Ad Reinhardt: Mystic or Materialist, Priest or Proletarian?
2014; College Art Association; Volume: 96; Issue: 4 Linguagem: Inglês
10.1080/00043079.2014.916566
ISSN1559-6478
Autores Tópico(s)Photographic and Visual Arts
ResumoAbstractAd Reinhardt remains an active problem, as recent developments in his scholarship shed new light on earlier perplexities in his reception. Specifically the leftist materialist reading of Reinhardt's “difficult” black square paintings (1960–67) as engaged in modernist negation needs to be pressed further. The series should be taken as an object lesson in Marxist dialectics where the play and reversal of the categories of alienated versus free activity in labor and work, identity versus nonidentity in the social object as exchange-value or use-value, and art versus life within bourgeois aesthetics ultimately aim at a critical, materialist demystification of art. Notes1. Although Reinhardt referred to the paintings in this series as “black” and as “monochromes,” a number of observers have noted that they are neither truly black nor truly monochromes. In the literature, this issue has been dealt with in several ways: by calling them “near black”; by enclosing them in quotation marks; or by simply designating them “black” and “monochromes,” which is the option that will be taken here.2. Solomon R. Guggenheim Museum, New York, “Imageless: The Scientific Study and Experimental Treatment of an Ad Reinhardt Black Painting,” fact sheet; Kate Taylor, “An Empress without Clothes (So to Speak),” New York Sun, May 28, 2008, http:www.nysun.com/arts/art-restoration-if-its-done-well-you-dont-see-it/78694/; Carol Stringari, “The Art of Seeing,” in Imageless: The Scientific Study and Experimental Treatment of an Ad Reinhardt Black Painting (New York: Guggenheim Museum Publications, 2008), 32, 48 (hereafter Imageless). AXA Art Insurance Corporation is a subsidiary of the international firm AXA Financial, Inc., which, as of December 31, 2011, was “one of the largest asset management companies in the world” (“AXA Financial, Inc. SWOT Analysis,” Datamonitor, December 2011).3. David Ebony, “Damaged Reinhardt to Serve as Guinea Pig,” Art in America 89, no. 6 (June 2001): 25. Stringari (“The Art of Seeing,” 31) reported that the painting had “approximately twenty layers,” of which eleven were likely restoration layers that sat on top of seven to nine of Reinhardt's layers. Experimentation in the project included the processes of Fourier transform infrared analysis, laser-induced breakdown spectroscopy, Raman spectroscopy, scanning electron microscopy, and involved, beyond the Guggenheim Museum and AXA, a number of institutions, including the Museum of Modern Art, New York; Foundation for Research and Technology, Institute of Electronic Structure and Laser, Heraklion, Greece; Art Innovations, Oldenzaal, the Netherlands; Laser Conservation Research Section, Los Angeles County Museum of Art, Los Angeles; and Microscopy and Imaging Facility, American Museum of Natural History, New York (Stringari, introduction to Imageless, 6–7).4. Solomon R. Guggenheim Museum, New York, “Forensic Investigation into the Mysteries of Conserving Minimalist Paintings Revealed in Special Exhibition of Ad Reinhardt Black Painting,” media release, July 8, 2008.5. Carol Vogel, “The Art Is Modern, the Decaying Real,” New York Times, April 24, 2001; Ebony, “Damaged Reinhardt to Serve as Guinea Pig,” 25; and Guggenheim, “Forensic Investigation into the Mysteries.”6. Michael Corris, Ad Reinhardt (London: Reaktion Books, 2008), 13. In this volume, Corris discusses at length Reinhardt's reception in the 1960s by Minimalist and Conceptual artists. Also see Lynn Zelevansky, “Ad Reinhardt and the Younger Artists of the 1960s,” in American Art of the 1960s, ed. John Elderfield (New York: Museum of Modern Art, 1991), 16–36; and Yve-Alain Bois, “The Limit of Almost,” in Ad Reinhardt (New York: Rizzoli International Publications, 1991), 12–15.7. Corris, Ad Reinhardt, 11. See also idem, “Ad Reinhardt: The Invisible College of Conceptual Art?” Flash Art 27, no. 178 (October 1994): 49–52; idem, “The Difficult Freedom of Ad Reinhardt,” in Art Has No History! The Making and Unmaking of Modern Art, ed. John Roberts (London: Verso, 1994), 63–110; and idem, “Corrected Chronology: Ad Reinhardt and the American Communist Movement, 1936–1950” (PhD diss., University College, London, 1996).8. As an appendix in the 2008 monograph, Corris, Ad Reinhardt, provides a “Guide to Visual Resources” that points the reader to a number of libraries, archives, galleries, and previous publications for tracking down Reinhardt's cartoons and illustrations. Also, at the time of this article's writing, the Website for the Ad Reinhardt Foundation for Art as Art announced the foundation's intention to create a digital archive of its holdings (http://adreinhardt.org/reinhardtfoundation/index.cfm/fa/c.index).9. Michael Corris, “Michael Corris with Joan Waltemath,” interview by Joan Waltemath, Brooklyn Rail, October 10, 2008, http://www.brooklynrail.org/2008/10/art/michael-corris-with-joan-waltemath. See Anna Reinhardt to Reaktion Books Ltd, Janet Hicks/Artists Rights Society and Michael Corris, July 21, 2006, and Rita Reinhardt, Anna Reinhardt, and Arne Glimcher to Michael Leaman, Reaktion Books Ltd., September 5, 2006, both in Michael Corris Archives, Dallas.10. Corris, “Michael Corris with Joan Waltemath.”11. To clarify: I reference the Guggenheim-AXA project as a framing device, and therefore the venture operates to an extent figuratively. My reading is directed not at the specificity of the individual artifact Black Painting, 1960–66 but rather toward the black square paintings when considered, in Reinhardt's own word, “exchangeable.”12. Margit Rowell, Ad Reinhardt and Color (New York: Solomon R. Guggenheim Museum, 1980), 25; and Bois, “The Limit of Almost,” 28.13. Lucy R. Lippard, Ad Reinhardt: Paintings (New York: Jewish Museum, 1966), 22. Priscilla Colt also noted that Reinhardt “quite deliberately stopped short of abandoning painting to pass into object making. …”; Colt, “Notes on Ad Reinhardt,” Art International 8 (October 20, 1964): 34.14. Jules Langsner, “Art News from Los Angeles: Review of Ad Reinhardt at Dwan Gallery, Los Angeles,” Artnews 62, no. 9 (January 1964): 50.15. Mario Naves, “Talking at Cross Purposes: Piet Mondrian and Ad Reinhardt,” New Criterion 16 (February 1998): 45; Harris Rosenstein, “Black Pastures,” Artnews 65, no. 7 (November 1966): 34; Kenneth Baker, “The Black World of Ad Reinhardt,” San Francisco Chronicle, July 7, 1991, 35; Lawrence Campbell, “Ad Reinhardt,” Artnews 59, no. 6 (October 1960): 12; and James H. Beck, “Ad Reinhardt in Retrospect,” Arts Magazine 54, no. 10 (June 1980): 150.16. Ad Reinhardt, “An Interview with Ad Reinhardt,” by Bruce Glaser, Art International 10, no. 10 (December 20, 1966), reprinted in Ad Reinhardt, Art-as-Art: The Selected Writings of Ad Reinhardt, ed. Barbara Rose (Berkeley: University of California Press, 1975), 15 (hereafter Reinhardt-Glaser interview).17. Ibid., 13.18. Colt, “Notes on Ad Reinhardt,” 32, 34.19. Walter Smith, “Ad Reinhardt's Oriental Aesthetic,” Smithsonian Studies in American Art 4, nos. 3–4 (Summer–Autumn 1990): 42, 43.20. Helen Westgeest, Zen in the Fifties: Interaction in Art between East and West, trans. Wendy van Os-Thompson (Zwolle, Neth.: Uitgeverij Waanders; Amstelveen, Neth.: Cobra Museum voor Moderne Kunst, 1996); see also Donald Kuspit's review, “Ad Reinhardt at Marlborough,” Art in America 62, no. 3 (May–June 1974): 112, in which he names Reinhardt the “inevitable heir of Malevich and Mondrian.”21. Ad Reinhardt, “An Interview with Ad Reinhardt,” by Phyllisann Kallick, Studio International 174, no. 895 (December 1967): 271; and idem, “Black,” Artscanada 113 (October 1967), edited transcript published as “Black as Symbol and Concept,” in Reinhardt, Art-as-Art, 87. The denial is amplified in listening to those commentators who knew and worked closely with Reinhardt. Lucy Lippard, who did extensive interviews with Reinhardt in preparing the catalog essay for the artist's retrospective at the Jewish Museum, New York, wrote (Ad Reinhardt: Paintings, 12), “Mysticism must be wholly discounted from discussion of Reinhardt's paintings despite the temptation to read ‘higher’ meanings into [them].” Martin James, a longtime colleague of Reinhardt's at Brooklyn College, reported that the artist “trenchantly denies the presence in his work of an intended metaphysic or imagery or mysticism”—indeed, that he found them “to be inimical to art”; James, “Today's Artists: Reinhardt,” Portfolio and Artnews Annual 3 (New York: Art Foundation Press, 1960), 61.22. Corris, Ad Reinhardt, 41.23. Lucy R. Lippard, Ad Reinhardt (New York: Harry N. Abrams, 1981), 9, 198.24. Corris, “The Difficult Freedom of Ad Reinhardt,” 66.25. Annette Cox, Art-as-Politics: The Abstract Expressionist Avant-Garde and Society (Ann Arbor, Mich.: UMI Research Press, 1982), 105.26. David Craven, “The FBI Files on the New York School,” in Abstract Expressionism as Cultural Critique: Dissent during the McCarthy Period (Cambridge: Cambridge University Press, 1999), 79–104; and Corris, “Corrected Chronology,” 14–15. For a detailed discussion of McCarthyism and its effects on the American left and liberal intelligentsia, see Richard H. Pells, “Are You Now, Have You Ever Been, and Will You Give Us the Names of Those Who Were?” in The Liberal Mind in a Conservative Age: American Intellectuals in the 1940s and 1950s, 2nd ed. (Hanover, N.H.: Wesleyan University Press, 1989), 262–345.27. Craven, Abstract Expressionism as Cultural Critique, 81. The late David Craven obtained a copy of Reinhardt's FBI file through the 1966 Freedom of Information Act that “allowed private citizens access to records involving the clandestine surveillance of U.S. citizens considered subversive by the Federal Bureau of Investigation. …” However, as he notes, only one hundred pages of Reinhardt's file were released, “with a sizable portion of those being blotted out for reasons of ‘national security.’” Craven made available “Ad Reinhardt file, US Department of Justice, 100-49569-10” to Michael Corris. In my own attempts to obtain a copy of the file directly through the FBI, I was informed that no such file exists. Presumably, the FBI has destroyed it. Therefore, I am all the more grateful to Professor Corris for his unqualified generosity in sharing with me his Reinhardt research materials.28. Craven, Abstract Expressionism as Cultural Critique, 34–39, 51–78.29. Corris, Ad Reinhardt, 97, 16, 17, 96, 76.30. Ibid., 98, 16, 98, 164, 165.31. As Barbara Rose stated in 1975 (in introduction to Reinhardt, Art-as-Art, xii), “His works were mocked in speech and print; he was called a ‘fake’ and a fraud by a spokesman for the Art Dealers Association. Indeed he was one of the last artists whose work continued to shock a public that grew increasingly blasé toward the possible outrage of art.”32. See, for instance, Reinhardt, “Chronology,” 8; Reinhardt-Glaser interview, 15; Ad Reinhardt, “[The Black-Square Paintings],” published as “Autocritique de Reinhardt,” Iris-Time, June 10, 1963, in Reinhardt, Art-as-Art, 83; and Phyllis Rosenzweig, “Ad Reinhardt: Problems and Curatorial Ethics: Does It Matter Who Painted It?” in American Abstract Expressionism, ed. David Thistlewood (Liverpool: Liverpool University Press, 1993), 193–207.33. Irving Sandler, A Sweeper-Up after Artists: A Memoir (London: Thames and Hudson, 2003), 74–75.34. Reinhardt, “The Black Square Painting Shows, 1963, 1964, 1965,” Ad Reinhardt Papers, Archives of American Art, Smithsonian Institution (hereafter AAA), Biographical Material: Exhibition Labels, box 1, folder 8.35. Corris, Ad Reinhardt, 167, 144.36. Ad Reinhardt, “[Five Stages of Reinhardt's Timeless Stylistic Art-Historical Cycle],” undated note, 1965, in Reinhardt, Art-as-Art, 10; and Corris, Ad Reinhardt, 167.37. Corris, Ad Reinhardt, 167.38. Ibid., 167, 17, 16.39. Ad Reinhardt, “Oral History Interview with Ad Reinhardt,” by Harlan Phillips, AAA, ca. 1964.40. The references in the literature are many. For a sampling, see Thomas B. Hess, The Art Comics and Satires of Ad Reinhardt (Düsseldorf: Kunsthalle; Rome: Marlborough, 1975), 14; Reinhardt, “Oral History Interview with Ad Reinhardt”; Lippard, Ad Reinhardt (1981), 9; and Corris, Ad Reinhardt, 24.41. See Naomi Vine, “The Total Dark Sublime: An Interpretive Analysis of the Late Black Paintings of Ad Reinhardt—1960–1967” (PhD diss., University of Chicago, 1989), 288; and Ad Reinhardt, “Monologue” (April 27, 1966), excerpts from an interview with Mary Fuller, originally published as “An Ad Reinhardt Monologue” in Artforum 9, no. 2 (October 1970), reprinted in Reinhardt, Art-as-Art, 26–27.42. Corris, Ad Reinhardt, 20; see also idem, “Cartoons and Communists,” in ibid., 33–59.43. Michael Cohen, “Imagining Militarism: Art Young and The Masses Face the Enemy,” Radical History Review 106 (Winter 2010): 90.44. Virginia Gardner, “Congress Defeatists and Culture,” New Masses, May 6, 1944, 26–27.45. Ruth Benedict and Gene Weltfish, The Races of Mankind (New York: Public Affairs Committee, 1943), 1.46. This cartoon appears in ibid. 47. The sixty-frame silent cartoon filmstrip We Are All Brothers: What Do You Know about Race? was produced in New York by the Public Affairs Committee with New Tools for Learning. The film's print supplement included the filmscript, again, adapted from The Races of Mankind, and commentary. The relevance and impact of the initial Races of Mankind pamphlet are indicated by the fact that it was the basis, in 1945, for a second film, The Brotherhood of Mankind. This eleven-minute animated color film with sound was directed by Robert Cannon and commissioned by the United Automobile Workers’ Education Department. For a detailed discussion of the UAW adaptation, see Michael Denning, The Cultural Front: The Laboring of American Culture in the Twentieth Century (London: Verso, 1997), 418–20.48. Gene Weltfish and Dina M. Bleich, “We Are All Brothers,” See and Hear: The Journal on Audio-Visual Learning 1, no. 6 (February 1946): 32. The illustration “With better home, school, medical care, Johnny could have been Jimmy” was also used in this article.49. Denning, The Cultural Front, 16.50. As Hess (The Art Comics and Satires of Ad Reinhardt, 27–28) suggests, Reinhardt may very well have been playing off the spate of “how-to” books that sought to inform popular audiences about high culture and that gained popularity in the early twentieth century. For further discussion on this genre of book, see Marie Frank, “The Theory of Pure Design and American Architectural Education in the Early Twentieth Century,” Journal of the Society of Architectural Historians 67, no. 2 (June 2008): 248–73.51. Hess, The Art Comics and Satires of Ad Reinhardt, 20, 21.52. Ibid., 20. Not all were willing to overlook Reinhardt's habit as a mere nuisance. Barnett Newman famously attempted to sue Reinhardt for libel for the remarkable sum of $100,000 for including him in the category of “the artist-professor and traveling-design-salesman” in “The Artist in Search of an Academy, Part Two: Who Are the Artists?” a text that Reinhardt presented in a Woodstock Art Association symposium “On the ‘Reality’ Statement,” Woodstock, N.Y., August 14, 1953, subsequently published in College Art Journal 13, no. 4 (Summer 1954): 314–15.53. David Anfam, “New York, Ad Reinhardt,” Burlington Magazine 133, no. 1062 (September 1991): 642.54. Ad Reinhardt, “An Artist, a Fine-Artist or Free-Artist,” undated note, in Reinhardt, Art-as-Art, 142.55. Ad Reinhardt, “The Next Revolution in Art (Art-as-Art Dogma, Part II),” Artnews 62, no. 10 (February 1964), reprinted in Reinhardt, Art-as-Art, 59; and idem, “Aesthetic Responsibility” (paper presented at the First Conference on Aesthetic Responsibility, American Institute of Architects, April 3, 1962), in Reinhardt, Art-as-Art, 164. See also idem, “Art-as-Art,” Art International 6, no. 10 (December 20, 1962), reprinted in Reinhardt, Art-as-Art (hereafter “Art-as-Art,” 1962), 56.56. Reinhardt's censures of art world sellouts and selling out are legion. For some instances, see Ad Reinhardt, “The Artist in Search of a Code of Ethics” (lecture, the College Art Association Annual Conference and the Artists Club, New York, 1960), published in Reinhardt, Art-as-Art, 164; idem, “The Next Revolution in Art,” 62; and idem, Reinhardt-Glaser interview, 14–15.57. Reinhardt, “Monologue,” 28; and Karl Marx, “Economic and Philosophic Manuscripts of 1844,” in The Marx-Engels Reader, ed. Robert C. Tucker, 2nd ed. (New York: W. W. Norton, 1978), 78.58. Reinhardt, “Monologue,” 27–28.59. Ad Reinhardt, “Routine Extremism,” undated note, in Reinhardt, Art-as-Art, 127.60. Marx, “Economic and Philosophic Manuscripts of 1844,” 76.61. Gyorgy Lukács, History and Class Consciousness (1922), trans. Rodney Livingstone (Cambridge, Mass.: MIT Press, 1971), 88.62. For further, more detailed discussions of the connection between Marx's and Reinhardt's notions of the fine arts, see Craven, Abstract Expressionism as Cultural Critique, 69–72; Corris, “The Difficult Freedom of Ad Reinhardt,” 69–72; and idem, Ad Reinhardt, 66–67.63. Ad Reinhardt to Harold Rosenberg, ca. 1960–62, Harold Rosenberg Papers, Getty Research Institute, Los Angeles, box 2, folder 5.64. Corris, Ad Reinhardt, 20 n. 11, 173. For discussions of the new and growing development of white-collar labor organizing, see Joseph H. Fichter, “White-Collar Workers Join with the Labor Unions,” America, April 18, 1942, 40–41.65. Ad Reinhardt, “Chronology,” in Reinhardt, Art-as-Art, 7.66. For a history of Brooklyn College, including accounts of the institution's challenges, see Murray M. Horowitz, Brooklyn College: The First Half-Century (New York: Brooklyn College Press and Columbia University Press, 1981).67. Ad Reinhardt to Harry D. Gideonse, president, Brooklyn College, December 15, 1965, Ad Reinhardt Papers, AAA, box 1, folder 33.68. Ad Reinhardt to Selina Trieff Henry, June 3, 1957, Selina Trieff Papers, AAA.69. Ad Reinhardt to Iris Clert, postmarked November 28, 1960, in Sanda Miller, “An American in Paris: Ad Reinhardt's Letters (1960–66) to His Dealer Iris Clert,” Burlington Magazine 145, no. 1207 (October 2003): 718.70. See for instance Vine, “The Total Dark Sublime,” 290, 302, 332.71. Ad Reinhardt to Harold Rosenberg, ca. 1960–62.72. Corris, Ad Reinhardt, 124, 99.73. Reinhardt-Glaser interview, 13.74. Ad Reinhardt, “Is Today's Artist with or against the Past?” Artnews 57, no. 4 (July–August 1958): 57.75. Reinhardt, “The Present Situation in Art” (1966), in Reinhardt, Art-as-Art, 156.76. Reinhardt, “Art-as-Art,” 1962, 56; and idem, “Monologue,” 24.77. Ad Reinhardt, “Creation as Content,” undated note, in Art-as-Art, 192.78. Reinhardt, “Art-as-Art,” 1962, 56.79. Hilton Kramer, “Art,” Nation, June 22, 1963, 534.80. Reinhardt, “Art-as-Art,” ca. 1962–63, in Reinhardt, Art-as-Art, 58.81. Reinhardt, “Art-as-Art,” 1966–67, in Reinhardt, Art-as-Art, 77.82. Karl Marx, Capital, vol. 1 (1867), trans. Ben Fowkes (New York: Penguin, 1976), 132, 140.83. Ad Reinhardt, “The Artist Is Responsible… ,” in Reinhardt, Art-as-Art, 136; idem, “Aesthetic Responsibility,” 165; and idem, “Art-as-Art,” 1966–67, 76.84. Ad Reinhardt, “Abstract Art Refuses” (1952), in Reinhardt, Art-as-Art, 51; idem, “Art-as-Art,” 1962–63, 57; and idem, “Dark,” undated note, in Reinhardt, Art-as-Art, 90.85. Reinhardt, “Oneness,” undated note, in Reinhardt, Art-as-Art, 107.86. Reinhardt, “Art-as-Art,” 1966–67, 78.87. Reinhardt, “Art-as-Art,” 1962, 53.88. Reinhardt, “Abstract Art Refuses,” 50; and idem, “Art-as-Art,” 1962, 54.89. As others have noted, Reinhardt's decision to pursue a formal liberal arts education was an anomaly both from the perspective of class (for more training, he would have gone to a technical trade school) and from the perspective of the fine arts (this was not a common credential for ambitious artists at the time). See Lawrence Alloway, “Artists as Writers, Part Two: The Realm of Language,” Artforum 12, no. 8 (April 1974): 31; Budd Hopkins, “An Ad for Ad as Ad,” Artforum 14, no. 10 (Summer 1976): 62; and Beck, “Ad Reinhardt in Retrospect,” 150.90. Reinhardt, “Oral History Interview with Ad Reinhardt.”91. Robert Morris took a seminar in Japanese art with Reinhardt at Hunter College. See Morris, “Three Folds in the Fabric and Four Autobiographical Asides as Allegories (or Interruptions),” Art in America 77, no. 11 (November 1989): 144.92. Dale McConathy, Ad Reinhardt: A Selection from 1937 to 1952 (New York: Marlborough Gallery, 1974), 9.93. Ibid.94. James, “Today's Artists: Reinhardt,” 53.95. See Herbert Marcuse, “The Affirmative Character of Culture,” in Negations: Essays on Critical Theory, trans. Jeremy J. Shapiro (1968; rev. ed., London: MayFlyBooks, 2009), 65–66, originally published as “Über den affirmativen Charakter der Kultur,” Zeitschrift fu¨r Sozialforschung 6 (1937).96. The theme of a historical progression toward the modern, as with Reinhardt's other core concepts, is one that he rehearses in a number of related but not identical iterations. As Rose notes in her introduction (Reinhardt, Art-as-Art, xiv), reflecting on the process of reviewing Reinhardt's writings for the collected volume, “Like the black paintings, which were nearly identical in their square versions, the later essays stress the same themes over and over.” See Ad Reinhardt, “Artist Talk,” undated note, in Art-as-Art, 138; and idem, “Art-as-Art,” 1962, 53.97. Reinhardt, “Museum,” undated note, in Reinhardt, Art-as-Art, 128; and idem, “Paintings and Pictures” (1943), in Reinhardt, Art-as-Art, 119.98. Reinhardt, “Art-as-Art,” 1962, 55.99. Ad Reinhardt, “What Is Corruption?” Scrap, January 20, 1961, reprinted in Reinhardt, Art-as-Art, 155.100. Reinhardt, “The Artist in Search of a Code of Ethics,” 160, 163.101. Ad Reinhardt, “On Art and Morality,” excerpts from “The Philadelphia Panel,” It Is (Spring 1960), reprinted in Art-as-Art, 151; and idem, “What Is Corruption?” 153–54, 155.102. Reinhardt, “What Is Corruption?” 155.103. Reinhardt-Glaser interview, 12–13.104. Karl Marx, “Contribution to the Critique of Hegel's ‘Philosophy of Right’: Introduction,” in The Marx-Engels Reader, 63.105. Fredric Jameson, Marxism and Form (Princeton: Princeton University Press, 1971), 308, 309.106. Marx, “Contribution to the Critique of Hegel's ‘Philosophy of Right,’” 53. For a brief discussion of the relation between the Marx and Marcuse texts, see Peter Bürger, Theory of the Avant-Garde, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1984), 11, originally published as Theorie der Avantgarde (Frankfurt: Suhrkamp Verlag, 1974).107. Marcuse, “The Affirmative Character of Culture,” 76.108. Reinhardt, “Chronology,” 8.109. Reinhardt-Glaser interview, 15.110. Mahonri Sharp Young, “Letter from U.S.A.: From Hogarth to Peale, to Reinhardt,” Apollo 85, no. 61 (March 1967): 229; and Jerry Emanuel, “Retrospective at the Jewish Museum,” Artscanada 24, no. 104 (January 1967): 7.111. Christiane Fischer, preface to Imageless, 4.112. Ibid.; and Ebony, “Damaged Reinhardt to Serve as Guinea Pig,” 25.113. Fischer, preface to Imageless, 4, 5.Additional informationNotes on contributorsAnnika MarieAnnika Marie is assistant professor of art history at Columbia College Chicago, where she specializes in art and art theory from 1945 to the present. She is working on a reexamination of social practice art that considers its participatory rhetoric with Harold Rosenberg's theories of the act and “action painting” [Art and Design Department, Columbia College Chicago, 600 South Michigan Avenue, Chicago, Ill. 60605, amarie@colum.edu].
Referência(s)