- Showcases artists' work featured at The Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern art, and more - Accompanies an exhibition at the Brattleboro Museum & Art Center, Brattleboro, Vermont opening in October 2020 This publication accompanies the Figuration Never Died: New York Painterly Painting, 1950-1970 exhibition at the Brattleboro Museum & Art Center. By about 1950, forward-looking New York painting was seen as synonymous with abstraction- especially charged, gestural Abstract Expressionism. But there was also a strong group of dissenters; artists, all born in the 1920s and many of them students of Hans Hofmann, who never lost their enthusiasm for the seductive qualities of thick, malleable oil paint. They remained, for the most part, 'painterly' painters. These rebellious artists include Lois Dodd, Jane Freilicher, Paul Georges, Grace Hartigan, Wolf Kahn, Alex Katz, Albert Kresch, Robert de Niro Sr., Paul Resika, and Anne Tabachnick. The compelling figurative work they made between about 1950 and 1970, in contrast to the prevailing Abstract Expressionism of the time, constitutes a significant chapter in the history of recent American Modernism.

Extends formalism to facture and situates the materiality of Titian's later works within the late sixteenth-century interest in embodiment and violence rather than within the Renaissance ideals of classicizing beauty and perfection.

"The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and aesthetics."—Alexander Gelley, Library Journal

Examining the resurgent interest in painting and the proliferation of new digital media in recent years, this generously illustrated book delineates painting's complex relationship with information technology. In a survey that begins in the mid-twentieth century, long before the birth of the Internet, this book traces painting’s capacity to digest and transform other media, even as its own legitimacy has been questioned. Featuring the work of numerous renowned artists, from Sigmar Polke to Nicole Eisenman and from Cy Twombly to Amy Sillman, the book examines how painting has addressed digital technology as it relates to human experience and perception, and includes three in-depth essays and additional texts by influential thinkers from the field. Comprehensive and lavishly illustrated, the book presents a wide range of works that reconsider the assumed opposition of the digital and the analog, the human and the technological, arguing that painting has served as a means to represent—and even enact—new media. This book affirms the ongoing vitality of the medium of painting in the midst of a digital world.

A National Book Critics Circle finalist • One of Vogue's Best Books of the Year A dazzling biography of one of the twentieth century's most respected painters, Helen Frankenthaler, as she came of age as an artist in postwar New York “The magic of Alexander Nemerov's portrait of Helen Frankenthaler in Fierce Poise is that it reads like one of Helen's paintings. His poetic descriptions of her work and his rich insights into the years when Helen made her first artistic breakthroughs are both light and lush, seemingly easy and yet profound. His book is an ode to a truly great artist who, some seventy years after this story begins, we are only now beginning to understand.” ―Mary Gabriel, author of Ninth Street Women At the dawn of the 1950s, a promising and dedicated young painter named Helen Frankenthaler, fresh out of college, moved back home to New York City to make her name. By the decade's end, she had succeeded in establishing herself as an important American artist of the postwar period. In the years in between, she made some of the most daring, head-turning paintings of her day and also came into her own as a woman: traveling the world, falling in and out of love, and engaging in an ongoing artistic education. She also experienced anew―and left her mark on―the city in which she had been raised in privilege as the daughter of a judge, even as she left the security of that world to pursue her artistic ambitions. Brought to vivid life by acclaimed art historian Alexander Nemerov, these defining moments--from her first awed encounter with Jackson Pollock's drip paintings to her first solo gallery show to her tumultuous breakup with eminent art critic Clement Greenberg―comprise a portrait as bold and distinctive as the painter herself. Inspired by Pollock and the other male titans of abstract expressionism but committed to charting her own course, Frankenthaler was an artist whose talent was matched only by her unapologetic determination to distinguish herself in a man's world. Fierce Poise is an exhilarating ride through New York's 1950s art scene and a brilliant portrait of a young artist through the moments that shaped her.

"Should be the classic, central, definitive work on the emergence of Bay Area Figurative painting."--Paul Mills, author of The New Figurative Painting of David Park