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Acknowledgements | ix | |
Preface | xi | |
Looking Forward, Looking Back: 1985-1999 | 1 | |
Part 1 | The critical debate and its origins | |
Introduction (1985) | 29 | |
1 | Avant-Garde and Kitsch | 48 |
2 | Towards a Newer Laocoon | 60 |
3 | Clement Greenberg's Theory of Art | 71 |
4 | How Modernism Works: a Response to T. J. Clark | 87 |
5 | Arguments About Modernism: a Reply to Michael Fried | 102 |
Part 2 | History: representation and misrepresentation--the case of abstract expressionism: Revisionism in the 1970s and early 1980s | |
Introduction (1985) | 113 | |
6 | American Painting During the Cold War | 130 |
7 | Abstract Expressionism, Weapon of the Cold War | 147 |
8 | Art and Politics in Cold War America | 155 |
9 | Abstract Expressionism: the Politics of Apolitical Painting | 181 |
10 | The New Adventures of the Avant-Garde in America | 197 |
11 | Avant-Gardes and Partisans Reviewed | 211 |
Part 3 | Revisionism revisited | |
Introduction (1999) | 229 | |
12 | Abstract Expressionism, Automatism and the Age of Automation | 234 |
13 | Action, Revolution and Painting | 261 |
14 | The Market for Abstract Expressionism: the Time Lag Between Critical and Commercial Acceptance | 288 |
15 | Revisiting the Revisionists: the Modern, Its Critics, and the Cold War | 294 |
16 | Abstract Expressionism: Other Politics | 307 |
17 | Pollock and Krasner: Script and Postscript | 329 |
18 | Reframing Abstract Expressionism: Gender and Subjectivity | 348 |
19 | Greenberg on Pollock | 361 |
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