Art Criticism - The State University of New York

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<strong>Art</strong> <strong>Criticism</strong> vol. 17, no. 1
Page 1: Volume 17; Number I ART C.RIT1C1SM
Page 5 and 6: Founding Co-Editors Editor Advisors
Page 7 and 8: Table of Contents Breaking the Pict
Page 9 and 10: depressions of our entropy. I want
Page 11 and 12: But the paint-slingers of today, be
Page 13 and 14: conscious poetry below or above gib
Page 15 and 16: nized age. How close, yet how seemi
Page 17 and 18: whose main purpose seems to be to e
Page 19 and 20: offend someone. When critics disagr
Page 21 and 22: ences of the divinity of straight-e
Page 23 and 24: were letting a lot of subtle insigh
Page 25 and 26: 6. KEEPING ONE'S DISTANCE FROM PAIN
Page 27 and 28: ut the only metamorphosis that will
Page 29 and 30: sible poetry, being in the presence
Page 31 and 32: ground music this thorough-bass of
Page 33 and 34: expects the artist not only to fill
Page 35 and 36: ality. Is the central unseen event
Page 37 and 38: "Let us sing a new song" was the cr
Page 39 and 40: Why should I be at the mercy of som
Page 41 and 42: are the only colors we can afford n
Page 43 and 44: Did we think that by turning living
Page 45 and 46: worst disease of modem art). Yet th
Page 47 and 48: I can imagine a future art of paint
Page 49 and 50: was further exoticized by her place
Page 51 and 52: one ofthe few known practitioners o
Page 53 and 54:
sure. This is best seen in The Clim
Page 55 and 56:
sexually to man and beast. In Illus
Page 57 and 58:
Guilt By Association: Gustave Morea
Page 59 and 60:
explore the bizarre and extravagant
Page 61 and 62:
fection in Moreau's work, as exempl
Page 63 and 64:
ace that recalls "a basilica of an
Page 65 and 66:
Messalina (1874), and Jason (1863-6
Page 67 and 68:
naked, or in the case of Jupiter, a
Page 69 and 70:
the decadent literati, the evidence
Page 71 and 72:
mounted and framed, implying that t
Page 73 and 74:
3 Baudelaire, Oeuvres Completes, p.
Page 75 and 76:
Degeneration in World War II German
Page 77 and 78:
todian of the Entire Intellectual a
Page 79 and 80:
help of the Combat League of German
Page 81 and 82:
cultural policy. The exhibition ope
Page 83 and 84:
urns. Goebbels and Ziegler wanted t
Page 85 and 86:
Holbein, Grunewald, Rembrandt, and
Page 87 and 88:
University of North Carolina Press,
Page 89 and 90:
Before any discussion of contempora
Page 91 and 92:
sarily connected to hysteria itself
Page 93 and 94:
Showalter notes, was his inattentiv
Page 95 and 96:
with the hope of "curing" her hyste
Page 97 and 98:
of the creative decadent personalit
Page 99 and 100:
One of the most famous cases of Mul
Page 101 and 102:
woman that is portrayed in Hollywoo
Page 103 and 104:
1830-1980 (New York: Penguin Books,
Page 105 and 106:
hysteria. 61 Ibid, 537. 62 Ibid, 54
Page 107 and 108:
make a distinctive contribution to
Page 109 and 110:
But the same basic relation of teac
Page 111 and 112:
So far I have noted that our curren
Page 113 and 114:
iterating the teacher's authority a
Page 115 and 116:
Being" have an affinity with Heideg
Page 117 and 118:
action to take. Renaissance paintin
Page 119 and 120:
Press, 1983), pp.219-222; and on fr
Page 121 and 122:
occurring in the human sciences, ar
Page 123 and 124:
Contributors John Hultberg is i;l N
Page 126:
Art Department State University of
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Art Criticism - The State University of New York

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