picasso’s 354–55; hostility to quantitative invention of, 113–14, 350 (see also methods, 2; the Impressionists’ challenge collage); combine, Rauschenberg’s to the Salon, failure to fully appreciate invention of, 122–23, 149, 357; significance of, 346–47; markets and the compressions, Cesar’s´ invention of, 127; production of art, misunderstanding of constructed paintings, Arp’s invention the connection between, 17, 341–42, of, 116–17; construction, Tatlin’s 362; numerical analysis of narratives by, creation of the concept of, 115; 16; pluralism/postmodernism as cosmogonies, Klein’s invention of, 126; extension of earlier practices, failure to counter-relief, Tatlin’s invention of, 115, perceive, 344; self-portraits and 294, 350;decollage,´ Hains and Mahe´ self-referential works, failure to Villegle’s´ invention of, 121; earthwork, recognize the importance of, 229; shift of Smithson’s invention of, 129; the late nineteenth and early twentieth environment, Fontana’s invention of, © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-12909-1 - Conceptual Revolutions in Twentieth-Century Art David W. Galenson Index More information Index 425 121; exquisite corpse, Breton’s invention artistic importance/success: limited of, 119, 201; found objects, Breton’s potential for achieving in contemporary invention of, 120–21; frottage, Ernst’s art world, 59–60, 353–54; manufacture invention of, 118–19; “genre,” meaning of, 4–5; measuring, 15–16, 30–31, of, 113; happening, Kaprow’s invention 62–63; peer recognition as key to of, 124, 357–58; installations, invention establishing, 5–6; speed of attaining, of, 128–29; introduced in the 1910s, change in, 6–7 114–18; introduced in the 1920s, artistic tricksters: attacks on Manet and 118–19; introduced in the 1930s, Picasso as, 159–60;Beuys,166–67;as 119–21; introduced in the 1940s, 121; conceptual innovators producing a type introduced in the 1950s, 121–25; of conceptual art, 182; Duchamp as the introduced in the 1960s, 125–30; prototype, 161–66, 181–83;Emin, introduced in the 1970s, 130; introduced 177–78; Gilbert and George, 173–75; in the 1980s, 130; involuntary Hirst, 178–80; Klein, 169–71; Koons, sculptures, Brassaı’s¨ invention of, 120; 175–77; Manzoni, 171–73; model of in joiners, Hockney’s invention of, 130; the twentieth-century, 160–61, 180–83; light-space modulator, Moholy-Nagy’s public persona as part of a constructed, invention of, 119–20; living sculptures, 317; Warhol, 167–69 Manzoni’s invention of, 127, 171; merz, artists: artistic success, as key judges of, Schwitters’s invention of, 117; 4–6; best years in careers of the greatest meta-matics, Tinguely’s invention of, twentieth-century, 81–87; as celebrities, 123; mobiles, Calder’s invention of, 120; 26–29; changing behavior of, the shift non-site, Smithson’s invention of, 129; beginning in the late nineteenth century papier colle,´ Braque’s invention of, and, 360–63; co-authorship by (see 114–15, 350; papier dechir´ e,´ Arp’s co-authorship of art); collaborations invention of, 117; performance, between (see collaborations); invention of, 129; photograms, experimental and conceptual innovators, Moholy-Nagy’s invention of, 118; distinction between (see innovators, photomontage, Dada artists’ invention conceptual distinguished from of, 117–18, 300; photopainting, experimental); generational conflicts Richter’s invention of, 128; between (see generational conflicts); photo-transformation, Samaras’s greatest of the twentieth century, ranking invention of, 130; poubelles, Arman’s of, 31–33, 59–60; importance of based invention of, 126; proliferation of in the on impact as innovator on other artists, twentieth century, 112, 132–34, 349–50; 4–6; innovative in a competitive art proun, Lissitzky’s invention of, 118; market, rewards for, 22–23; labor puzzle of post-1960s drop-off in creation of/production of art by (see production of, 133; rayograms, Man Ray’s invention of art); language, use of in works (see of, 118, 147; readymades, Duchamp’s language); location of, significance of, invention of, 68–69, 115–16, 163, 350 278–79 (see also artistic centers; (see also readymades); shot-reliefs, de globalization of art); market conditions Saint Phalle’s invention of, 127; skoobs, and production of art by, relationship of, Latham’s invention of, 128;soft 17–23 (see