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Journal articles on the topic 'Abstract expressionism'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Ashton, Dore, and Stephen Polcari. "Abstract Expressionism." Art Journal 50, no. 4 (1991): 104. http://dx.doi.org/10.2307/777331.

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2

Butler, Rex. "What was Abstract Expressionism? Abstract Expressionism after Aboriginal Art." Australian and New Zealand Journal of Art 14, no. 1 (January 2, 2014): 76–91. http://dx.doi.org/10.1080/14434318.2014.936529.

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3

Hobbs, Robert, and Michael Leja. "Abstract Expressionism Reframed." Art Journal 53, no. 3 (1994): 106. http://dx.doi.org/10.2307/777449.

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4

THISTLEWOOD, DAVID. "AMERICAN ABSTRACT EXPRESSIONISM." Art Book 1, no. 4 (September 1994): 30f. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00223.x.

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5

Landau, Ellen G., and Ann Eden Gibson. "Abstract Expressionism: Other Politics." Woman's Art Journal 20, no. 1 (1999): 59. http://dx.doi.org/10.2307/1358851.

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6

Siedell, Daniel A., and Ann Eden Gibson. "Abstract Expressionism: Other Politics." Journal of Aesthetic Education 33, no. 1 (1999): 105. http://dx.doi.org/10.2307/3333742.

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7

Chow, Sow Yeng, and Sarena Abdullah. "The Shaping of Malaysian Abstract Expressionist Art within the Context of Malaysian Modern Art (1950s-1970s)." Melayu: Jurnal Antarabangsa Dunia Melayu 17, no. 1 (January 1, 2024): 57–84. http://dx.doi.org/10.37052/jm.17(1)no3.

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Abstract Expressionism is an art form that began in the West and later gained influence in the East. In the years after World War II, Abstract Expressionism became the catalyst in the transition of modern art in Asia. In Malaysia, with the advocacy of Abstract Expressionism and the spirit of Expressionism, abstract art became mainstream in the art scene since the 1950s. Abstract Expressionism from two different worlds—America and/or Europe and Malaysia—is different, especially in terms of the artists’ respective approach and creativity. This article discusses how the evolution of abstraction works through the artworks produced by Syed Ahmad Jamal, Yeoh Jin Leng, Latiff Mohidin, and Chew Teng Beng. This is followed by a discussion on the diversity of abstraction forms in Malaysian Abstract Expressionist art through the study of works by the aforementioned artists
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8

Hobbs, Robert C. "Early Abstract Expressionism and Surrealism." Art Journal 45, no. 4 (1985): 299. http://dx.doi.org/10.2307/776801.

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9

Leja, Michael, David Anfam, Ann Eden Gibson, Clifford Ross, David Shapiro, and Cecile Shapiro. "Abstract Expressionism: Sources and Surveys." Art Journal 50, no. 4 (1991): 99. http://dx.doi.org/10.2307/777330.

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10

Craven, David. "THE DISAPPROPRIATION OF ABSTRACT EXPRESSIONISM." Art History 8, no. 4 (December 1985): 499–515. http://dx.doi.org/10.1111/j.1467-8365.1985.tb00189.x.

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11

Polcari, Stephen. "Martha Graham and Abstract Expressionism." Smithsonian Studies in American Art 4, no. 1 (January 1990): 3–27. http://dx.doi.org/10.1086/smitstudamerart.4.1.3108994.

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12

Clark, T. J. "In Defense of Abstract Expressionism." October 69 (1994): 22. http://dx.doi.org/10.2307/778988.

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13

Obler, Bibiana K. "Lynda Benglis Recrafts Abstract Expressionism." American Art 32, no. 1 (March 2018): 2–23. http://dx.doi.org/10.1086/697714.

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14

Polcari, Stephen. "Martha Graham and Abstract Expressionism." American Art 4, no. 1 (January 1990): 2. http://dx.doi.org/10.1086/424084.

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15

Hobbs, Robert C. "Early Abstract Expressionism and Surrealism." Art Journal 45, no. 4 (December 1985): 299–302. http://dx.doi.org/10.1080/00043249.1985.10792314.

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16

Stolyarova, Elena G., and Andrey Ev Berezin. "Aesthetic principles of expressionism in modern architecture." Urban construction and architecture 14, no. 1 (April 25, 2024): 150–56. http://dx.doi.org/10.17673/vestnik.2024.01.17.

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The purpose of the article is to study the aesthetic principles of expressionism that influenced the development of modern architecture. An analysis of the concepts and means of artistic expression of the direction under study is proposed. The conditions for the emergence and formation of expressionism, its artistic methods of expression from conventionally realistic to abstract, as well as the manifestation of this direction of art in architectural design are considered. A brief analysis of the connection between expressionism and other parallel trends or movements of art of the twentieth century is given. Variations of expressionism from the standpoint of abstract art are identified, where the search for interactivity between the artist and the viewer in the process of visual perception of the painting is indicated. It is concluded that imagination is one of the main ways of artistic thinking in the process of author’s artistic design. The manifestation of the aesthetic principles of expressionism in the architecture of individual countries is considered. It has been revealed that expressionism in architecture is characterized by a departure from traditional forms in order to achieve the maximum emotional impact on the recipient. The study of the stated topic allows us to draw a conclusion about the relevance of expressionism at the beginning of the 21st century, which, with its traditions, continues the achievements of expressionism of the 20th century. and at the same time gives a new impetus to artistic expressions of the personal views of artists and architects on the ongoing processes in society. Parallels of the beginning of the 20th – beginning of the 21st centuries. revealed similarities in the aesthetic principles of the formation of the subject-spatial architectural environment. Expressionist techniques, means and methods of working on a painting or object are most accurately able to express the feelings of artists and architects, their psychological stress, the conviction that the viewer must go through a new experience while looking at an architectural or artistic work.
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17

Guilbaut, Serge, and Stephen Polcari. "Abstract Expressionism and the Modern Experience." American Historical Review 97, no. 5 (December 1992): 1491. http://dx.doi.org/10.2307/2165957.

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18

Doss, Erika, and Stephen Polcari. "Abstract Expressionism and the Modern Experience." Journal of American History 79, no. 4 (March 1993): 1670. http://dx.doi.org/10.2307/2080334.

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19

BUNCH, CRAIG. "READING ABSTRACT EXPRESSIONISM: CONTEXT AND CRITIQUE." Art Book 13, no. 2 (May 2006): 45. http://dx.doi.org/10.1111/j.1467-8357.2006.00673.x.

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20

Hellstein, Valerie. "The Cage-iness of Abstract Expressionism." American Art 28, no. 1 (March 2014): 56–77. http://dx.doi.org/10.1086/676628.

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21

Liggins, David. "Abstract Expressionism and the Communication Problem." British Journal for the Philosophy of Science 65, no. 3 (September 1, 2014): 599–620. http://dx.doi.org/10.1093/bjps/axt012.

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22

Baigell, Matthew. "The Emersonian Presence in Abstract Expressionism." Prospects 15 (October 1990): 91–108. http://dx.doi.org/10.1017/s036123330000586x.

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In all of the literature on abstract expressionism, very little has been written about what I would call the Emersonian presence. It is a presence rather than a source or influence. And it is not limited to Emerson, since it can be found in such figures as Walt Whitman and William James, among others. But it is easier to say “an Emersonian presence” because precise influences are difficult, probably impossible, to establish. What I am concerned with is an attitude of mind that recurs in American intellectual history and that resonates through much 20th-century American art, ranging from early modernists such as John Marin through artists associated with process art. I do not mean to deny other welldocumented European and American sources, influences, and presences in abstract expressionism and other American movements, but only to call attention at this time to the Emersonian presence.
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23

Polcari, Stephen. "II: Abstract Expressionism: “New and Improved”." Art Journal 47, no. 3 (September 1988): 174–80. http://dx.doi.org/10.1080/00043249.1988.10792409.

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24

Gassin, Alexia. "The Formalist Cinematographic Theory: a Refined Thinking of the Expressionist Film Conception?" Linguistic Frontiers 6, no. 1 (June 1, 2023): 23–28. http://dx.doi.org/10.2478/lf-2023-0003.

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Abstract According to many researchers, Russian formalists do not want to recognize the influence of German expressionism on their work. This statement leads to a distinction between both theories in many fields, such as the field of cinema. In this sense, it is common to read nuanced definitions of expressionism and formalism. The present article tends to verify the truthfulness of these definitions and to show that formalism could be an extension of expressionism through an analysis of two reference works: Expressionism and Film (Expressionismus und Film) (1926) by Rudolf Kurtz et The Poetics of Cinema (Поэтика кино) (1927).
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25

Shi, Jingjing. "A Causal Analysis of the Promotion of Abstract Expressionism: On the Foreign Policy of the United States." European Journal of Fine and Visual Arts 1, no. 1 (April 30, 2023): 30–42. http://dx.doi.org/10.24018/ejart.2023.1.1.11.

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It is well known that during the Cold War the United States focused on the promotion of Abstract Expressionism and regarded it as a powerful weapon for the improvement of its cultural status and capacity to compete with the USSR. An analysis of this phenomenon – its causes, characteristics, and effects – would be incomplete without studying the foreign policy efforts of that time and the special traits of Abstract Expressionism’s artistic influence. It can be concluded that the rise of Abstract Expressionism after the Second World War was aligned with the goals of American policy instructions and outward cultural promotion during the Cold War. In turn, the powerful implementation of foreign policy actively enhanced the international influence of American Abstract Expressionism during that historical period. This paper undertakes an analysis of the causes for Abstract Expressionism’s successful promotion, through the study of abundant first-hand literature and documents, historical analysis as well as complex analysis. The use of case studies is also applied to further explain the phenomenon from the perspective of American foreign policy in the Cold War.
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26

Giannotti, Marco. "Seminar Abstract Expressionism: the language of emotions." Revista Apotheke 2, no. 3 (December 31, 2016): 166–80. http://dx.doi.org/10.5965/24471267232016166.

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27

Gaiger, J. "The Philosophy and Politics of Abstract Expressionism." British Journal of Aesthetics 41, no. 4 (October 1, 2001): 455–57. http://dx.doi.org/10.1093/bjaesthetics/41.4.455.

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28

Siedell, Daniel A. "The Quest for the Historical Abstract Expressionism." Journal of Aesthetic Education 44, no. 1 (2010): 107–21. http://dx.doi.org/10.1353/jae.0.0068.

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29

Sansom, Matthew. "Imaging Music: Abstract Expressionism and Free Improvisation." Leonardo Music Journal 11 (December 2001): 29–34. http://dx.doi.org/10.1162/09611210152780647.

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The author defines free improvisation, a form of music-making that first emerged in the 1960s with U.K. composers and groups such as Cardew, Bailey, AMM and the Spontaneous Music Ensemble. The approach here considers free improvisation as creative activity, encompassing its artistic agenda on the one hand and the process-based dynamic of its production on the other. After considering the historical location of free improvisation within Western music history, the article explores free improvisation as analogous with Abstract Expressionist art. This comparison enables a fuller understanding of the activity's conceptual basis and the creative process it engenders.
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30

Daniel A. Siedell. "The Quest for the Historical Abstract Expressionism." Journal of Aesthetic Education 44, no. 1 (2010): 107. http://dx.doi.org/10.5406/jaesteduc.44.1.0107.

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31

Zhang, Xiaotong. "On Chinese Aesthetics of Abstract Expressionism Art." Highlights in Art and Design 3, no. 2 (June 26, 2023): 76–79. http://dx.doi.org/10.54097/hiaad.v3i2.10495.

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In the development trend of modern and contemporary art, abstract expressionism has occupied a decisive position in the history of art since its birth. As a representative art school in the 20th century in the West, it unexpectedly has a very distinctive artistic characteristic of China. In terms of objective environment, the artistic dialogue between China and the West in the 20th century was promoted to the field of metaphysical philosophy. Western artists' interest in oriental art surpassed their superficial understanding of their unique brushwork, and abstract art became the best cultural bridge to communicate between the East and the West. This paper compares the characteristics of Chinese and western artistic thoughts and the characteristics of abstract expressionism art, and explains how it has oriental artistic thoughts on the basis of world outlook.
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32

Kedl, Justin. "Cowboys: Abstract Expressionism, Hollywood Westerns, and American Progress." Arts 12, no. 1 (February 14, 2023): 33. http://dx.doi.org/10.3390/arts12010033.

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Abstract Expressionism has been influenced heavily by the popular theory of America’s undying, progressive spirit, originally conceived by Frederick Jackson Turner and given its most potent form in Western films. Turner’s “Frontier Thesis” was embodied in stories of John Wayne and other cowboy heroes taming the supposed edges of civilization. The mythic West as constructed by Turner and these films cemented American identity as one of exploration and innovation, with the notable condition of Indigenous Americans ceding their sovereignty. While Abstract Expressionism was commonly connected to the mythic West through the origin stories of Jackson Pollock and Clyfford Still, the critical understanding of this movement as the height of painterly achievement built on Native American precedents evinces a deeper connection to Turner’s popular Frontier theory. As critics like Clement Greenberg cast flatness as the last frontier of painting, and as artists like Pollock and Barnett Newman claimed Native American ritual practices as a part of their aesthetic lineage, Abstract Expressionism proved as effective as Hollywood Westerns in corroborating and perpetuating the idea of America’s frontier spirit.
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33

Porwal, Tina. "THE IRONIC EXPLORATION FROM ABSTRACT EXPRESSIONISM TO MINIMALISM." International Journal of Research -GRANTHAALAYAH 1, no. 2 (September 30, 2014): 38–47. http://dx.doi.org/10.29121/granthaalayah.v1.i2.2014.3078.

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An art movement in sculpture and painting that began in the 1950s and emphasized extremesimplification of form and colour. A school of abstract painting and sculpture that emphasizes extreme simplification of form, as by the use of basic shapes and monochromatic palettes of primary colors, objectivity, and anonymity of style. Also called ABC art, minimal art, reductivism, rejective art. The early 1960s brought about a significant shift in American art, largely in reaction to the critical and popular success of the highly personal and expressive painterlygestures of Abstract Expressionism. Minimalist artists produced pared-down three-dimensional objects that have no resemblance to any real objects. Their new vocabulary of simplified, geometric forms made from humble industrial materialschallenged traditional notions of craftsmanship, the illusion of three dimensions, or spatial depth, and the idea that a work of art must be one of a kind.
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34

Witkovsky, Matthew S. "Experience vs. Theory: Romare Bearden and Abstract Expressionism." Black American Literature Forum 23, no. 2 (1989): 257. http://dx.doi.org/10.2307/2904236.

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35

O'Connor, Francis V. "Two Methodologies for the Interpretation of Abstract Expressionism." Art Journal 47, no. 3 (1988): 222. http://dx.doi.org/10.2307/777050.

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36

Burns, Janet M. C., and Rene DeTroye. "Artistic Engagement as Experimentalism in CoBrA's Abstract Expressionism." International Journal of the Arts in Society: Annual Review 1, no. 6 (2007): 137–52. http://dx.doi.org/10.18848/1833-1866/cgp/v01i06/35286.

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37

Craven, David. "ABSTRACT EXPRESSIONISM, AUTOMATISM AND THE AGE OF AUTOMATION." Art History 13, no. 1 (March 1990): 72–103. http://dx.doi.org/10.1111/j.1467-8365.1990.tb00380.x.

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38

Galenson, David W. "Pricing revolution: From abstract expressionism to pop art." Research in Economics 72, no. 1 (March 2018): 86–100. http://dx.doi.org/10.1016/j.rie.2017.09.004.

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39

O'Connor, Francis V. "Two Methodologies for the Interpretation of Abstract Expressionism." Art Journal 47, no. 3 (September 1988): 222–28. http://dx.doi.org/10.1080/00043249.1988.10792416.

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40

Kim, Kyong-Mi. "Lee Krasner and the Gender Ideology of Abstract Expressionism." Gender and Culture 10, no. 2 (December 31, 2017): 141–81. http://dx.doi.org/10.20992/gc.2017.12.10.2.141.

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41

JITAI WANG. "Influence of Western European abstract expressionism on Chinese painting." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 2-1 (2022): 384–98. http://dx.doi.org/10.37485/1997-4663_2022_2_1_384_398.

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42

Roeder, George H., and Michael Leja. "Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s." Journal of American History 81, no. 1 (June 1994): 341. http://dx.doi.org/10.2307/2081140.

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43

Kang, Yoonjeong, and Yoonhan Jeon. "The Aesthetic of Jazz in Jackson Pollock’s Abstract Expressionism." Korean Society of Culture and Convergence 43, no. 5 (May 30, 2021): 693–712. http://dx.doi.org/10.33645/cnc.2021.05.43.5.693.

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44

Hajali, Sahar. "Abstract Expressionism: A Case Study on Jackson Pollock's Works." Journal of History Culture and Art Research 5, no. 4 (January 5, 2017): 311. http://dx.doi.org/10.7596/taksad.v5i4.606.

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45

Beals, Jennifer Benedetto. "READING ABSTRACT EXPRESSIONISM: CONTEXT AND CRITIQUE. Ellen G. Landau." Art Documentation: Journal of the Art Libraries Society of North America 24, no. 2 (October 2005): 59–60. http://dx.doi.org/10.1086/adx.24.2.27949381.

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46

Levin, Gail. "Greek Subjects, Greek-American Artists, and American Abstract Expressionism." Athens Journal of Humanities and Arts 4, no. 1 (December 29, 2016): 25–34. http://dx.doi.org/10.30958/ajha.4.1.2.

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47

Przyblyski, Jeannene M., and Michael Leja. "Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s." Art Bulletin 76, no. 3 (September 1994): 549. http://dx.doi.org/10.2307/3046049.

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48

Harrison, Helen A. "Arthur G. Dove and the Origins of Abstract Expressionism." American Art 12, no. 1 (April 1998): 67–83. http://dx.doi.org/10.1086/424312.

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49

ZHANG, Xianjun. "A Comparison of Expression Theory Between Expressionism and Chinese Traditional Poetics." Asia-Pacific Journal of Humanities and Social Sciences 3, no. 3 (September 15, 2023): 021–34. http://dx.doi.org/10.53789/j.1653-0465.2023.0303.004.

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Harmony in diversity is the basic requirement of the comparative study of Chinese and foreign poetics. Expressionism, as an important school of western literature, focuses on intuition and emphasizes performance. Their works focus on the expression of emotions, using a variety of artistic means to reflect the people’s inner activities and mental state, while ignoring the description of the form of the object, often in the form of distortion and abstraction of reality. Therefore, in the works of expressionist writers and artists, abstract, deformation, symbol, illusion and so on are presented. Chinese ancient literature also attached great importance to expression, but the view of expression in expressionism literature was obviously different from that in traditional Chinese poetics. These differences are influenced not only by the time factors, but also by the national cultural differences. Through the comparative study of the two, we can find the differences and connections of expression between Expressionism and Chinese traditional poetics and promote the further development of the expression theory in contemporary Chinese literature.
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50

Ahmad Awsaj, Sufyan, and Ikhlas Yas Khudair. "The aesthetics of abstract expressionism and its representations in the artistic productions of the students of the Department of Art Education." Al-Academy, no. 109 (September 15, 2023): 167–82. http://dx.doi.org/10.35560/jcofarts1143.

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The research section tagged (Aesthetics of Abstract Expressionism and its Representations in the Artistic Products of Students of the Department of Art Education) into four chapters and it included in..The first chapter: (the methodological framework) for the research, and the research problem is summarized through the question (what are the aesthetics of abstract expressionism and its representations in the artistic productions of the students of the Department of Art Education). In the products of students of the Department of Art Education).The aim of the research was (discovering the aesthetics of abstract expressionism and its representations in the artistic products of the students of the Department of Art Education). As well as the temporal and spatial boundaries that were confined to the University of Baghdad from the year (2021-2022) and then defining the terms (beauty, abstract expressionism).The second chapter included (theoretical framework) two sections, the first (aesthetics), while the second topic included (abstract expressionism) in addition to the indicators of the framework.In the third chapter (research procedures), the research community included a group of artistic works accomplished by the students of the Department of Art Education within the year (2021-2022), and then chose an intentional sample of (4), and it included the descriptive analytical approach, and the research evidence also included a sample analysis form.
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