Artigo Revisado por pares

Finishing School: John Cage and the Abstract Expressionist Ego

1993; University of Chicago Press; Volume: 19; Issue: 4 Linguagem: Inglês

10.1086/448691

ISSN

1539-7858

Autores

Caroline A. Jones,

Tópico(s)

Artistic and Creative Research

Resumo

Previous articleNext article No AccessFinishing School: John Cage and the Abstract Expressionist EgoCaroline A. JonesCaroline A. Jones Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 19, Number 4Summer, 1993 Article DOIhttps://doi.org/10.1086/448691 Views: 45Total views on this site Citations: 38Citations are reported from Crossref Copyright 1993 The University of ChicagoPDF download Crossref reports the following articles citing this article:G. DOUGLAS BARRETT Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art, Twentieth-Century Music 18, no.22 (Feb 2021): 223–248.https://doi.org/10.1017/S1478572220000626Miriam Kienle Facing Others: Ray Johnson’s Portrait of a Curator as a Network, Archives of American Art Journal 59, no.22 (Oct 2020): 24–45.https://doi.org/10.1086/711971Ryan Dohoney ‘Élan Vital … and How to Fake it’: Morton Feldman and Merle Marsicano’s Vernacular Metaphysics, Contemporary Music Review 38, no.3-43-4 (Apr 2019): 229–246.https://doi.org/10.1080/07494467.2019.1596632Alice T. Friedman “Through the network of wires: Portsmouth Abbey, Richard Lippold, and Postwar Syncretism”, Interiors 6, no.33 (Apr 2016): 235–258.https://doi.org/10.1080/20419112.2015.1125657Nadja Rottner The Imagistic Theatre of Robert Whitman, Modern Drama 58, no.11 (Mar 2015): 66–93.https://doi.org/10.3138/MD.0625R.66 Valerie Hellstein The Cage-iness of Abstract Expressionism, American Art 28, no.11 (Jul 2015): 56–77.https://doi.org/10.1086/676628 Introduction, (Jan 2014): 1–25.https://doi.org/10.1215/9780822377313-001 Photography between Desire and Grief, (Jan 2014): 29–46.https://doi.org/10.1215/9780822377313-002 Making Sexuality Sensible, (Jan 2014): 47–70.https://doi.org/10.1215/9780822377313-003 Sepia Mutiny, (Jan 2014): 71–92.https://doi.org/10.1215/9780822377313-004 Skin, Flesh, and the Affective Wrinkles of Civil Rights Photography, (Jan 2014): 93–123.https://doi.org/10.1215/9780822377313-005 Looking Pleasant, Feeling White, (Jan 2014): 127–157.https://doi.org/10.1215/9780822377313-006 Anticipating Citizenship, (Jan 2014): 158–180.https://doi.org/10.1215/9780822377313-007 Regarding the Pain of the Other, (Jan 2014): 181–203.https://doi.org/10.1215/9780822377313-008 Accessible Feelings, Modern Looks, (Jan 2014): 204–236.https://doi.org/10.1215/9780822377313-009 Trauma in the Archive, (Jan 2014): 239–251.https://doi.org/10.1215/9780822377313-010 School Photos and Their Afterlives, (Jan 2014): 252–272.https://doi.org/10.1215/9780822377313-011 Photographing Objects as Queer Archival Practice, (Jan 2014): 273–296.https://doi.org/10.1215/9780822377313-012 Topographies of Feeling, (Jan 2014): 297–324.https://doi.org/10.1215/9780822377313-013 The Feeling of Photography, the Feeling of Kinship, (Jan 2014): 325–348.https://doi.org/10.1215/9780822377313-014 Epilogue, (Jan 2014): 349–355.https://doi.org/10.1215/9780822377313-015 Bibliography, (Jan 2014): 357–384.https://doi.org/10.1215/9780822377313-016 Contributors, (Jan 2014): 385–388.https://doi.org/10.1215/9780822377313-017Michael Hunter Something Queer at the Heart of It, (Jan 2013): 145–155.https://doi.org/10.1057/9781137331304_9BRIGID COHEN Diasporic Dialogues in Mid-Century New York: Stefan Wolpe, George Russell, Hannah Arendt, and the Historiography of Displacement, Journal of the Society for American Music 6, no.22 (May 2012): 143–173.https://doi.org/10.1017/S1752196312000028Benjamin Piekut Sound's Modest Witness: Notes on Cage and Modernism, Contemporary Music Review 31, no.11 (Feb 2012): 3–18.https://doi.org/10.1080/07494467.2012.712279Barry Wiener Ralph Shapey and the Search for a New Concept of Musical Continuity, 1954–1958, Contemporary Music Review 27, no.4-54-5 (Aug 2008): 451–476.https://doi.org/10.1080/07494460802367007Fred Turner Romantic Automatism: Art, Technology, and Collaborative Labor in Cold War America, Journal of Visual Culture 7, no.11 (Apr 2008): 5–26.https://doi.org/10.1177/1470412907087201SUZANNE ROBINSON “A Ping, Qualified by a Thud”: Music Criticism in Manhattan and the Case of Cage (1943–58), Journal of the Society for American Music 1, no.11 (Mar 2007): 79–139.https://doi.org/10.1017/S1752196307070046 Introduction, (Jan 2005): 1–21.https://doi.org/10.1215/9780822387053-001 The American Artist in a World of Suspicion, (Jan 2005): 23–50.https://doi.org/10.1215/9780822387053-002 Idol Gossip, (Jan 2005): 51–73.https://doi.org/10.1215/9780822387053-003 The Gift of the Gab, (Jan 2005): 74–105.https://doi.org/10.1215/9780822387053-004 Dishing on the Swish, or, the “Inning” of Andy Warhol, (Jan 2005): 106–139.https://doi.org/10.1215/9780822387053-005 Bodies of Evidence, (Jan 2005): 140–166.https://doi.org/10.1215/9780822387053-006 Afterword, (Jan 2005): 167–169.https://doi.org/10.1215/9780822387053-007 Notes, (Jan 2005): 171–192.https://doi.org/10.1215/9780822387053-008 Bibliography, (Jan 2005): 193–204.https://doi.org/10.1215/9780822387053-009

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