Running on Empty: Willem de Kooning in the Late 1950s

2010 ◽  
Vol 17 (1) ◽  
pp. 61-86
Author(s):  
John J. Curley
Keyword(s):  
Willem De Kooning

scholarly journals Drips, Scratches, and Strokes: The New Language of Expressionism from Edvard Munch to Willem de Kooning

Elements ◽  
2008 ◽  
Vol 4 (2) ◽  
Author(s):  
Svetlana Turova
Keyword(s):  
Sick Child ◽  
Abstract Expressionism ◽  
American Art ◽  
The Unconscious ◽  
Abstract Expressionist ◽  
Willem De Kooning ◽  
History Of Art ◽  
History Of ◽  
Gaping Mouth ◽  
Specific Comparison

Whether on oddly-shaped pillows, shrieking dolls, or basic coffee mugs, the emaciated protagonist with a gaping mouth and the swirling landscape of Edvard Munch's <em>The Scream </em>is one of today's most widespread images. Though Munch died just as abstract expressionism was being born, his emphasis on the highly personal and the unconscious through abstraction, brushwork, and intensely evocative colors link him closely to this important American art movement. Through the specific comparison of the oeuvre of Munch and the abstract expressionist Willem de Kooning, this essay will examine how and why the Norwegian painter became known as the "father of expressionism" in the history of art. <em>The Scream</em> is not central to this discussion, but instead will be looked at in conjunction with other early paintings and prints, such as <em>The Sick Child</em> and <em>The Kiss. </em>These works and others reveal Munch's artistics philosophy and technique and allow us to draw broader connections to future movements, neo-dadaism and expressionism among them.

Black Mountain College

2018 ◽  
Author(s):  
Jeffrey Saletnik
Keyword(s):  
John Cage ◽  
Black Mountain College ◽  
Curricular Integration ◽  
Ernst Krenek ◽  
The Arts ◽  
Merce Cunningham ◽  
Willem De Kooning ◽  
Clement Greenberg ◽  
Buckminster Fuller ◽  
Black Mountain

Between 1933 and 1957, Black Mountain College served as an unlikely crucible of modernism. Despite its isolated location near Asheville, North Carolina, at various times its permanent and summer faculty included the likes of Anni Albers, Josef Albers, Ilya Bolotowsky, Jean Charlot, Lyonel Feininger, Joseph Fiore, Buckminster Fuller, Walter Gropius, Karen Karnes, Franz Kline, Willem de Kooning, Jacob Lawrence, Robert Motherwell, Beaumont Newhall, Amédée Ozenfant, Xanati Schawinsky, Ben Shahn, and Jack Tworkov. These artists and architects were joined by composers John Cage, Lou Harrison, Ernst Krenek, David Tudor, and Stefan Wolpe; writers and poets Robert Creeley, Charles Olsen, and M.C. Richards; as well as critic Clement Greenberg, musicologist Heinrich Jalowetz, and choreographer Merce Cunningham. There are few evident commonalities among the practices of this mix of European émigrés and Americans, yet the educationally progressive ethos of the College appealed to each of them. Its founding program was predicated upon a belief that the arts were central to higher education and that the practice of democracy would benefit from their curricular integration. Participation was prioritized in all activities, particularly in learning.

Ghani, Yusof (1950--)

2018 ◽  
Author(s):  
Sarena Abdullah
Keyword(s):  
National Identity ◽  
Subject Matter ◽  
Abstract Expressionism ◽  
Washington Dc ◽  
Jackson Pollock ◽  
Willem De Kooning ◽  
Ma Thesis

Yusof Ghani is a Malaysian artist who was significantly influenced by American Abstract Expressionism. Ghani’s first solo exhibition in 1984 was held at Anton Gallery in Washington, DC, where he showed his Protest series. However, this series failed to fit in with the work of other Malaysian artists who were at that time intent on developing a national identity for Malaysian art. Rather than acquiescing to the same theme, Yusof pursued his interest in "cultural dance," which he had explored in his MA thesis, eventually expanding it into the fundamental theme of his SiriTari (Dance Series) (1984–1992). Yusof Ghani’s works possess an astonishing fluidity that captures the exhilaration and tension of his subject matter. Heavily influenced by Jackson Pollock and Willem de Kooning, Ghani’s works are intense, powerful, and are usually noted for their spontaneous and ferocious brushstrokes. His works consist of abstract (or semi-abstract) forms and imageries, emphasizing formalistic experimentation in his use of colors, emphasis on the simplification of forms, and expressive qualities of his lines.

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