Image as a Situation: Tragedy, Subjectivity and Painting According to Barnett Newman

Rejniak-Majewska, Agnieszka; Pytalski, Jan

doi:0867-0633

Skip to main menu
Skip to search engine
Skip to content
Skip to footer

This publication is protected by copyright. Access to its digital version is possible on computer terminals in the institution that shares it.

Title: Image as a Situation: Tragedy, Subjectivity and Painting According to Barnett Newman

References:

1. Barnett Newman. Selected Writings and Interviews, ed. J. P. O’Neill (New York: Knopf, 1990).
2. P. Crowther, “Barnett Newman and the Sublime,” Oxford Art Journal, 7 (2) (1984): 52-56.
3. S. Guilbaut, Jak Nowy Jork ukradł ideę sztuki nowoczesnej. Ekspresjonizm abstrakcyjny, wolność i zimna wojna [How New York Stole the Idea of Modern Art], (Chicago: University of Chicago Press, 1985), trans. E. Mikina (Warsaw: Hotel Sztuki, 1992).
4. Th. Hess, Barnett Newman, (New York: Museum of Modern Art, 1971).
5. M. Leja, “Barnett Newman’s Solo Tango,” Critical Inquiry, 21 (1995): 556-580.
6. M. Leja, Reframing Abstract Expressionism. Subjectivity and Painting in the 1940s, (New Haven–London: Yale University Press, 1993).
7. J. F. Lyotard, “Newman. The Instant,” in The Lyotard Reader, ed. A. Benjamin, (Oxford: Blackwell, 1991).
8. J. F. Lyotard, “Wzniosłość i awangarda,” [“The Sublime and the Avant-Garde”] trans. M. Bieńczyk, Teksty Drugie, 2/3 (1996): 173-189.
9. F. Nietzsche, Narodziny tragedii, albo Grecy i pesymizm [The Birth of Tragedy], trans. and intro. B. Baran (Kraków: Inter-Esse, 1994).
10. J. Rushing, “Decade of Decision,” Art Journal, 54 (1) (1995): 90.
11. J. Rushing, “The Impact of Nietzsche and Northwest Coast Indian Art on Barnett Newman’s Idea of Redemption in the Abstract Sublime,” Art Journal, Fall (1988): 187-195.
12. I. Sandler, The New York School. The Painters and Sculptors of the Fifties (New York: 1978).
13. The School of New York exhibition catalogue, Perls Gallery, Beverly Hills, California, 1951.
14. R. Shiff, “Criticism at Odds with Its Art. Prophecy, Projection, Doubt, Paranoia,” Common Knowledge, 9 (3) (2003): 455-456.
15. S. Zucker, “Confrontations with Radical Evil. The Ambiguity of Myth and the Inadequacy of Representation,” Art History, 24 (3) (2001): 379-400.