Journal articles: 'Barnett Newman'

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SHIPWAY, ALAN. "RECONSIDERING BARNETT NEWMAN." Art Book 13, no. 2 (May 2006): 65–66. http://dx.doi.org/10.1111/j.1467-8357.2006.00681_5.x.

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Newman, Annalee, and Matthew Baigell. "Barnett Newman and the Kabbalah." American Art 9, no. 1 (April 1995): 117–18. http://dx.doi.org/10.1086/424238.

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Silver, Larry. "Barnett Newman: Jewish Place and Moment." Ars Judaica: The Bar Ilan Journal of Jewish Art 15 (January 2019): 71–94. http://dx.doi.org/10.3828/aj.2019.15.6.

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Bois, Yve-Alain. "On Two Paintings by Barnett Newman." October 108 (April 2004): 3–27. http://dx.doi.org/10.1162/016228704774115690.

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Lino, Alice de Carvalho. "A pintura “sublime” de Barnett Newman." Viso: Cadernos de estética aplicada 10, no. 18 (January 27, 2016): 60–82. http://dx.doi.org/10.22409/1981-4062/v18i/218.

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O presente artigo refere-se à crítica de Lyortard à pintura de Barnett Newman a partir da estética do sublime de Longino, Burke e Kant. Primeiramente, amparando-se em Longino, o crítico estabelece uma relação entre o silêncio sublime, a imagem do indeterminado e as artes nos séculos XIX e XX. Indícios desta indeterminação pictural já seriam perceptíveis desde as telas de Manet e Cézanne, já que eles teriam rompido com os padrões estabelecidos na representação, constituindo outra relação entre a figura e o espaço, mediante as cores com seus valores. No caso das pinturas de Newman, o indeterminado estaria na cor, no próprio quadro, que possibilitaria, nos termos de Lyotard, a ocorrência da obra. Esta ocorrência equivaleria ao “consumo” imediato da imagem, capaz de suscitar o prazer do sentimento sublime. O terror ou o temor sentido estaria na possibilidade da não ocorrência da obra, que é descrita por Lyotard a partir do aspecto da “privação”, presente, especialmente, na estética de Burke. Lyotard descreve as obras de Newman recorrendo também à noção de “inapresentável”, devido à presença do informe e da ausência completa da forma nos quadros. Nesse momento de sua argumentação, ele recorre ao conceito do sentimento do sublime de Kant. Assim, diferentemente da incapacidade da imaginação vivenciar os fenômenos naturais em todo seu poderio e grandeza, a pintura sublime – na caracterização de Lyotard – apresentaria tais potências mesmo que de modo negativo.

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Chadwick, Stephanie. "Barnett Newman, Gandhi, and the Aesthetics of Nonviolence." Rupkatha Journal on Interdisciplinary Studies in Humanities 8, no. 4 (January 14, 2017): 02–12. http://dx.doi.org/10.21659/rupkatha.v8n4.02.

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Anderson-Reece, Erik. "Who's Afraid of Corporate Culture: The Barnett Newman Controversy." Journal of Aesthetics and Art Criticism 51, no. 1 (1993): 49. http://dx.doi.org/10.2307/431970.

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Penn, Suzanne. "INTUITION AND THE INCIDENTAL: THE PAINTINGS OF BARNETT NEWMAN." Studies in Conservation 49, sup2 (September 1, 2004): 142–46. http://dx.doi.org/10.1179/sic.2004.49.s2.031.

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ANDERSON-REECE, ERIK. "Who's Afraid of Corporate Culture: The Barnett Newman Controversy." Journal of Aesthetics and Art Criticism 51, no. 1 (December 1, 1993): 49–58. http://dx.doi.org/10.1111/1540_6245.jaac51.1.0049.

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Gradowczyk, Mario H. "SIMETRIA E SIMBOLISMO: TORRES GARCÍA, XUL SOLAR E BARNETT NEWMAN*." Estudos Ibero-Americanos 23, no. 2 (December 31, 1997): 47. http://dx.doi.org/10.15448/1980-864x.1997.2.28274.

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Seria difícil de encontrar pontos de contato entre essas figuras paradigmáticas: o Uruguai Joaquín Torres García (1876-1949), o argentino Alejandro Xul Solar (1887- 1963) eo norte-americano Barnett Newman (1905-1970). No entanto, por trás de suas diferentes atitudes perante a vida, os três artistas compartilham aspirações espirituais comuns que dão conteúdo universal às suas criações em um período histórico onde a palavra Modernismo foi reconhecida como sinônimo de renovação formal.Torres García tinha se dedicado para a articulação de uma proposta construtiva com conotações místicas e universais. Em Paris, Torres Garcia consolidou sua mistura especial de Construtivismo. Depois de deixar seu rastro de murais, pinturas, construções com madeira, brinquedos, desenhos, textos programáticos, e seus manifestos na Europa, o artista voltou a Montevidéu. Lá, ele aprofundou seus objetivos pictóricos, publicou a Estrutura e Universalismo Construtivo, ele deu palestras, ele executou murais de grande escala - infelizmente já não na existem - e fundou a EscueladelSur.Xul Solar, depois de um período de formação numa Europa dividida pela Primeira Guerra Mundial, voltou a Buenos Aires em 1924 e participou do grupo Martin Fierro. Embora sempre pronto para ouvir e compartilhar com os outros as suas cosmogonias, Xul acabou por ser para a maioria de seus contemporâneos, um solitário, um excêntrico, de acordo com a “aparência exótica” com a qual ele protegeu-se a ele mesmo.Barnett Newman, um dos maiores Norte-Americanos expressionistas abstratos, um estudante de arte arcaica e povos primitivos, expressa com suas telas articuladas com tiras verticais a visão de um artista que recriou em suas [resumo] formas um mundo de símbolos. Ele defendeu o uso de elementos geométricos, mas se opôs aos abstracionistas puros, cujo epítome - de acordo com Newman - foi a produção de Mondrian. Nessa nova pintura, que ele tinha chamado plasmic, porque os elementos plásticosda arte foram convertidos em plasma mental, abstração é o idioma adequado para a visualização de formas e cores que atuam como símbolos para desenhar o observador mais perto de visão do artista.É impossível confundir a emoção contida em abstrações de Newman com a energia expansiva irradiando de construções de Torres Garcia ou com XulSolarts ideogramas curiosos incorporados em sua linguagem: Neo-creoletão irreverente como é sugestiva; estes expressam gestos e atitudes incomparáveis. O que desejo enfatizar é que a partilha de uma visão cósmica com uma avaliação do mítico e simbólico levou a coincidências importantes entre esses artistas, que até agora não estudado a partir dessa perspectiva, coincidências que reafirmam a importância do compromisso espiritual de um grupo de artistas dentro do movimento moderno.

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Maza, Edward. "Rewriting Genesis." Religion and the Arts 25, no. 3 (June 21, 2021): 296–310. http://dx.doi.org/10.1163/15685292-02503003.

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Abstract Barnett Newman’s abstract paintings are often explicitly linked to biblical narratives by their titles. In particular Newman regularly revisits the Genesis creation story. In the wake of the destruction of the Holocaust, Newman sets out to tell a revitalized story of creation in order to establish a new artistic beginning for the Jewish people (and modernism) in twentieth century New York. Through careful and nuanced visual analysis of Newman’s Genesis paintings, it is possible to construct a detailed mystical retelling of the creation story that is rooted in Jewish scriptures and develops a new receptive tradition. These paintings give Newman the opportunity to recreate the world through proverbial wisdom, Kabalistic mysticism, and Hebrew scriptures in order to create a new and hopeful vision for the future in the wake of tragedy.

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Finnissy, Michael. "Andrew Toovey." Tempo, no. 181 (June 1992): 2–7. http://dx.doi.org/10.1017/s0040298200015114.

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Identifying points of reference in Andrew Toovey's work can present quite a challenge. Not only are his musical sympathies unusually diverse and deliberately unaligned to the readymade categories of our recent past (minimalism, neo-Romanticism, new complexity), but the fundamental stylistic ‘gesture’ can as readily be compared to the visual arts as to any music – to the work of Robert Motherwell, Barnett Newman, Robert Rauschenberg or Stanley Hayter.

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Fonseca Lino, Sulamita. "O sublime e a pintura: entre a sensação no tempo e a destruição da beleza." Viso: Cadernos de estética aplicada 15, no. 28 (June 28, 2021): 53–78. http://dx.doi.org/10.22409/1981-4062/v28i/399.

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A pintura de Barnett Newman Vir heroïcus sublimis (1950) e seu texto The Sublime is Now (1950) foram referências para o debate sobre o sublime e pintura em autores como Lyotard, Danto e Saint Girons. Além disso, o pintor destaca sua leitura da obra de Burke. Este trabalho pretende analisar, a partir do encontro de todas essas referências, como se deu a aproximação da pintura com o sublime no âmbito da filosofia.

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Nelson, Saul. "Writing to Barnett Newman: F. N. Souza and the End of Modernism." Art History 44, no. 4 (June 17, 2021): 742–68. http://dx.doi.org/10.1111/1467-8365.12573.

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Rejniak-Majewska, Agnieszka. "Image as a Situation: Tragedy, Subjectivity and Painting According to Barnett Newman." Teksty Drugie 2 (8), Special Issue English Edition (2015): 123–46. http://dx.doi.org/10.18318/td.2015.en.2.9.

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Epley, Bradford A., and Corina E. Rogge. "Prior states: evolution of composition and color in two Barnett Newman paintings." Applied Physics A 121, no. 3 (July 21, 2015): 987–98. http://dx.doi.org/10.1007/s00339-015-9361-3.

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Dubreuil, Nicole. "Le dispositif de l’icône dans la peinture américaine de l’après-Deuxième Guerre mondiale." Thème 17, no. 2 (July 6, 2010): 197–224. http://dx.doi.org/10.7202/044069ar.

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Résumé En prenant la production de Barnett Newman comme exemple, cet article examine la survivance d’une dimension iconique dans la peinture abstraite américaine de l’après-Deuxième Guerre mondiale. Les tableaux dits du champ coloré (color field paintings) qui, au cours des décennies 1950 et 1960, marquent l’apogée de la tendance moderniste à l’autodéfinition du médium, semblent de prime abord complètement étrangers à toute forme de signification religieuse. Non seulement ont-ils abandonné la figuration et, par voie de conséquence, l’iconographie chrétienne : ils travaillent même à effacer toute distinction formelle entre une figure et un fond dans le but d’établir le plan du tableau comme pure expansion chromatique. En tant qu’objets culturels, ces tableaux modernes ont le musée pour référence et les lois du marché comme indice de valeur. Notre étude veut cependant démontrer que certains de leurs aspects, une fixation sur la poursuite du grand sujet, un goût pour la frontalisation de l’image et pour les symétries bilatérales ainsi qu’un mode d’adresse particulier exploitant le rapport au format conservent des analogies avec la tradition des icônes, notamment avec le rôle central qu’y tient le concept de présence. Chez Barnett Newman, un artiste que son origine juive disposait à l’iconoclastie, la pratique d’un dessin réduit à sa plus simple expression mérite entre autres d’être confrontée aux débats théologiques byzantins entourant la circonscription.

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Kelly, Patricia. "When push comes to shove: Barnett Newman, abstraction, and the politics of 1968." Sixties 1, no. 1 (June 2008): 27–47. http://dx.doi.org/10.1080/17541320802063562.

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Nachmanowicz, Ricardo. "Novos Tempos! Novas Ideias! Novos Métodos! : a aparição do sublime na arte e filosofia contemporânea." Viso: Cadernos de estética aplicada 13, no. 25 (November 5, 2019): 198–228. http://dx.doi.org/10.22409/1981-4062/v25i/328.

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O presente artigo trata de uma questão metodológica em estética e filosofia da arte que se aplica à análise de conceitos que atravessam diferentes contextos históricos. O tema selecionado foi a disputa por uma aliança histórica do conceito de sublime junto à produção e interpretação da arte contemporânea. Tomando por referência a sociologia de Pierre Bourdieu e a historiografia de Carlo Ginzburg e Reinhart Koselleck, analiso as duas primeiras ocorrências dessa tentativa de aliança: (1) um ensaio de Barnett B. Newman e (2) um artigo de Jean-François Lyotard. O resultado das análises demonstrou diferenças sensíveis entre os dois autores. Newman dispõe de uma construção criativa e independente de uma ambição metódica para o alcance de uma verdade, produzindo uma estética particular à sua produção artística. Lyotard dispõe de um método heterogêneo e visa com ele a construção de um conhecimento verdadeiro sobre a arte e a criatividade humana, com o auxílio de juízos associativos, de postulados anistóricos e com a universalização de conceitos.

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Magada-Ward, Mary. "What is the American Sublime? Ruminations on Peircian Phenomenology and the Paintings of Barnett Newman." Contemporary Pragmatism 16, no. 1 (February 22, 2019): 30–39. http://dx.doi.org/10.1163/18758185-0161121.

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I argue that a fruitful approach to exploring the significance of the abstract expressionist Barnett Newman’s body of work, understood as as an attempt to “paint the sublime,” is by appeal to Peircian phenomenology and the conception of “originativity” that it entails. By attending, in particular, to Peirce’s conception of “the firstness of thirdness,” I show how this “reasonable feeling” both signifies our “affinity” with the world with which we transact and, with specific respect to what happens when looking at Newman’s paintings, explains why we are spurred to reflect upon the meaning of these experiences. In this way, “the firstness of thirdness” accounts for our recognition of a form of reasonableness that exceeds that exhibited in ordinary conceptualization.

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Woodman, Ross. "Bahá’u’lláh’s Influence on the New York School of Painting: The “Unapprehended Inspiration” of Newman and Rothko." Journal of Baha’i Studies 4, no. 1 (1991): 67–89. http://dx.doi.org/10.31581/jbs-4.1.4(1991).

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As members of the New York School of painters, Barnett Newman and Mark Rothko announced not only the passing away of an entire creation but also the bringing forth of a new one. Though unaware that they were living and painting in the City of the Covenant whose light would one day rise from darkness and decay to envelop the world even as their painting of light consciously arose from the void of a blank canvas, Newman’s and Rothko’s work may nevertheless be best understood as a powerful first evidence of what Bahá’u’lláh called “the rising Orb of Divine Revelation, from behind the veil of concealment.” Their work may yet find its true spiritual location in the spiritual city founded by ‘Abdu’l-Bahá on his visit to New York in 1912.

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Lee, Sangyoon. "The American Sublime of Barnett Newman: Focusing on the Germinal Stage(1946-1950) of Abstract Expressionism." Journal of the Association of Western Art History 52 (February 29, 2020): 113–40. http://dx.doi.org/10.16901/jawah.2020.02.52.113.

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Riedl, Peter Philipp. "Das Wortlose und das Gegenstandslose: Die Präsenz des Erhabenen bei Friedrich Gottlieb Klopstock und Barnett Newman." Jahrbuch der Deutschen Schillergesellschaft: Internationales Organ für Neuere Deutsche Literatur 2008, no. 52 (December 1, 2008): 193–215. http://dx.doi.org/10.46500/83530321-009.

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Currie, Graeme. "RETHINKING THE PUBLIC: INNOVATIONS IN RESEARCH, THEORY AND POLITICS - edited by Nick Mahony, Janet Newman and Clive Barnett." Public Administration 90, no. 1 (March 2012): 284–86. http://dx.doi.org/10.1111/j.1467-9299.2012.02031.x.

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Kumar, Vinay. "“COLOR AS FIELD” WEIGHTLESS & FLOATING FREE." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–5. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3521.

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“Although the composition and function of colour are two of the most important factors in determining the qualitative content of a painting, the reciprocal relation of colour to colour produces a phenomenon of a more mysterious order. This new phenomenon is psychological. Ahigh sensitivity is necessary in order to expand colour into the sphere of the surreal without losing creative ground. Colour stimulates certain moods in us. It awakens joy or fear in accordance with its configuration. In fact, the whole world, as we experience it visually, comes to us through the mystic realm of colours. Our entire being is nourished by it. This mystic quality of colour should likewise find expression in a work of art”. Hans Hofman. “My canvases are not full because they are full of colours but because colour makes the fullness. The fullness thereof is what I am involved in. it is interesting to me to notice how difficult it is for to take the intense heat and blaze of my colours. If my paintings were empty they could take them with ease”. Barnett Newman.

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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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Yan, Pengcheng, Guolin Feng, Wei Hou, and Ping Yang. "A method for predicting the uncompleted climate transition process." Nonlinear Processes in Geophysics 27, no. 4 (October 28, 2020): 489–500. http://dx.doi.org/10.5194/npg-27-489-2020.

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Abstract. Climate change is expressed as a climate system transiting from the initial state to a new state in a short time. The period between the initial state and the new state is defined as the transition process, which is the key part for connecting the two states. By using a piece-wise function, the transition process is stated approximately (Mudelsee, 2000). However, the dynamic processes are not included in the piece-wise function. Thus, we proposed a method (Yan et al., 2015, 2016) to fit the transition process by using a continuous function. In this paper, this method is further developed for predicting the uncompleted transition process based on the dynamic characteristics of the continuous function. We introduce this prediction method in detail and apply it to three ideal time sequences and the Pacific Decadal Oscillation (PDO). The PDO is a long-lasting El Niño-like pattern of Pacific climate variability (Barnett et al., 1999; Newman et al., 2016). A new quantitative relationship during the transition process has been revealed, and it explores a nonlinear relationship between the linear trend and the amplitude (difference) between the initial state and the end state. As the transition process begins, the initial state and the linear trend are estimated. Then, according to the relationship, the end state and end moment of the uncompleted transition process are predicted.

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KENNEDY, DAVID. "Here Is/Where There/Is: Some Observations of Spatial Deixis in Robert Creeley's Poetry." Journal of American Studies 46, no. 1 (April 8, 2011): 73–87. http://dx.doi.org/10.1017/s0021875811000053.

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Multiple uses of the spatial deictic “here” are a notable feature of Robert Creeley's poetry. For example, the Collected Poems 1945–1975 contains five poems called “Here” and two called “Here Again,” and after only a hundred pages one has encountered at least eight uses of “here.” Similarly, Charles Altieri has noted a movement in Creeley's poetry from saying “there” to being able to say “here” as a statement of “an ideal of pure presence, of a relationship between subject and world where each is transparent to and completely adequate for the other.” In this essay, I will examine examples of Creeley's “heres” in the early poetry, up to and including Words (1967) and Pieces (1969). I will argue that while some of Creeley's uses of “here” do involve problems of location and ideal presence, other uses speak to problems of agency, form and the body. I will go on to argue that, ultimately, Creeley's “heres” map a search for location that discovers each new articulation is a disorientating reorientation. This reading of Creeley's use of “here” will be informed by a number of other sources including Jonathan Culler's pioneering work on deixis in Structuralist Poetics; J. P. Denny's comparative work on spatial adverbs in English, Eskimo and Kikuyu; Heidegger's discussion of “here” and “yonder”; and the paintings of Barnett Newman which are notable for their deictic titles. Reading these with and back into Creeley's poetry enables a greater understanding of how spatial deixis works in lyric poetry and how it relates to Creeley's reflexive lyric.

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Gardner, Colin. "Barnett Newman's Zip as Figure." Deleuze Studies 6, no. 1 (February 2012): 42–54. http://dx.doi.org/10.3366/dls.2012.0045.

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Challenging the formalist critical legacy of Clement Greenberg and Michael Fried, this essay advocates an alternative philosophical lineage for Modernist painting through a specific focus on Barnett Newman's vertical stripe or ‘zip’. This genealogy is rooted in Newman's own self-confessed interest in painting as a disclosure of the sensation of time and Deleuze's overt break with Kant. In light of the latter, the zip takes on the function of Deleuze's Figure: the material support that generates, sustains and also disperses a precise sensation.

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Baker, Keith, Heidi Swarts, Nick Turnbull, and Douglas Torgerson. "Governance and complexity in water management, edited by Hans Bressers and Kris LulofsMobilizing science: movements, participation, and the remaking of knowledge, by Sabrina McCormickTranslating agency reform: rhetoric and culture in comparative perspective, by Amanda SmullenRethinking the public: innovations in research, theory and politics, edited by Nick Mahony, Janet Newman and Clive Barnett." Critical Policy Studies 5, no. 3 (October 2011): 349–56. http://dx.doi.org/10.1080/19460171.2011.606310.

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Durose, Catherine, and Kirstein Rummery. "Governance and Collaboration: Review Article." Social Policy and Society 5, no. 2 (April 2006): 315–21. http://dx.doi.org/10.1017/s147474640500299x.

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Rod Rhodes (1997) Understanding Governance: Policy Networks, Governance, Reflexivity and Accountability, Open University Press 1997.Gerry Stoker (1998) ‘Governance as theory: five propositions’, International Journal of Social Sciences 50, 1, 17–28.Helen Sullivan and Chris Skelcher (2002) Working across Boundaries: Collaboration in Public Services, Palgrave.Janet Newman, Marion Barnes, Helen Sullivan, and A. Knops (2004) ‘Public participation and collaborative governance’, Journal of Social Policy 33, 203–223.From a term used largely within political science in the mid-1990s, ‘governance’ has become a key conceptual and analytical convention adopted by social policy, largely because of its usefulness in examining questions that are key to the discipline: citizenship; welfare rights and responsibilities; accountability; legitimacy and partnership working. Clarence and Painter (1998) have constructed a useful characterisation of public policy, identifying a shift in emphasis from hierarchies, to markets and now to collaboration. Networks, ‘joined up’ governance and partnership working are now central in both policy practice and analysis. These processes are not new, but New Labour have clearly expanded and accelerated them. For New Labour, collaborative working is now perceived as central in their response to key policy challenges: improving public services, tackling social exclusion and revitalising local democracy. These processes are now evident at all levels of policy making from supranational organisations such as the European Union down to neighbourhood-based initiatives. It appears that we are moving from the closed, unitary system of government of the Westminster model to a more open, decentralised system of governance. Our conceptions of citizenship have accordingly shifted, from one based on representation to one based on active participation, particularly within local communities. Governance is an issue which concerns all levels of government and citizen participation, from international-level World Bank concerns about commitment to efficiency and accountable government, to highly devolved localised urban regeneration partnerships.

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"Barnett Newman." Choice Reviews Online 40, no. 03 (November 1, 2002): 40–1341. http://dx.doi.org/10.5860/choice.40-1341.

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"Barnett Newman: a catalogue raisonne." Choice Reviews Online 42, no. 10 (June 1, 2005): 42–5671. http://dx.doi.org/10.5860/choice.42-5671.

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Jedlińska, Eleonora. "Obraz jest świadectwem niewyobrażalnego. Ekspresjonizm abstrakcyjny i Zagłada (Mark Rothko, Barnett Newman, Frank Stella)." Przegląd Nauk Historycznych 16, no. 1 (April 6, 2017). http://dx.doi.org/10.18778/1644-857x.16.01.07.

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Wydarzenia rozgrywające się w Europie w okresie panowania ideologii faszystowskiej wywarły znaczący wpływ na malarstwo artystów amerykańskich związanych z ekspresjonizmem abstrakcyjnym. Nazwa „ekspresjonizm abstrakcyjny”, nieprecyzyjna i nieco myląca, pozostała pojęciem trwale obecnym w terminologii naukowej historii sztuki. Rozważając jednak tę sztukę z perspektywy wydarzeń, które miały miejsce w Europie między 1933 a 1945 r., posiłkując się znaczącymi tytułami prac i kontekstem ich powstania – Marka Rothko ponumerowane, szare, brunatne i czarne murale do Seagram Building na Manhattanie z końca lat pięćdziesiątych, czarne i brunatne obrazy do kaplicy w Houston powstałe w latach siedemdziesiątych, Barnetta Newmana 14 obrazów The Stations of the Cross: Lema Sabachthani, Franka Stelli minimalistyczny obraz zatytułowany Arbeit macht frei (1958), The Polish Village Series, seria 24 czarnych obrazów powstałych w młodzieńczym okresie twórczości artysty – sięgając do wypowiedzi tych artystów, ich biografii, winniśmy tę sztukę rozpatrywać jako sztukę historyczną. Trzej przedstawiciele tego nurtu, Barnett Newman, Mark Rothko, Frank Stella, którym poświęcony jest niniejszy artykuł, reprezentują malarstwo pozornie pozbawione odniesień formalnych, próbują poprzez nie wyrazić niewyobrażalne, niejako zmuszając umysł do wyobrażenia sobie, czym było piekło Auschwitz.

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Klemenko, Justine. "Claude Cernuschi/Barnett Newman and Heideggerian Philosophy." Critique d’art, December 14, 2012. http://dx.doi.org/10.4000/critiquedart.5559.

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Leeman, Richard. "Sublime, c’était hier. Actualité de Barnett Newman." Critique d’art, no. 38 (September 1, 2011). http://dx.doi.org/10.4000/critiquedart.1441.

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"Barnett Newman: the late work, 1965-1970." Choice Reviews Online 53, no. 01 (August 18, 2015): 53–0045. http://dx.doi.org/10.5860/choice.192186.

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Gomérieux, Raphaël. "Le Mythe de « Zeuxis et Barnett Newman »." Déméter, no. 1 | Été (September 15, 2018). http://dx.doi.org/10.54563/demeter.399.

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La réflexion prend ici appui sur deux textes : le récit antique de Zeuxis et Parrhasios, mythe lié à la question de la mimesis ; et le récit moderne du Cedar Bar, dialogue autour des peintures de l’artiste abstrait Barnett Newman. Seul le récit grec est un mythe avéré sur le plan de sa genèse, pourtant l’étude montrera que l’anecdote américaine peut également supporter une analyse par mythèmes selon la méthode initiée par Claude Lévi-Strauss dans l'Anthropologie structurale. Évidemment, dans la réflexion sur la peinture moderne et plus largement sur la peinture abstraite, la question de la mimesis peut sembler inappropriée. Il s’agira pourtant ici de remplacer cette appréciation diachronique par une approche synchronique. En effet, considéré sur le plan de sa structure et au regard du récit moderne du Cedar Bar, le mythe antique de Zeuxis et Parrhasios apparaîtra alors, non pas tant dépassé, que précisément rejoué.

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Leeman, Richard. "The Sublime was Yesterday. Latest news about Barnett Newman." Critique d’art, no. 38 (September 1, 2011). http://dx.doi.org/10.4000/critiquedart.1444.

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Hellstein, Valerie. "Barnett Newman, The Stations of the Cross: Lema Sabachtani." Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion, 2014. http://dx.doi.org/10.22332/con.obj.2014.16.

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Blount, Ann, Ronald Barnett, Jerry Johnson, Chery Mackowiak, and Yoana Newman. "AGS 104 -- A New Rye Cultivar for Winter Forage and Silage Production." EDIS 2007, no. 19 (October 18, 2007). http://dx.doi.org/10.32473/edis-ag283-2007.

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SS-AGR-278, a 2-page fact sheet by Ann Blount, Ronald Barnett, Jerry Johnson, Cheryl Mackowiak, and Yoana Newman, describes this rye cultivar, developed for early season forage production. Published by the UF Department of Agronomy, October 2007. SS AGR 278/AG283: AGS 104—A New Rye Cultivar for Winter Forage and Silage Production (ufl.edu)

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Blount, Ann, Ronald Barnett, Jerry Johnson, Cheryl Mackowiak, and Yoana Newman. "Horizon 314 -- A New Winter Oat Cultivar for Both Grain and Forage." EDIS 2007, no. 19 (October 18, 2007). http://dx.doi.org/10.32473/edis-ag284-2007.

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SS-AGR-279, a 2-page fact sheet by Ann Blount, Ronald Barnett, Jerry Johnson, Cheryl Mackowiak, and Yoana Newman, describes this oat cultivar, considered to be an excellent choice for grain and forage use in the southeastern U.S. Published by the UF Department of Agronomy, October 2007. SS AGR 279/AG284: Horizon 314—A New Winter Oat Cultivar for Both Grain and Forage (ufl.edu)

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Blount, Ann, Ronald Barnett, Jerry Johnson, Cheryl Mackowiak, and Yoana Newman. "Horizon 321 - A new winter oat cultivar for both grain and forage." EDIS 2007, no. 19 (October 18, 2007). http://dx.doi.org/10.32473/edis-ag285-2007.

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SS-AGR-280, a 2-page fact sheet by Ann Blount, Ronald Barnett, Jerry Johnson, Cheryl Mackowiak, and Yoana Newman, describes this oat cultivar, considered to be an excellent choice for grain and forage use in the southeastern U.S. Published by the UF Department of Agronomy, October 2007. SS AGR 280/AG285: Horizon 321—A New Winter Oat Cultivar for Both Grain and Forage (ufl.edu)

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Blount, Ann, Ronald Barnett, Jerry Johnson, Cheryl Mackowiak, and Yoana Newman. "Horizon 474 - A new winter oat cultivar for both grain and forage." EDIS 2007, no. 19 (October 18, 2007). http://dx.doi.org/10.32473/edis-ag286-2007.

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SS-AGR-281, a 2-page fact sheet by Ann Blount, Ronald Barnett, Jerry Johnson, Cheryl Mackowiak, and Yoana Newman, describes this oat cultivar, considered to be an excellent choice for grain, hat, grazing, or ensiling in the southeastern U.S. Published by the UF Department of Agronomy, October 2007. SS AGR 281/AG286: Horizon 474—A New Winter Oat Cultivar for Both Grain and Forage (ufl.edu)

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Dahl, Espen. "Receiving Newman. Formalism, Minimalism, and their Philosophical Preconditions." Nordic Journal of Aesthetics 23, no. 42 (February 6, 2012). http://dx.doi.org/10.7146/nja.v23i42.5875.

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Despite the divide between American formalism and theoreticians of minimalism, Barnett Newman’s art received great acclaim from both schools of thought. Attempting to unearth the philosophical preconditions of this strange constellation, this article argues that the closeness between minimalism and formalism is due to their mutual reliance upon phenomenology and ordinary language philosophy. However, their proximity also conveys their distance, since they imply different interpretations and applications of the philosophical schools in question. Such theoretical differences shed light on Newman’s paintings: both minimalism and formalism are right in their accounts – yet not exclusively so. What arguably makes up the distinctive fascination of Newman’s paintings is their incessant oscillation between empty physicality and powerful meaning.

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Sussekind, Pedro. "O sublime e o expressionismo abstrato." DoisPontos 11, no. 1 (April 30, 2014). http://dx.doi.org/10.5380/dp.v11i1.32796.

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Este artigo elabora duas hipóteses a respeito do expressionismo abstrato norte-americano. A primeira, baseada nas ideias de Clement Greenberg, é que esse movimento pode ser considerado o ápice da evolução do modernismo. A segunda, baseada em considerações de Robert Rosenblum e Jean-François Lyotard, é que os pintores expressionistas abstratos exploraram uma estética do sublime. Portanto, eles retomam a seu modo a elaboração de uma categoria estética tradicional, que já tinha sido tema da pintura figurativa romântica. A principal referência para essa vinculação entre o expressionismo abstrato e o sublime é a obra de Barnett Newman.

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Rogge, Corina E., and Bradford A. Epley. "An Investigation into the Pigments Present on the Late Paintings and Ephemera of Barnett Newman: Context and Correlations." Journal of the American Institute for Conservation, October 20, 2022, 1–26. http://dx.doi.org/10.1080/01971360.2022.2117770.

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Boer, Sam. "Less is More, and More is Less, More or Less: The Historical Progression, Aesthetic Characteristics, and Physical Limitations of Minimalism." Nota Bene: Canadian Undergraduate Journal of Musicology 8, no. 1 (July 26, 2015). http://dx.doi.org/10.5206/notabene.v8i1.6597.

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Since its emergence as an aesthetic category in the mid-twentieth century, minimalism has been contentious amongst scholars of all forms of art. It has been alternately celebrated, questioned, and condemned by not only its critics, but also the artists whose works have been given the historical title “minimalist.” This article explores the emergence of minimalist music, examining its relation to the earlier “avant-garde” works of John Cage and other eclectic influences, such as jazz and Eastern music. In doing so, this article attempts to establish a broad understanding of the elements integral to minimalist music, with a special focus on the composers La Monte Young, Terry Riley, and Steve Reich. The works of Riley and Reich are compared to the works of visual artists Barnett Newman and Sol LeWitt in order to highlight the pivotal elements of the minimalist aesthetic, including repetition, simplicity, and, to borrow Cage’s term, “Unfixity.” This article concludes that the minimalist compositions of the aforementioned composers ultimately demonstrate the integral characteristics of minimalism better than their visual counterparts, due to the temporal nature of music. However, the article seeks to demonstrate the importance of contemplating visual and musical interpretations of minimalism together, as they are complimentary windows into this modern movement.

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Delcea, Ana Giulia. "Conceptul de vid in arta modernă şi contemporană / Concept of Void in Modern and Contemporary Art." Analele Banatului XXVI 2018, January 1, 2018. http://dx.doi.org/10.55201/vciv4105.

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e Void is a fundamental notion in the tradition of milenary wisdom that dessignates Nothingness, Non-being or those determinations that are opposed to existence. Vacuity or the Void is a central ontological category to many philosophical sistems and spiritual traditions (budism, platonism, early mystical christianity, Hegel’s philosophy). Many physicists including Harold Aspen, Paul Dirac, Shiuji Inomata and omas Bearden have postulated the existance of void as a real energetic "eld. is article o#ers a short description of the traditional chinese painting that was viewed as a philosophy that combines symbols and cosmic elements to express the soul and inner movements of creation. e void in chinese paintings represents the space that is not created, or the space that was not touched by ink, often depicted as clouds, fog, water Fig.1. Artists of the artistic avangard of XX century are included, such as: Kazimir Malevici, Piet Mondrian, Paul Klee, Mark Rothko, Yves Klein, Barnett Newman, contemporary artist Anish Kapoor, Lee Ufan. ey explored new ways, new regions, they found new possibilities to create and express the unseen and the space that is behind existence and sustains it. ese are part of the artists that have created works of art by destroing the object into art, with the purpose to bring closer the art to the inner truth of conscience, reaching to total abstraction the art is absorbed by the life of spirit that animates all creation. ey had the intuition that reality is not what is seems, and it is much more than we are able to perceive, it is mysterious, animated by the vital breaths1, and so the painting becomes a microcosmos that mirrors the macrocosmos.

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Papoulias, Haris Ch. "THE IMAGO TEMPLI OF THE INVISIBLE CHURCH: IDEALISM AND ABSTRACT ART." RAPHISA REVISTA DE ANTROPOLOGÍA Y FILOSOFÍA DE LO SAGRADO 1, no. 2 (February 21, 2019). http://dx.doi.org/10.24310/raphisa.2017.v0i2.4338.

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Two events, apparently distant one from the other and without any direct link between them, but nevertheless strictly connected by a common spiritual legacy, constitute the subject of this paper. The first one, took place in 1971, when a very special «ecumenical chapel» opened its doors to the public. It is known under the name of «Rothko Chapel», due to the general project, undertaken by the painter Mark Rothko. Since that time, it has become one of the most precious artworks that represent the contemporary religious aesthetics. The black Rothko’s paintings, the Greek-cross building designed by the architect Philip Johnson, the Broken Obelisk of the artist Barnett Newman standing right out of the Chapel and the music composed for this ambient by the composer Morton Feldman, have replaced what traditionally has been called an «imago templi»; but contrary to all Christian tradition they represent (literally) no-thing. The second event, took place in 1795, when two young friends, Hegel and Schelling, were making a kind of oath under the sign of an Invisible Church, actualizing an ambiguous concept that, even if rooted in the Holy Scriptures, it had been condemned for its consequences as heretical. The relationship between these two events is given by contemporary art historians which have established that modern abstract painting, from a formal point of view, is rooted in the Romantic tradition. With this paper I would like to contribute to the establishment of this connection, not only by formal means, but by showing a common spiritual attitude towards images. Christianity, essentially figurative in its religious aesthetics, has always had to deal with the Jewish prohibition of image-making. This difficulty has been inherited to contemporary debates in which artist with classical readings and education, often of Jewish origins but active in Christian societies, try to create a new kind of art, above all traditions and free of dogmas. According to my suggestion, Rothko Chapel should be considered as the realization of a fragile balance in which both «aniconism» and «need of images» have simultaneously sublated their one-sidedness, producing a higher spiritual stage. Thus, such a chapel would not be a simple space where all religions could only meet and undertake a dialog, but should be considered as something more surprising: a unique realization of what logically appears as a pure contradiction: the realization of an Imago Templi for an Invisible Church.

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Journal articles on the topic 'Barnett Newman'

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