American Images: The SBC Collection of Twentieth-Century American Art

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Corporate collections of fine art vary in size and quality in much the same way that museum collection vary. Lavishly illustrated with 166 color plates, 72 black and white text illustrations, and some 400 other reproductions of works in the collection, American Images gathers thirteen original essays by a group if internationally celebrated scholars, critics, and curators. Locating the art in its proper cultural milieu, the essays provide a greater understanding of American art both for the general reader and the...
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More About This Book

Overview

Corporate collections of fine art vary in size and quality in much the same way that museum collection vary. Lavishly illustrated with 166 color plates, 72 black and white text illustrations, and some 400 other reproductions of works in the collection, American Images gathers thirteen original essays by a group if internationally celebrated scholars, critics, and curators. Locating the art in its proper cultural milieu, the essays provide a greater understanding of American art both for the general reader and the student of art history.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Featuring 13 essays by art historians, critics and curators wrapped around 166 color plates and 364 black-and-white photographs, this serendipitous catalogue of telecommunication giant SBC Inc.'s corporate art collection selectively chronicles the pluralistic concerns of 20th-century American art, from George Bellows and Childe Hassam to Robert Longo's provocative explorations of gender identity, Neil Welliver's crystal-clear semiabstract landscapes and William Wegman's wildly humorous photographic dog portraits. Rutgers professor Matthew Baigell groups Thomas Hart Benton, Edward Hopper, Charles Burchfield and Milton Avery as artists who probed the national character by focusing on the American scene. Eminent critic Dore Ashton charts the New York School's emergence in works by Pollock, de Kooning, Gorky, arguing that abstract expressionism's guiding philosophy was respect for each individual as a reservoir of feelings and images. Other essays explore pop art's debt to happenings, minimalism's reductive aesthetics, Ashcan school realism, African American and Hispanic art. Carlos Almaraz's powerful symbolist serigraph Greed and Pat Steir's marvelously evocative white-on-black oil Waterfall of Ancient Ghosts typify the diversity of the current scene. (Sept.)
Library Journal
Corporate patronage of the arts has a long tradition; as is frequently the case, the corporate collection of SBC Communications Inc., begun in 1985, devotes itself to art being created in its own country, in its own time. However, it differs from many other collections of this type in that it is strongly committed to playing a public role in gathering, displaying, and circulating its holdings. This book examines the past century of American art in scholarly fashion and presents the entire collection-nearly 1000 works gathered over the past decade that reflect the multiple facets of the "American image." The essays touch on American Modernism, Regionalism, and the New York School, as well as Abstract Expressionism, Pop Art, and Minimalism. The writing on "Contemporary Diversity," in particular, provides insight into our energy-filled, constantly changing cultural view. Excellent, well-annotated illustrations and an extensive bibliography make this handsome production a useful resource for those researching contemporary American art; the volume is also a comment on what can be accomplished by corporate sponsorship with a commitment to public education. For large public and art collections.-Paula Frosch, Metropolitan Museum of Art Lib., New York
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Product Details

  • ISBN-13: 9780810919693
  • Publisher: Harry N. Abrams Incorporated
  • Publication date: 9/1/1996
  • Pages: 320
  • Product dimensions: 9.65 (w) x 11.67 (h) x 1.54 (d)

Table of Contents

Foreword 7
Preface 8
Introduction 10
The American Scene 16
Realism: Tradition and Innovation 18
The Vigor of Americanism 28
Modern Before 1945 56
The Lure of the Modern 58
Order, Structure, and the Continuity of Modernism 66
Mid-Century Innovation 118
The Adventures of the New York School 120
No Mere Formality 126
From Pop to Minimalism 144
The Deluge of Popular Culture 146
Minimalism and Its Opposition 152
Contemporary Diversity 192
The Personal as Political 194
Ethnicity, Outsiderness, New Regionalism 202
Art After Modernism: The Pluralist Era 210
Afterword 278
Catalogue of Works 280
Bibliography 307
Index 312
Biographies of Authors 320
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