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The Decision Between Us combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that "decision" is as much an aesthetic as it is an ethical construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of "unbecoming community" in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, The Decision Between Us opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published Writing Degree Zero, then moves to 1980 and the "neutral mourning" of Barthes' Camera Lucida, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, The Decision Between Us is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning.

Arts and morals. --- Aporia. --- Art --- Art --- Philosophy. --- History and criticism. --- jean-luc nancy, queer theory, intimacy, sharing, community, separation, coexistence, loss, absence, departure, death, space, place, nonfiction, philosophy, literature, art, ethics, willem de kooning, robert rauschenberg, erased, erasure, writing degree zero, roland barthes, felix gonzalez-torres, camera lucida, catherine breillat, marguerite duras, jean genet, unmade beds, photography, blank pages, emptiness, neutral mourning, nude, nakedness.

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""What is abstract art good for? What's the use--for us as individuals, or for any society--of pictures of nothing, of paintings and sculptures or prints or drawings that do not seem to show anything except themselves?" In this invigorating account of abstract art since Jackson Pollock, eminent art historian Kirk Varnedoe, the former chief curator of painting and sculpture at the Museum of Modern Art, asks these and other questions as he frankly confronts the uncertainties we may have about the nonrepresentational art produced in the last five decades. He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in Art and Illusion, another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death. With brilliance, passion, and humor, Varnedoe addresses the skeptical attitudes and misunderstandings that we often bring to our experience of abstract art. Resisting grand generalizations, he makes a deliberate and scholarly case for abstraction--showing us that more than just pure looking is necessary to understand the self-made symbolic language of abstract art. Proceeding decade by decade, he brings alive the history and biography that inform the art while also challenging the received wisdom about distinctions between abstraction and representation, modernism and postmodernism, and minimalism and pop. The result is a fascinating and ultimately moving tour of a half century of abstract art, concluding with an unforgettable description of one of Varnedoe's favorite works." http://www.loc.gov/catdir/enhancements/fy0654/2006006621-d.html.

Art, Abstract --- Art, American --- USA --- United States --- Abstract art. --- Abstract expressionism. --- Adolf von Hildebrand. --- Aerial perspective. --- Aestheticism. --- Andy Warhol. --- Annie Hall. --- Anti-art. --- Art and Illusion. --- Art history. --- Barnett Newman. --- Brice Marden. --- Calligraphy. --- Carl Andre. --- Classicism. --- Clement Greenberg. --- Clyfford Still. --- Constantin Brâncu?i. --- Cubism. --- Cy Twombly. --- Dan Flavin. --- David Sylvester. --- Donald Judd. --- Drip painting. --- Edvard Munch. --- Ellsworth Kelly. --- Ernst Gombrich. --- Eva Hesse. --- Feminist art. --- Figurative art. --- Fine art. --- Frank Stella. --- Geometric abstraction. --- Gerhard Richter. --- Illusionism (art). --- J. M. W. Turner. --- Jackson Pollock. --- Jasper Johns. --- Josef Albers. --- Kirk Varnedoe. --- Lacquer. --- Lecture. --- Marcel Duchamp. --- Mark Rothko. --- Max Bill. --- Michael Fried. --- Minimalism. --- Modern art. --- Modernism. --- National Gallery of Art. --- New Thought. --- Pablo Picasso. --- Peter Eisenman. --- Peter Halley. --- Pop art. --- Postmodernism. --- Rachel Lachowicz. --- Rachel Whiteread. --- Reductive art. --- Richard Serra. --- Robert Rauschenberg. --- Roy Lichtenstein. --- Satire. --- Sherrie Levine. --- Smithsonian Institution. --- Sol LeWitt. --- Terry Winters. --- Whitney Museum of American Art. --- Willem de Kooning. --- Work of art.

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"A new look at the interrelationship of architecture and sculpture during one of the richest periods of American modern design"--

Modernism (Art) --- Modernism (Art) --- Sculpture and architecture. --- 666 Fifth Avenue. --- Abstract expressionism. --- Ada Louise Huxtable. --- Adolph Gottlieb. --- Alexander Calder. --- Alexander Liberman. --- Alexander Stirling Calder. --- Aline B. Saarinen. --- Anish Kapoor. --- Architectural Design. --- Architectural Forum. --- Architectural Record. --- Architectural firm. --- Architectural historian. --- Atomic Age. --- Black Mountain College. --- Buckminster Fuller. --- Charles Sheeler. --- Charles and Ray Eames. --- Claes Oldenburg. --- Constantin Brâncu?i. --- Contemporary society. --- Designer. --- Donald Deskey. --- Dropped ceiling. --- Edgar J. Kaufmann. --- Edward Durell Stone. --- Edward Larrabee Barnes. --- Eero Saarinen. --- Eliel Saarinen. --- Eliot Noyes. --- Fine art. --- Florence Knoll. --- Frank Gehry. --- George Nelson (designer). --- Gordon Bunshaft. --- Ground Floor. --- Harry Bertoia. --- Harvard Graduate Center. --- Henry-Russell Hitchcock. --- Herbert Bayer. --- Herbert Ferber. --- Herbert Matter. --- Herman Miller (manufacturer). --- Inland Steel Building. --- Interior design. --- International Style (architecture). --- Isamu Noguchi. --- Jack Burnham. --- John Cage. --- Josiah McElheny. --- Kevin Roche. --- La Grande Vitesse. --- Le Corbusier. --- Lee Bontecou. --- Lever House. --- Lighting. --- Lincoln Center for the Performing Arts. --- MIT Chapel. --- Manufacturers Trust Company Building. --- Marcel Breuer. --- Marcel Duchamp. --- Mark Rothko. --- Mark Tobey. --- Mary Callery. --- Max Abramovitz. --- Mid-century modern. --- Minimalism. --- Modern architecture. --- Modern sculpture. --- Modernism. --- Mural. --- Natalie de Blois. --- National Gallery of Art. --- Naum Gabo. --- Noguchi table. --- Olivetti. --- Philip Johnson. --- Pietro Belluschi. --- Public art. --- Richard Lippold. --- Robert Rauschenberg. --- Saul Steinberg. --- Sculpture. --- Seagram Building. --- Shoji Sadao. --- Sigfried Giedion. --- Sven Markelius. --- The Architects' Collaborative. --- The Broad. --- The Typewriter. --- Urban renewal. --- Vestibule (architecture). --- Vincent Scully. --- Walter Gropius. --- Weathering steel. --- Whitney Museum of American Art. --- William Baziotes. --- Wingspread. --- Work of art.

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How leading American artists reflected on the fate of humanity in the nuclear era through monumental sculptureIn the wake of the atomic bombings of Japan in 1945, artists in the United States began to question what it meant to create a work of art in a world where humanity could be rendered extinct by its own hand. The New Monuments and the End of Man examines how some of the most important artists of postwar America revived the neglected tradition of the sculptural monument as a way to grapple with the cultural and existential anxieties surrounding the threat of nuclear annihilation.Robert Slifkin looks at such iconic works as the industrially evocative welded steel sculptures of David Smith, the austere structures of Donald Judd, and the desolate yet picturesque earthworks of Robert Smithson. Transforming how we understand this crucial moment in American art, he traces the intersections of postwar sculptural practice with cybernetic theory, science-fiction cinema and literature, and the political debates surrounding nuclear warfare. Slifkin identifies previously unrecognized affinities of the sculpture of the 1940s and 1950s with the minimalism and land art of the 1960s and 1970s, and acknowledges the important contributions of postwar artists who have been marginalized until now, such as Raoul Hague, Peter Grippe, and Robert Mallary.Strikingly illustrated throughout, The New Monuments and the End of Man spans the decades from Hiroshima to the Fall of Saigon, when the atomic bomb cast its shadow over American art.

Monuments. --- ARTnews. --- Abstract expressionism. --- Adolph Gottlieb. --- Aesthetic Theory. --- Aesthetics. --- Allan Kaprow. --- Allusion. --- Andy Warhol. --- Anthropomorphism. --- Art history. --- Artforum. --- Barbara Rose. --- Barnett Newman. --- Broken Obelisk. --- Buckminster Fuller. --- Carl Andre. --- Chinati Foundation. --- Claes Oldenburg. --- Clark Art Institute. --- Classicism. --- Clement Greenberg. --- Contemporary art. --- Cubism. --- Curator. --- Dan Flavin. --- Dan Graham. --- Dia Art Foundation. --- Donald Judd. --- Dr. Strangelove. --- Erwin Panofsky. --- Evocation. --- Fairfield Porter. --- Figurative art. --- Fine art. --- Frank O'Hara. --- Fredric Jameson. --- Harold Rosenberg. --- Herbert Ferber. --- Herbert Marcuse. --- Iconography. --- Ideology. --- Illustration. --- Isamu Noguchi. --- Jackson Pollock. --- James Rosenquist. --- Jasper Johns. --- Jean Tinguely. --- Krannert Art Museum. --- Land art. --- Lawrence Alloway. --- Lee Bontecou. --- Leo Steinberg. --- Lynn Hershman Leeson. --- MIT Press. --- Mark Rothko. --- Max Ernst. --- Michael Asher (artist). --- Michael Fried. --- Minimalism. --- Modern sculpture. --- Modernism. --- Modernity. --- National Gallery of Art. --- Newsweek. --- Nuclear weapon. --- Obsolescence. --- Painting. --- Patina. --- Paul Thek. --- Paul Virilio. --- Philip K. Dick. --- Photography. --- Postmodernism. --- Primary Structures (1966 exhibition). --- Primitivism. --- Richard Serra. --- Robert Goldwater. --- Robert Rauschenberg. --- Robert Smithson. --- Ronald Bladen. --- Roy Lichtenstein. --- Sculpture. --- Sense of Place. --- Skepticism. --- Smithsonian Institution. --- Surrealism. --- Technology. --- The New York Times. --- University of California Press. --- Visual art of the United States. --- Visual arts. --- Vulgarity. --- Walter Benjamin. --- Welding. --- Whitney Museum of American Art. --- William Anastasi. --- Work of art. --- World War II. --- Writing. --- Yves Tanguy.