An exhibition organized by the Metropolitan Museum of Art of the Muriel Kallis Steinberg Newman Collection which comprises sixty-three modern paintings, sculptures and works on paper by fifty artists. The Abstract Expressionist paintings that form the heart of this collection were nearly all created in New York City.

Published on the occasion of the artist's first exhibition with Haunch of Venison, Universal Recipient presents Jitish Kallat's engagement with the city of his birth, Mumbai. Interested in using language of the downtrodden, he appropriates the graffiti, peeling paint and broken glass of the city into the language of his work, addressing both the health of the nation and Mumbai's identity as an ever expanding megalopolis. Caste tensions, city planning, government ineptitude and social change are all part of the fabric Kallat weaves in his distinctive and Pop-inspired graphic style.

Abstract Expressionist works on paper from the permanent collection of The Metropolitan Museum of Art are presented in this volume, which documents the wealth of the Museum's holdings in that area. Many of them are published here for the first time, and several are recent additions to the collection. All are illustrated in full-page color reproductions that show the nuances of each work in great detail. The Abstract Expressionists are best known for their paintings and sculptures, and virtually all of the many publications about these artists concentrate on those large-scale works. This unique catalogue deals exclusively with their smaller, more intimate works on paper, providing many new insights about the routes that led to the Abstract Expressionists' innovative artistic accomplishments. The nineteen artists included are William Baziotes, James Brooks, Elaine de Kooning, Willem de Kooning, Arshile Gorky, Adolph Gottlieb, Philip Guston, Gerome Kamrowski, Franz Kline, Robert Motherwell, Barnett Newman, Jackson Pollock, Richard Pousette-Dart, Theodore Roszak, Mark Rothko, Anne Ryan, David Smith, Theodoros Stamos, and Mark Tobey. Each of them is discussed in a separate essay, which encompasses information about the artist's background and development, commentary about the importance of drawing in his or her oeuvre, and an analysis of each work in the selection. Also included in the essays is technical information about a number of the individual works that enhances understanding of the variety and originality of these artists' media and techniques.

The last major collective Abstract Expressionism exhibition in the UK took place in 1959. This publication, and the exhibition it accompanies, examines the origins of the movement and seeks to re-evaluate it, recognising its complex and fluid reality, and encompassing sculptors as well as some of the most famous painters of the twentieth century.

Catalog of an exhibition held at the Museum of Modern Art, New York, Sept. 28, 2010-Apr. 25, 2011.

"The author as noted in the introduction has in the first part of the book 'treated one of the major explosions of creative forces in the visual sector' by grouping Futurism, Cubism, Surrealism, Constructivism, and Expressionism. His treatment of the years after World War 11 in the second part of the book is no less effective. The discussions of the movements of Pop Art, Op Art, 'Tachisme' or Abstract Expressionsim, Minimal Art, Body Art, Conceptualism, and Superrealism - to which Lucie-Smith dedicates his most impressive chapters - constitute an intellectual and creative adventure which provocatively expands the confines of art - however it can be defined - into unexplored territory."--BOOK JACKET.

"In this incisive study, the curator and writer Debra Bricker Balken examines the work of the leading artists associated with Abstract Expressionism, including Willem de Kooning, Lee Krasner, Robert Motherwell, Barnett Newman, Jackson Pollock and Mark Rothko. At the same time she examines the myths surrounding the movement, the variation in the motivation and practice of artists grouped by art historians under the same heading, and the role played by critics in the movement's reception, both at the time and up to the present day." "Of equal value to the general reader and the art historical scholar alike, Balken's text is a valuable addition to the literature on one of the most influential of all twentieth-century art movements."--BOOK JACKET.

FROM 1947 TO 1951, more than a dozen Abstract Expressionists achieved "breakthroughs" to independent styles. 1 During the following years, these painters, the first generation of the New York School, received growing recognition nationally and globally, to the extent that American vanguard art came to be considered the primary source of creative ideas and energies in the world, and a few masters, notably Pollock, de Kooning, and Rothko, were elevated to art history's pantheon. Younger artists who entered their circle in the early fifties-the early wave of the second generation-such as Larry Rivers, Helen Frankenthaler, Grace Hartigan, Allan Kaprow, Joan Mitchell, Robert Rauschenberg, and Richard Stankiewicz (to list some of the better known), were also acclaimed, but with a few exceptions, their reputations had gone into decline by the end of the fifties. In the following decade, the second generation was eclipsed by a third generation, the innovators of Pop, Op, Minimal, and Conceptual Art. (Any notion of a generation of artists is necessarily arbitrary, of course. The term "generation," as it is used here, refers to a group of artists close in age who live in the same neighborhood at the same time, and to a greater or lesser degree, know each other and partake of a similar sensibility, a shared outlook and aesthetic.)

In this original and wide-ranging study, Michael Leja argues that Jackson Pollock, Mark Rothko and other abstract expressionist artists were part of a culture-wide initiative to reimagine the self.