Art Since 1940

Series
Prentice Hall
Author
Jonathan Fineberg  
Publisher
Pearson
Cover
Softcover
Edition
3
Language
English
Total pages
560
Pub.-date
June 2010
ISBN13
9780131934795
ISBN
0131934791
Related Titles



Description

For a one/two-semester, undergraduate-level course on Postwar Art.

 

Exceptionally comprehensive and authoritative, this extensively illustrated survey of art since 1940 stresses the individuality of the artists in relation to their political, social, and cultural contexts, and focuses on the meaning of the major works and innovations.

 

For more information on Jonathan Fineberg, please visit his website at: http://www.jonathanfineberg.com/

 

ABOUT THE COVER:

The premise of this book is that artists use their art to think about their experience; it gives them a language in which to work out a way of existing in the world. The front and back of the cover are illustrated with some of the great artists featured in the book doing their work.

 

FRONT COVER:

1. Yoko Ono in the first performance of Cut Piece, Yamaichi Hall, Kyoto, 1964

photo courtesy Lenono Photo Archive © Yoko Ono

2. Ann Hamilton wearing her 1984 # 13: Toothpick Suitchair

photo courtesy Ann Hamilton Studio

3. Josef Beuys lecturing with a blackboard, New York, 1974

photo photo by Peter Moore © Estate of Peter Moore/ VAGA, New York

4. Ilya Kabakov performing The Walk with Ilya Kabakov, Moscow, circa 1980

photo © Yuri Rost

5. Christo and Jeanne-Claude talking to workers at The Gates assembly plant in Queens, N.Y., February 2005 photo Wolfgang Volz

6. Jackson Pollock painting, East Hampton, N.Y., 1950

© The Pollock-Krasner Foundation ARS, NY and DACS, London 2010 , photo by Hans Namuth. Courtesy Center for Creative Photography, The University of Arizona. Photograph © Hans Namuth Estate

 

SPINE:

7 Cai Guo-Qiang in The Century with Mushroom Clouds-Projects for the 20th Century, 1996

Photograph by Hiro Ihara, courtesy of the artist

 

BACK COVER:

8. Roxy Paine welding Conjoined, Madison Park, N.Y.C., 2007

photo © Sofia M. Paine

9. Louise Bourgeois at home working on her mixed media sculpture Confrontation, New York, 1982

photo Inge Morath, courtesy Louise Bourgeois Studio/© Louise Bourgeois. DACS, London/VAGA, New York 2010

10. Andy Warhol during the filming of Lupe Velez (portrayed by Edie Sedgwick) in the home of Panna Grady at the Dakota apartment building, New York, 1965

photo © Nat Finkelstein

11. Kerry James Marshall drawing, Chicago, 2009

photo by J. Fineberg

12. David Smith welding, Bolton Landing, 1952

photo © John Stewart

13. Robert Arneson, modeling a self portrait, Benicia, California, 1978

Photo courtesy and © estate of Robert Arneson/DACS, London/VAGA, New York 2010

Features

Create a Custom Text: Pearson Customenables you to work with a dedicated Pearson Custom editor to create your ideal text-publishing your own original content or mixing and matching Pearson content. Contact your Pearson Publisher's Representative to get started.

 

Fineberg's text includes nearly 600 images (half are in color), discussion of the latest in critical theory, and in-depth discussions of key figures including Willem de Kooning, Robert Rauschenberg, Joseph Beuys, Andy Warhol, Elizabeth Murray, Eva Hesse, David Wojnarowicz, and Jean Michel Basquiat.

New to this Edition

*  Discussion of the forties and fifties expanded to include such important figures as Jacob Lawrence, Hedda Sterne, Bill Traylor, and Rufino Tamayo, and also now introduces the early work of Louise Bourgeois.

* Considerably expanded discussion of photography as an important medium for the artist: from Lisette Model and Weegee in the forties, to Aaron Siskind in the fifties and Diane Arbus in the sixties, Cindy Sherman and William Wegman in the seventies and eighties, and Andreas Gursky, Jeff Wall, Yto Barrada, and Nikki S. Lee in the last twenty years - just to mention a few of the photographers discussed.

* The contribution of film and video are reevaluated from the heroes of sixties underground film Stan Brakhage and Bruce Connor to the revolutionary video work of Bill Viola, Gary Hill, William Kentridge, Shirin Neshat, and Andrea Fraser in the past two decades.

*  Discussion of several of the major and enduring artists, such as Louise Bourgeois and Christo, has been updated to survey their work all the way up to the present.

*  Discussion of work by non-Western artists has been considerably expanded and now includes Shazia Sikander (Pakistan), Ravinder G Reddy (India), Mona Hatoum (Palestine), Ghada Amer (Egypt), Yinka Shonibare (Nigeria), Murakami (Japan), Sang-ah Choi (Korea) and Xu Bing, Zhang Xiaogang, Hai Bo, Fang Lijun, Cui Xiuwen, Zhang Huan, and Yue Minjun (China).

New discussion on comics as art, introducing work in this genre by Jack Kirby, Chris Ware, Art Spiegelman, and Kerry James Marshall.

 

Chapter by Chapter Revisions

 

Chapter 1: Introduction. This chapter now uses Gabriel Orozco's photograph My Hands Are My Heart (frontispiece on title page) to illustrate and explain the relationship between artists making something and the experience of being in the world. There are new sections introducing the concepts of Modernism and Postmodernism.

 

Chapter 2: New York in the Forties. There are new sections on Wifredo Lam, Roberto Matta and Joseph Cornell. In the section on American Pragmatism and Social Relevance, there is new discussion on Mexican artist Rufino Tamayo. New Alternative Narratives of the Forties section with discussion on Brill Taylor, Jacob Lawrence, Hedda Sterne, Louise Bourgeois and photographers Weegee, Lisette Model, Aaron Siskind, and the Chicago School.

 

Chapter 3: A Dialog with Europe. Revised discussion of the artists Alexander Calder, Hans Hofmann, Arshile Gorky, Robert Motherwell, and Willem de Kooning.

 

Chapter 4: Existentialism Comes to the Fore. Revised discussion of the artists Jackson Pollock, Barnett Newman, Mark Rothko, and David Smith.

 

Chapter 5: The New European Masters of the Late Forties. Revised discussion of the artists Jean Dubuffet, Roberto Matta, and Francis Bacon.

 

Chapter 6: Some International Tendencies of the Fifties. Revised discussion of Helen Frankenthaler and the Greenberg School.

 

Chapter 7: The Beat Generation. Revised discussion of Jasper Johns, Claes Oldenburg and Mark di Suvero. There is a new section on Underground Film with discussion of Maya Deren, Bruce Conner and Stan Brakhage. Discussion of Gutai and Fluxus has moved to Chapter 8.

 

Chapter 8: Asian and European Vanguards of the Latr Fifties. Revised discussion of Joseph Beuys and Yves Klein. This chapter has been expanded to include Asia. Discussion of Gutai, Fluxus and Nam June Paik moved here. New discussion of Yoko Ono. British Pop section moved to Chapter 9.

 

Chapter 9: The Landscape of Signs: Pop Art. British Pop section has been moved to this chapter, so it is no longer only about American Pop.

 

Chapter 10: In the Nature of Materials: The Later Sixties. New discussion on Japanese artist Yayoi Kusama.

 

Chapter 11: Politics and Postmodernism. New discussion of Diane Arbus and Seydou Keïta in the new section Recasting Photography. In the section on Body Art, there is new discussion of Valie Export, Dieter Roth, and Hannah Wilke and revised and expanded discussion of Ana Mendieta. Discussion of Christo and Jeanne-Claude has also been revised and updated, and the discussion of Nam June Paik has been moved from here to Chapter 8.

 

Chapter 12: Corporate Culture and Its Enemies. Discussion reorganised so that Romare Bearden now appears at beginning of chapter just before the section on Art and Feminism, which has new discussion of Martha Rosler and Carolee Schneeman. New section on Media as Medium with discussion of Dan Graham. Section on Appropriation moved here from Chapter 14, and is supplemented with new discussion of Sherry Levine. Section on Philip Guston moved to Chapter 13.

 

Chapter 13: Painting in the Seventies. Expanded discussion of both Susan Rothenberg and Elizabeth Murray. Section on Philip Guston moved to beginning of this chapter from Chapter 12. Revised and expanded discussion of Jörg Immendorf. Section on New Image Painting and Sculpture and Elizabeth Murray moved before that on The Internationalization of Neo-Expressionism. Subsection on American Neo-Expressionism moved here from Chapter 14. The section on Russian art (Valerii Gerlovin, Komar and Melamid, and Ilya Kabakov) has been moved to Chapter 14.

 

Chapter 14: The Eighties. Revised and expanded discussion on Tony Cragg, Anish Kapoor, Jean-Michel Basquiat, Allan McCollum, and Jeff Koons. The Peculiar Case of the Russians (Valerii Gerlovin, Komar and Melamid, and Ilya Kabakov) moved here from Chapter 13, with revised discussion of Ilya Kabakov. American Neo-Expressionism moved to Chapter 13. Ann Hamilton moved to Chapter 15.

 

Chapter 15: Unstable Definitions. All the sections have been reorganised and updated. Section on Ann Hamilton moved here from Chapter 14, with expanded discussion. And discussion of William Wegman moved here from Chapter 12. Revised and updated discussion of Matthew Barney, Gilles Barbier, Ebon Fisher, Fred Tomaselli, Roxy Paine, and new discussion of Eduardo Kac, Charles Ray, the later work of Louise Bourgeois, Andreas Gursky, Candida Höfer, Shirin Neshat, Alfredo Jaar. New section on Video featuring discussion of Bill Viola. In Cultural Identities, there is revsied expanded discussion of Carrie Mae Weems and Kerry James Marshall, and new discussion of Kara Walker. New section on Comics discussing the work of Art Spiegelman, Jack Kirby, Gary Panter, and Chris Ware. New section on Global Culture and Local Meaning introducing the work of Louise Lawler, Fred Wilson, Yto Barrada, Shazia Sikander, Ravinder G. Reddy, Mona Hatoum, Ghada Amer, and Yinka Shonibare, MBE. New section on China incorporating the discussion of Cai Guoqiang and Zhang Huan, and introducing discussion of Yue Minjun, Xu Bing, Zhang Xiaogang, Hai Bo, Cui Xiuwen, and Fang Lijun.

 

Chapter 16: Compromised Boundaries. New chapter looking at themes and developments of the last ten years that will become central issues in the coming decades. Featured artists are: Takashi Murakami, Conrad Bakker, Andrea Fraser, Candice Breitz, Nikki S. Lee, Sang-ah Choi, Felix Gonzalez-Torres, Walid Raad, and Ilya Kabokov.

 

Epilogue: To Say the Things That Are Ones's Own. Revised and updated concluding statement.

 

Table of Contents

Foreword to the Third Edition

Acknowledgments

Preface

 

1 Introduction

            Approaching Art as a Mode of Thought

            Modernism

            The Concept of the Avant-Garde

            Modernism's Radical Individuality and Self-Critique

            Postmodernism

            An American Perspective/the Perspective of this Book

 

2 New Yorkin the Forties

New York Becomes the Center

            Surrealism

            Wilfredo Lam

            Roberto Matta

            Joseph Cornell

            American Pragmatism and Social Relevance

            The Depression and the Works Progress Administration (W.P.A.)

            The Availability of European Modernism

            The Europeans in New York

The Sense of a New Movement in New York

            Commonalities and Differences Among the Artists of the New York School

            Automatism and Action in the Art of the New York School

            Action and Existentialism

            Clyfford Still

            Adolph Gottlieb

            Franz Kline

            Friends in and around the New York School

Alternative Narratives of the Forties

            Jacob Lawrence

            Hedda Sterne

            Louise Bourgeois

            Photography in the Era of the New York School

            Weegee and Lisette Model

            Aaron Siskind and the Chicago School

 

3 A Dialog with Europe

Alexander Calder

            Calder's Early Life and Themes

            Calder in Paris

            Cosmic Imagery and the Mobiles

Hans Hofmann

            Stylistic Lessons from Europe

            Hofmann's Art Theory

            Hofmann's Painting

Arshile Gorky

            Gorky's Life (Real and Imagined)

            The Development of Gorky's Style

            Gorky's Late Works

Robert Motherwell

            Intellectual Affinities with the European Moderns

            Recurring Themes in Motherwell's Work

            Teaching, Writing, and Editing in Motherwell's Early Career

            Motherwell's Painting

Willem de Kooning

            De Kooning's Training and Early Career

            The Dissolution of Anatomy into Abstraction

            The Anatomical Forms Dissolve into Brushstrokes

            De Kooning's Abstractions of the Fifties

            The "Women" of the Sixties and the Late Works

 

4 Existentialism Comes to the Fore

Jackson Pollock

            Pollock's Early Life and Influences

            Pollock's Breakthrough of the Early Forties

            Pollock's Transition to a Pure Gestural Style

            The Dripped and Poured Canvases

            Pollock in the Fifties

Barnett Newman

            The Revelation of Newman's Onement I

            The Paintings of the Late Forties

            Vir Heroicus Sublimis and Other Works of the Fifties

            The "Stations of the Cross"

Mark Rothko

            Rothko's Formative Years

            Turning to Classical Myth

            Surrealism, Psychoanalysis, and "the Spirit of Myth"

            "Heroifying" the Ineffable

            The Murals and Other Late Work

David Smith and the Sculpture of the New York School

            Smith's Initiation into the Art World

            The Aesthetic of Machines and the Unconscious

            The Pictograms and Hudson RiverLandscape

            An Existential Encounter with the Materials at Hand

            Career Success and Personal Sacrifices

            The Figural Presence and the Work of the Last Decade

 

5 The New European Masters of the Late Forties

Jean Dubuffet and Postwar Paris

            Dubuffet's Painting of the Forties

            Dubuffet's Philosophical Premises

            A Focus on Matter in the Fifties

            A Grand Style of Entropy

The Existentialist Figuration of Alberto Giacometti

Francis Bacon

 

6 Some International Tendencies of the Fifties

Purified Abstraction 1

            An Encounter with the Physicality of the Materials in Europe

            A Material Reading of Action Painting in New York

            Greenberg's Definition of Modernism

            The Greenberg School

            Formalist Painting

"New Images of Man" in Europe and America

            The Cobra

            The Figurative Revival of the Fifties

            Figurative Painting in the Bay Area

            Chicago's Existential Imagist

 

7 The Beat Generation

"A Coney Island of the Mind"

            John Cage

            Merce Cunningham

            The Cage "Event" of 1952

Robert Rauschenberg

            The Self as a Mirror of Life

            Rauschenberg's Early Career

            The Combine Paintings

            The Drawings for Dante's Inferno

            The End of the Combines

            The Silkscreen Paintings

            Performance and the Prints of the Later Sixties

Real: Junk Assemblage and Happenings

Underground Film

            The Genesis of the Happenings

            The Judson Dance Theater

            Walk-in Paintings

Claes Oldenburg

            The "Cold Existentialism" of the "Ray Gun" and The Street

            The Store Days

            Soft Sculpture

            Proposals for Monuments

            Realizing Monuments and the Architectural Scale

Jasper Johns

            "Nature" Is How We Describe It

            Painting as a Discourse on Language

            An Aesthetic of "Found" Expression

            Emotion and Distance

            Incorporating Objects: What One Sees and What One Knows

            The Paintings of 1959

            The New Emotional Tone of the Early Sixties

            Explorations of Linguistic Philosophy

            Diver of 1962

            Periscope (Hart Crane)

            The Perceptual Complexity of Looking

            Dropping the Reserve

 

8 Asian and European Vanguards of the Later Fifties

Nouveau Réalisme

            Yves Klein's Romanticism

            Le Vide

            The "Living Brash"

            Seeking Immateriality

            Klein's Demise

            The Nouveaux Réalistes

Gutai

Fluxus

Joseph Beuys

            Revealing the Animism in Nature

            The Artist as Shaman

            Art as the Creative Life of the Mind

Nam June Paik's Electronic “Nature”

Yoko Ono

 

9 The Landscape of Signs: American Pop Art

The Electronic Consciousness

            A Turning Point in Theory

British Pop: From the Independent Group to David Hockney

            Key Figures of the Independent Group

            The Exhibitions

            Paolozzi and Hamilton as Artists

            Popular Imagery into High Art

            David Hockney

            Collaging Reality on Pop Art's Neutral Screen of Images

Andy Warhol

            Warhol's Background

            Selecting Nonselectivity

            Eliminating the Artist's Touch

            A Terrifying Emptiness

            The Factory Scene

            Business Art and the "Shadows" that Linger Behind It

Roy Lichtenstein

James Rosenquist

Chicago and Points West

            H.C. Westermann

            Peter Saul

            The Hairy Who

West Coast Pop

            Funk Art

            Peter Voulkos

            The Politicized Cultural Climate of the Sixties

            William Wiley

            Ed Kienholz

            L.A. Pop

Robert Arneson

            Arneson's Break with Conventional Ceramics

            The Toilets

            A Technical Breakthrough

            Objects of the Mid-Sixties

            The Self-Portraits

            Discovering a Political Voice

            Introspection Via Pollock

 

10 In the Nature of Materials: The Later Sixties

Back to First Principles-Minimal Art

            Frank Stella

            Donald Judd

            Tony Smith

            Carl Andre

            Dan Flavin

            Robert Morris

            Sol Le Witt

            The Los Angeles Light and Space Movement

            Object/Concept/Illusion in Painting

            A Focus on Surface Handling in Painting

Eva Hesse and Investigations of Materials and Process

            Eva Hesse

            The Direct Sensuality of Fiberglass and Latex

Bruce Nauman and Richard Serra

            Bruce Nauman

            Richard Tuttle

            Richard Serra

Artists Working in the Landscape

            Michael Heizer

            Walter De Maria

            Robert Smiths

            An Accidental Rubric

Arte Povera, and a Persevering Rapport with Nature in Europe

 

11 Politics and Postmodernism

The Critical Atmosphere at the End of the Sixties

            Language and Measure

            Recasting Photography

            Art and Nature

            Vito Acconci: Defining a Conceptual Oeuvre

            Body Art

            Ana Mendieta

            Lygia Clark

            Hélio Oiticica

            Performance Art

            Political Comment

            Marcel Broodthaers

            Situationism

            The Potential for Broader Political Action

Christo and Jeanne-Claude

            Art in the Theater of Real Events

            The Shift to an Architectural Scale

            The Logistics of the Projects

            Surrounded Islands

            Christo and Jeanne-Claude in the Nineties and Beyond

Postmodernism

            Sigmar Polke

            Gerhard Richter

            John Baldessari

            Transition to the Seventies

 

12 Corporate Culture and its Enemies

A “New” Pluralism

Romare Bearden

            Bearden's Collages of the Sixties

            Identity, Corporate Culture, and Pluralism

            Art and Feminism

            A Dazzling Photorealism

            Everyday Places

            Appropriated Sites: Charles Simonds

            Gordon Matta-Clark's Site Critiques

Alice Aycock

            Aycock's Work of the Eighties

            Cultural Complexity

            Media as a Medium

Appropriation

            Cindy Sherman

 

13 Painting in the Seventies

Philip Guston's Late Style

            Guston's Early Career

            Guston's Action Paintings of the Fifties

            The Re-emergence of the Figure

New Expressionist Painting in Europe

            Jörg Immendorff's Political Analysis of Painting in the Seventies

            Identity on the Plane of Images

            Georg Baselitz and A.R. Penck

            Anselm Kiefer

            Italian Neo-Expressionism

            Francesco Clemente

New Image Painting

            Elizabeth Murray

            The Origins of Murray's Style

            Pursuing the Logic of the Shaped Canvas

            The Internationalization of Neo-Expressionism

American Neo-expressionism

 

14 The Eighties

Complexity Settles In

            A Fresh Look at Abstraction

            An Expressionism Beyond Medium: Jonathan Borofsky

            Graffiti Art

            Keith Haring

            The East Village Scene of the Eighties

            Jean-Michel Basquiat

            David Wojnarowicz

Eighties Installation

The Peculiar Case of the Russians

            Ilya Kabakov

            Kabakov in the West

The Aesthetic of Consumerism

            Political Appropriation

 

15 The Nineties

Keeping it Real

Return to the Body

            Ann Hamilton

            Transgressive Dislocations of the Body

            Matthew Barney

Fashion

Controversial Methods

Postmodern Conceptualism

Constructing the Postmodern Self

Louise Bourgeois

New Uses of the Camera

Video

Slippage: Fred Tomaselli

Roxy Paine's Taxonomy

Cultural Identity

            Kerry James Marshall

The Comics

Global Culture and Local Meaning

China

 

16 A New Century, A Changed World

Violated Boundaries

Economies

            “©Murakami”: Branding the Self

            Conrad Bakker-Parsing the Fictions of Real Economies

            Andrea Fraser: Context and Self

Detached Subjectivity

            Identity and Shopping: Sang-ah Choi

            Dissolution, Dislocation, Displacement of Boundaries-An Autopsy on Identity

            An Alternative History

 

17 To Say the Things That Are One's Own

 

Bibliography

Notes

Index

 

Back Cover

The premise of this book is that artists use their art to think about their experience; it gives them a language in which to work out a way of existing in the world. So the front and back of the cover are illustrated with some of the great artists featured in the book doing their work.

 

FRONT COVER:

1. Yoko Ono in the first performance of Cut Piece, Yamaichi Hall, Kyoto, 1964

photo courtesy Lenono Photo Archive © Yoko Ono

2. Ann Hamilton wearing her 1984 # 13: Toothpick Suitchair

photo courtesy Ann Hamilton Studio

3. Josef Beuys lecturing with a blackboard, New York, 1974

photo photo by Peter Moore © Estate of Peter Moore/ VAGA, New York

4. Ilya Kabakov performing The Walk with Ilya Kabakov, Moscow, circa 1980

photo © Yuri Rost

5. Christo and Jeanne-Claude talking to workers at The Gates assembly plant in Queens, N.Y., February 2005 photo Wolfgang Volz

6. Jackson Pollock painting, East Hampton, N.Y., 1950

© The Pollock-Krasner Foundation ARS, NY and DACS, London 2010 , photo by Hans Namuth. Courtesy Center for Creative Photography, The University of Arizona. Photograph © Hans Namuth Estate

 

SPINE:

7 Cai Guo-Qiang in The Century with Mushroom Clouds-Projects for the 20th Century, 1996

Photograph by Hiro Ihara, courtesy of the artist

 

BACK COVER:

8. Roxy Paine welding Conjoined, Madison Park, N.Y.C., 2007

photo © Sofia M. Paine

9. Louise Bourgeois at home working on her mixed media sculpture Confrontation, New York, 1982

photo Inge Morath, courtesy Louise Bourgeois Studio/© Louise Bourgeois. DACS, London/VAGA, New York 2010

10. Andy Warhol during the filming of Lupe Velez (portrayed by Edie Sedgwick) in the home of Panna Grady at the Dakota apartment building, New York, 1965

photo © Nat Finkelstein

11. Kerry James Marshall drawing, Chicago, 2009

photo by J. Fineberg

12. David Smith welding, Bolton Landing, 1952

photo © John Stewart

13. Robert Arneson, modeling a self portrait, Benicia, California, 1978

Photo courtesy and © estate of Robert Arneson/DACS, London/VAGA, New York 2010

Author

Jonathan Fineberg is Gutgsell Professor of Art History at the University of Illinois and a trustee of The Phillips Collection in Washington. He earned his B.A. and Ph.D. from Harvard University, an M.A. from the Courtauld Institute in London, and studied psychoanalysis at the Boston and Western New England Institutes. He has taught at Yale, Harvard, and Columbia universities and among his awards are: the Pulitzer Fellowship in Critical Writing, the NEA Art Critic's Fellowship, and the College Art Association's

Award for Distinguished Teaching in the History of Art. His other books include: Christo and Jeanne-Claude: On the Way to the Gates (New Haven: Yale University Press, 2004), The Innocent Eye: Children's Art and the Modern Artist (Princeton: Princeton University Press, 1997), Imagining America: Icons of 20th Century American Art (with John Carlin; New Haven: Yale University Press, 2005; also a two-hour television special on PBS), and When We Were Young: New Perspectives on the Art of the Child (Berkeley: University of California Press, 2006).

Reader Review(s)

Fineberg's new edition is the book to learn modern art from--many times over. No other study is as truly comprehensive. Always sensitive to the political context of modern and contemporary art, Fineberg resists playing ideological favorites. Every artist, every medium, receives a sympathetic, informative view in accessible prose that never dodges the inherent complexities. Follow Fineberg as he moves from accounts of the careers of Willem de Kooning and Jackson Pollock to the fantasy world of Maya Deren's filmmaking, to Alfredo Jaar's manipulations of public information, to Kerry James Marshall's drawings of black superhero comics, to the cultural appropriations of Nikki S. Lee, and on and on. It's all there, and it's all succinctly, yet deeply, authoritatively, considered. --- RichardShiff, The University of Texas at Austin

 

The great value of Fineberg's account of the art of the past seventy years is its attentiveness to what happens for artists in the course of their work, how the play of individual circumstances makes breakthrough moments possible, and how the life of art is always as well an experiential record of ways of living. ---Franklin "Buzz" Spector, Washington University in St. Louis