Hot Art, Cold War – Western and Northern European Writing on American Art 1945-1990

Lawrence Alloway, “US Modern Paintings,” in Art News and Review 7, no. 26 (January 21, 1956): 1, 9 (excerpts)

John Berger, “The Battle,” in The New Statesman and Nation (January 21, 1956): 70–71 (excerpt)

Herbert Read, “An Art of Internal Necessity,” in Quadrum 1 (1956): 7–22 (excerpts)

Patrick Heron, “The Americans at the Tate Gallery,” in Arts 30, no. 6 (1956): 15–17

Lawrence Alloway, “Art in New York Today,” in The Listener (October 20, 1958): 647–648

Patrick Heron, “The Ascendancy of London in the Sixties,” in Studio ­International 172, no. 884 (1966): 280–281

Patrick Heron, “A Kind of Cultural Imperialism,” in Studio International 175, no. 897 (1968): 62–64 (excerpt)

Lawrence Alloway, “Popular Culture and Pop Art,” in Studio International 178, no. 913 (1969): 17–21 (excerpt)

John Russell, “Pop Reappraised,” in Art in America 57, no. 4 (1969): 78–89 (excerpt)

Charles Harrison, “The Late Sixties and London and Elsewhere,” in 1965 to 1972—When Attitudes Became Form, ed. Hillary Gresty (Cambridge: Kettle’s Yard Gallery, 1984), 9–16 (excerpt)

“Editorial,” in The Burlington Magazine 118, no. 877 (1976): 187–188 (excerpt)

Richard Morphet, “Carl Andre’s Bricks,” in The Burlington Magazine 118, no. 884 (1976): 762–767 (excerpt)

Waldemar Januszczak, “Nothing Succeeds Like Excess,” in The Guardian (June 30, 1982): 9; and Peter Fuller, “Julian Schnabel,” Art Monthly 73 (1984): 19–20 (excerpt).

Peter Fuller, “The Eastward March of Civilization,” in Art and Design 3 no. 9 (1987): 19–25

The Irish Diaspora, the Cold War and American Art in Ireland

Anonymous, “Painting à l’Américaine,” in The Irish Times (April 22, 1953): 6

Brian Fallon, “Magnificent Exhibition of US Paintings,” in The Irish Times (April 16, 1964): 8

Marian Burleigh, “American Art Styles Please and Displease,” in Irish Press (April 17, 1964): 2

Anonymous, “The Great American Art Show,” in Sunday Independent Magazine (April 26, 1964)

Anonymous, “832 People a Day at Art Exhibition,” The Irish Times (May 9, 1964): 5

Bruce Arnold, “Artists are Critical of Rosc Exhibition,” in Irish Independent (October 11, 1967): 8

Brian Fallon, “A Hawk’s-Eye View of the World’s Gallery,” in The Irish Times (November 13, 1967)

P.F.B., “Rosc ’71 at RDS is Gay and Exciting,” in Evening Herald (October 25, 1971): 8

Bruce Arnold, “The Great Rosc Adventure,” in Irish Independent (October 27, 1971): 6

Brian O’Doherty, “The Irish Imagination 1959–1971,” exhibition catalog (Dublin: Municipal Gallery of Modern Art, 1971): 10–11

Desmond Rushe, “You Must See This Exhibition!,” in Tatler’s Parade, Irish Independent (October 28, 1971): 12

With Love (and Hate) from Paris

Anonymous, “Exhibition of American Painters in Paris,” translated from French by Richard George Elliott, originally published as “Exposition de peintres américains à Paris,” in Cahiers d’art 22 (1947): 330

Michel Seuphor, “Paris—New York City 1951,” translated from French by Richard Elliott, originally published as “Paris—New York,” in Art d’aujourd’hui 1–2, no. 6 (1951): 4–15

Michel Tapié, “Jackson Pollock Is with Us,” first translated from French and ­published in Be-Bomb: The Transatlantic War of Images and All That Jazz (Madrid: Museo Nacional Centro de Arte Reina Sofía, 2007), 528–538, originally published as “Jackson Pollock avec nous,” in Jackson Pollock (Paris: Galerie ­Facchetti, 1952), unpaginated

Christian Zervos, “Mark Tobey,” translated from French by Richard George Elliott, originally published as “Mark Tobey,” in Cahiers d’art 29, no. 2 (1954): 261–263

Pierre Restany, “America and Europe,” translated from French by Richard George Elliott, originally published as “L’Amérique aux Américains,” in Ring des Arts no. 1 (1960): 22–31 (excerpt)

Alain Jouffroy, “Robert Rauschenberg,” translated from French by Susan de Muth, originally published as “R. Rauschenberg,” in L’œil (May 1964): 30–34

Marcelin Pleynet, “On American Painting (Conclusion),” translated from French by John Goodman, originally published as “De la peinture américaine (Fin),” in Les Lettres françaises 1178 (1967): 33

Catherine Millet, “Painting which Viewing Disperses,” translated from French by Susan de Muth, originally published as “David Salle: La peinture que le regard disperse,” in art press 89 (1985): 18–22

Elisabeth Lebovici, “The American Scene: The Middle Kingdom,” translated from French by Susan de Muth, originally published as “La scène américaine: l’empire du milieu,” in art press 118 (1987): 24–26

Art Turned Upside Down: American Art in Belgium 1958–1978

Léon-Louis Sosset, “In the American Pavilion: From Primitives to Abstracts by Way of the Naive,” translated from French by Susan de Muth, originally published as “Au Pavillon Américain: des primitifs aux abstraits en passant par les naïfs,” in Beaux-Arts (May 30, 1958): 7 (excerpt)

Francine-Claire Legrand, “New American Painting,” translated from French by Susan de Muth, originally published as “La nouvelle peinture américaine,” in Quadrum 6 (1959): 174–175

Marcel Broodthaers, “Beware the Challengers! Pop Art, Jim Dine, and the Influence of René Magritte,” translated from French by Richard George Elliott, ­originally published as “Gare au Defi! Le Pop art, Jim Dine et l’influence de René Magritte,” in Beaux-Arts 1029 (November 14, 1963): 9

Geert Bekaert, “Happening,” translated from Flemish by Vivien D. Glass, originally published as “Happening,” in Pop. Het wezen van de kunst (Leuven: Davidsfonds, 1966), 33–35, and in Verzamelde opstellen, deel 2: Los in de ruimte 1966–1970, ed. Mil De Kooning and Herman Stynen (Brussels: Stichting Monumenten- en Landschapszorg, 1986), 33–35

Jean Dypréau, “Pop: The American New Wave and the London–New York Axis,” translated from French by Richard George Elliott. Originally published as “Pop: La nouvelle vague américaine et l’axe Londres–New York,” in Beaux-Arts 1127 (April 28, 1966): 7

Adolf Merckx, “Art in Process,” translated from Flemish by Paul Ferguson, originally published as “Art in Process,” in De Vlaamse Gids 3, no. 4 (March 1970): 24–26

Marc Callewaert, “The Piece Need Not Be Built,” translated from Flemish by Vivien D. Glass, originally published as “Het werk moet niet noodzakelijk gemaakt worden,” in Gazet van Antwerpen (December 4, 1973): 212–215

Karel Geirlandt, “From Pop to Hyperrealism,” translated from French by Richard George Elliott, originally published as “Du Pop à l’Hyperréalisme,” in Hyperréalisme: Maîtres Américains et Européens (Brussels: Isy Brachot Editeur, 1973), 9–21 (excerpt)

Georges Roque, “Our American Myth,” English version of a text published in the exhibition catalog American Art in Belgium (Palais des Beaux-arts de Bruxelles, May 25–August 28, 1977), 18–24

Collective, “American Art in Belgium: Art Turned Upside Down,” translated from Flemish by Paul Ferguson, originally published as “American Art in Belgium: De Kunst Omgekeerd,” and simultaneously in French as “American Art in Belgium: L’Art à l’Envers,” 1977

The Reception of American Art in the Netherlands

Anonymous [Cees Doelman], “American Art: Too Much Action, Too Little Reflection,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Amerikaanse kunst: te veel actie, te weinig bezinning,” in Nieuwe Rotterdamse Courant (March 10, 1956)

C. H. Wentinck, “Anti-Form as Goal and Reason: Coincidence Decides All in American ‘Action Painting,’” translated from Dutch by Jan De Meyer, originally published as “De anti-vorm als doel en reden: Toeval allesbepalend in Amerikaanse ‘Action-Painting,’” in Elseviers Weekblad (November 1, 1958)

K. Schippers, “Affirmative Irony: A New Way of Observing,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Bevestigende ironie: Een nieuwe wijze van observeren,” in De Groene Amsterdammer (July 18, 1964): 8

W.A.L. Beeren, “A New Regimen for Color,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Een nieuw regiem voor de kleur,” in Museumjournaal voor moderne kunst 11, no. 7 (1967): 180–188

R.H. Fuchs, “American Modernism,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Amerikaans modernisme,” in De Gids 131, no. 1 (1968): 62–68

E. Develing, “Introduction,” Minimal Art, bilingual exhibition catalog (Gemeentemuseum, The Hague, 1968), 11–16

Carel Blotkamp, “The Dilemma of the Square Pegs,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Het dilemma van de losse schroeven,” in Vrij Nederland (April 12, 1969)

Antje von Graevenitz, “Paint is Paint: Back to the Basics of Painting: The Stedelijk is Not Risking Much with ‘Fundamental Painting,’” translated from Dutch by Wendy L. van Os-Thompson, originally published as “Verf is verf: Terug naar de basis van het schilderen: Met ‘fundamentele schilderkunst’ riskeert het Stedelijk weinig,” in Vrij Nederland (May 31, 1975): 31

Cor Blok, “Reality According to Dennis Oppenheim,” translated from Dutch by Cor Blok, originally published as “Dennis Oppenheim en zijn interpretaties van de werkelijkheid,” in De Groene Amsterdammer (April 28, 1976): 17

Tineke Reijnders, “‘My Paintings are Crazy’: Julian Schnabel’s Pottery Shards per Running Meter in the Stedelijk,” translated from Dutch by Wendy L. van Os-Thompson, originally published as “‘Mijn schilderijen zijn krankzinnig’: Julian Schnabels potscherven per strekkende meter in het Stedelijk,” in De Groene Amsterdammer (February 17, 1982): 17

American Art in Cold War West Germany

Egon Vietta, “Non-Objective Painting: An American Show in Karlsruhe,” translated from German by Richard George Elliott, originally published as “Gegenstandlose Malerei: Eine amerikanische Schau in Karlsruhe,” in Die Zeit (April 4, 1948)

Albert Buesche, “The Principle of No Dogmas: American Painting at Rathaus Schöneberg,” translated from German by Margarethe Clausen, originally published as “Prinzip der Dogmenlosigkeit: Amerikanische Malerei im Schöneberger Rathaus,” in Der Tagesspiegel (September 19, 1951)

Fritz Nemitz, “Is there Such a Thing as American Painting? A Cross-Section in Munich,” translated from German by Richard George Elliott. Originally published as “Gibt es ein amerikanische Malerei? Ein Querschnitt in München,” in Frankfurter Allgemeine Zeitung (December 5, 1951)

Doris Schmidt, “Art from Over There: On the American Exhibition in Frankfurt,” translated from German by Margarethe Clausen, originally published as “Die Kunst von drüben. Zur amerikanischen Ausstellung in Frankfurt,” in Frankfurter Allgemeine Zeitung (November 15, 1955)

Rike Wankmüller, “Tachists in the USA,” translated by Iain Boyd Whyte, originally published as “Tachisten in der USA,” in Das Kunstwerk 9 no. 5 (1955/1956): 23–26 (excerpt)

Will Grohmann, “The New American Painting: On an Exhibition at the Hochschule für bildende Künste,” translated from German by Richard George Elliott, originally published as “Die neue amerikanische Malerei: Zu einer Ausstellung in der Hochschule für bildende Künste,” in Der Tagesspiegel (September 7, 1958)

Richard Huelsenbeck, “Pop Art,” translated from German by Iain Boyd Whyte, originally published as “Pop Art,” in Frankfurter Allgemeine Zeitung (April 18, 1963)

Doris Schmidt, “Pop Art as a Mission: Eleven Pop Artists at Friedrich und Dahlem in Munich,” translated from German by Margarethe Clausen, originally published as “Pop Art als Mission: Elf Pop-Artists bei Friedrich und Dahlem in München,” in Süddeutsche Zeitung (March 15, 1966)

Rolf-Gunter Dienst, “Documenta 4,” translated from German by Iain Boyd Whyte, originally published as “Die documenta IV,” in Das Kunstwerk 11, no. 11–12 (August–September, 1968): 36, 53–56 (excerpt)

Max Imdahl, “Barnett Newman, Who’s Afraid of Red, Yellow and Blue III”, translated from German by Iain Boyd Whyte, originally published in Max Imdahl, Newman, Who’s Afraid of Red, Yellow and Blue III, Werkmonographien zur bildenden Kunst, no. 147 (Stuttgart: Reclam, 1971), republished in Max Imdahl, Gesammelte Schriften, vol. 1, Zur Kunst der Moderne, ed. Angeli Janhsen-Vukic´evic´ (Frankfurt am Main: Suhrkamp, 1996), 244–270 (excerpt)

Eduard Beaucamp, “Olympic Misery,” translated from German by Iain Boyd Whyte, originally published as “Olympische Misere,” in Kunstjahrbuch 2 (1972): 77–80 (excerpt)

Jutta Held, “Minimal Art—An American Ideology,” translated from German by Iain Boyd Whyte, originally published as “Minimal Art—Eine Amerikanische Ideologie,” in Neue Rundschau 84, no. 4 (1972): 660–677, reprinted in Gregor Stemmrich, ed., Minimal Art: eine kritische Retrospektive (Dresden and Basel: Verlag der Kunst, 1995), 444–470 (excerpt)

Lucius Grisebach, “Stations of American Art in Europe after 1945,” translated from the German by Iain Boyd Whyte, originally published as “Stationen amerikanischer Kunst in Europa nach 1945,” in Dieter Honisch and Jens Christian Jensen, eds., Amerikanische Kunst von 1945 bis heute (Cologne: DuMont, 1976), 9–23 (excerpt)

Karl Stroher and Rudolf Zwirner, “Statements by Collectors and Gallerists,” translated from the German by Iain Boyd Whyte, originally published in Dieter Honisch and Jens Christian Jensen (eds.), Amerikanische Kunst von 1945 bis heute (Cologne: DuMont, 1976), 135–137, 142–143

Klaus Honnef, “Regaining the Power of Speech: Notes on American Postmodern Art,” translated from German by Richard George Elliott, originally published as “Die wiedergewonnene Sprachfähigkeit: Stichworte zur amerikanischen Kunst der Postmoderne,” in Kunstforum 61 (May 1983): 25–31 (excerpt)

Johannes Stahl, “‘The Train is a Part of Me’: New York Graffiti Artist Lee Quinones in Conversation with Johannes Stahl,” translated from German by Richard George Elliott, originally published as “‘Der Zug ist ein Teil von mir’: der New York Sprayer Lee Quinones,” interview in Kunstforum 9 (October–November 1987): 284–286

Markus Brüderlin, “Changes in a Valid Standard for Good Art: Donald Judd in Conversation,” translated from German by Iain Boyd Whyte, originally ­published as “Donald Judd, Veränderungen in einem für gute Kunst gültigen Maß: Ein Gespräch mit Markus Brüderlin,” in Kunstforum 95 (June–July 1988): 111–121 (excerpt)

Anon., “Jeff Koons: Total Consumption—from The New to Equilibrium; from Intoxication to Class Structures in Stainless Steel,” translated from German by Richard George Elliott, originally published as “Konsum Total—Vom Neuen zum Gleichgewicht und Rausch und zur Skulptur der Klassenstrukturen aus rostfreiem Stahl,” in Kunstforum 92 (December 1987–January 1988): 84–85

Wolfgang Lange, “Andy Warhol or Reprocessing Art in the Spirit of the Culture Industry,” translated from German by Richard George Elliott, originally published as “Andy Warhol oder die Wiederaufbereitung der Kunst aus dem Geiste der Kulturindustrie,” in Kunstforum International 92 (December 1987–January 1988): 149–157 (excerpt)

“Muses with a Cold”

Gerhart Egger, “Peintres Naïfs: American Folk Painting from 1670 until Today,” translated from German by Iain Boyd Whyte, originally published as “Vorwort,” in Peintres naïfs: Amerikanische Volksmalerei von 1670 bis heute, exhibition catalog, Österreichisches Museum für angewandte Kunst (Vienna: Reimer, 1954), 6–7

Otto F. Beer, “America’s Art as Guest,” translated from German by Iain Boyd Whyte, originally published as “Amerikas Kunst zu Gast,” in Neues Österreich (May 5, 1956): 3

Otto Wladika, “Modern Art from the USA,” translated from German by Iain Boyd Whyte, originally published as “Moderne Kunst aus der USA,” in Österreichische Volksstimme (May 10, 1956)

Gertrude Fröhlich, “Stabiles, Labiles, and Mobiles,” translated from German by Iain Boyd Whyte, originally published as “Stabiles, Labiles und Mobiles,” in Die Furche (May 12, 1956)

Anonymous, “Modern American Art in the Shadow of Europe,” translated from German by Iain Boyd Whyte, originally published as “Moderne amerikanische Kunst im Schatten Europas,” in Linzer Volksblatt (May 24, 1956): 6

Otto Antonia Graf, “America: Death and Art,” translated from German by Iain Boyd Whyte, originally published as “Amerika: der Tod und die Kunst,” Pop etc., exhibition catalog (Vienna: Museum des 20. Jahrhunderts, 1964), 47ff.; republished in Antonio Graf, Die Erde ist also ein edler Stern: Gesammelte Schriften 1963–1992 (Vienna: Böhlau, 1997), 126–133.

Werner Hofmann, “The Pseudo-Reality of the ‘Happening’,” translated from German by Iain Boyd Whyte, originally published as “Die Pseudo-Wirklichkeit des ‘Happening’,” in Merkur, 20, no. 215 (February 1966): 193–194 (excerpt)

Dieter Ronte, “Kienholz in Vienna,” originally published in English and German in J. Harten (ed.), Edward and Nancy Kienholz: 1980s, bilingual exhibition catalog (Düsseldorf/Vienna: Städtische Kunsthalle/Museum des 20. Jahrhunderts, 1989), 12–13

Isle of the Blessed—Audiences Shocked: American Art in Switzerland 1945–1990

Adolf Max Vogt, “Americans as Artists: Exhibition at the Kunsthaus in Zurich,” translated from German by Richard George Elliott. Originally published as “Amerikaner als Künstler: Ausstellung im Zürcher Kunsthaus,” in Neue Zürcher Zeitung (July 28, 1953)

Arnold Rüdlinger, “Foreword,” translated from German by Jonathan Blower, originally published as “Vorwort,” in Tendances Actuelles 3 exhibition catalog (Bern: Kunsthalle Bern, 1955), no pagination

Max Eichenberger, “Modern Art in the USA,” translated from German by ­Jonathan Blower, originally published as “Moderne Kunst in den USA,” in Die Tat (Zurich) (July 23, 1955)

Arnold Rüdlinger, “Through European Eyes,” translated from German by Iain Boyd Whyte, originally published as “Aus europäischer Sicht,” in Die neue amerikanische Malerei, catalog to traveling exhibition (New York: Museum of Modern Art, 1958), no pagination

Maria Netter, “The Anniversary Gift of the Swiss National Insurance Society to the Basel Art Museum,” translated from German by Jonathan Blower, originally published as “Die Jubiläumsschenkung der Schweizerischen Nationalversicherungs-Gesellschaft an das Basler Kunstmuseum,” in Das Werk: Architektur und Kunst 47 (1960): 182–184

Georg Schmidt, “Formal Means,” translated from German by Jonathan Blower, originally published as “Die formalen Mittel,” in Umgang mit Kunst (Olten: ­Walter Verlag, 1966), 288–290

Hans Neuburg, “Nihilistic Art,” translated from German by Iain Boyd Whyte, originally published as “Nihilistische Kunst,” in Die Tat (February 22, 1969): 31

Johannes Gachnang, “From Continent to Continent,” translated from German by Richard George Elliott, originally published as “From Continent to Continent,” in Europa/Amerika, exhibition catalog (Cologne: Museum Ludwig, 1986), 337–342

American Art Viewed from Denmark: From Skepticism to Acceptance

Albert Mertz, “From a Paris Diary Spring,” translated from Danish by Marianne Ølholm, originally published as “Af en pariserdagbog,” in Louisiana Revy 1 (1963): 3–6

K.G. Hultén, “On Painting in New York after Pollock, that is on Pop Art,” translated from Danish by Marianne Ølholm.Originally published as “Om maleriet i New York efter Pollock. Dvs om Pop-kunsten,” in Louisiana Revy 4 (1964): 10–14.

Knud W. Jensen, “Pop Art at the Louisiana,” translated from Danish by Marianne Ølholm, originally published as “Pop-kunst på Louisiana,” in Louisiana Revy 4 (1964): 3

Eric Andersen, “After Cage,” translated from Danish by Marianne Ølholm, originally published as “Efter Cage,” in Dansk Musiktidsskrift (DMT) 2 (1966): 44–46

Per Kirkeby, “Letter from New York: Moving Pictures,” translated from Danish by Marianne Ølholm, originally published as “Brev fra New York: Levende billeder,” in Billedkunst 1 (1967): 6–7 (excerpt)

Jane Pedersen, “The New Abstraction,” translated from Danish by Marianne Ølholm, originally published as “Den ny abstraktion,” in Billedkunst 1 (1967): 24–36 (excerpt)

Stig Brøgger, “Some Recent Trends,” translated from Danish by René Lauritsen, originally published as “Nogle nyere tendenser,” in A+B 2 (1970): 43–46

Erik Thygesen, “The Atrocity Exhibition,” translated from Danish by Marianne Ølholm, originally published as “Grusomhedsudstillingen,” in A+B 1 (1970): 40–42

Øystein Hjort, “The 1980s: A Forest of Signs,” translated from Danish by Marianne Ølholm, originally published as “1980erne: En skov af tegn,” in Amerikansk Kultur efter 1945, ed. Øystein Hjort, Paul Levine, Jakob Levinsen, and Peter Schepelern (Copenhagen: Spektrum, 1992), 159–163

Øystein Hjort, “Staged Photography,” translated from Danish by Marianne Ølholm, originally published as “Det iscensatte fotografi,” in Amerikansk Kultur efter 1945, ed. Øystein Hjort, Paul Levine, Jakob Levinsen, Peter Schepelern (Copenhagen: Spektrum, 1992), 165–168

Norway and American Postwar Art during the Cold War

Per Hovdenakk, “Abstract Expressionism in Europe and the USA,” translated from Norwegian by Anna Paterson, originally published as “Abstrakt ekspresjonisme i Europa og USA,” in Kunst og Kultur 64 (1981): 77–87

Even Hebbe Johnsrud, “Barnett Newman: The Tragic Dimension in Art,” translated from Norwegian by Anna Paterson, originally published as “Barnett Newman—den tragiske dimensjon i kunsten,” in Kunst og Kultur 66, no. 3 (1983): 18–28

Per Hovdenakk, “Art in the USA Today,” translated from Norwegian by Lucy Moffatt.Originally published as “Kunsten i USA i dag,” in Kunst og Kultur 66, no. 1 (1983): 157–165

Åsmund Thorkildsen, “An Old Master among the Wild Youth,” translated from Norwegian by Lucy Moffatt, originally published as “En gammel mester blant de unge ville,” in Kunst og Kultur 69, no. 1 (1986): 17–30

American Art in Swedish Art Criticism: An Introduction

Ludvig Rasmusson, “Pop,” translated from Swedish by Donald S. MacQueen, originally published as “Pop,” in Rondo 3 (1963): 25–32

Torsten Bergmark, “Pop—The American Dream,” translated from Swedish by Donald S. MacQueen, originally published as “Pop—den amerikanska drömmen,” in Dagens Nyheter (February 25, 1964): 3

Öyvind Fahlström, “A Street Full of Presents: New York, October 1961,” Konsthistorisk tidskrift/Journal of Art History 76 no 1–2 (2007), 119–126, translated by Kathryn Boyer and edited by Petrea Frid, Sharon Avery-Fahlstrom and Erik Rune, originally published in Swedish as “En gata full av presenter,” in Konstrevy, 37, no. 5–6 (1961), 176–181

Öyvind Fahlström, “Untitled”, translated from Swedish by Donald S. MacQueen, originally published in the exhibition catalog Claes Oldenburg: skulptur och teckningar 17 Sept–30 Okt 1966 (Stockholm: Moderna Museet, 1966), 56

Öyvind Fahlström, “Andy Warhol: Pop Artist with No Inhibitions—‘Everybody Should Be Machines’,” translated from Swedish by Donald S. MacQueen, originally published as “Andy Warhol: Popkonstnär utan hämningar—‘Alla Borde Vara Maskiner’,” in Dagens Nyheter (February 4, 1968): 2–3

Leif Nylén, “Pentagon Structures?,” translated from Swedish by Donald S. MacQueen, originally published as “Pentagon Structures?,” in Paletten 3 (1968)

Tord Bæckström, “New York Collection—A Donation to the People of Sweden: Test-Tube Art,” translated from Swedish by Donald S. MacQueen, originally published as “New York Collection, en donation till det svenska folket: Provörkonst,” in Paletten 1 (1974): 36–37

Jan Håfström, “Sights in New York,” translated from Swedish by Donald S. MacQueen, originally published as “Syner i New York,” in Paletten 2 (1977): 2–4

Olle Granath, “Viewpoint,” English translation by Keith Bradfield, originally published in Swedish and English as “Blickpunkter/Viewpoints,” in Flyktpunkter/Vanishing Points, edited by Olle Granath and Margareta Helleberg (Stockholm: Modern Museet, 1984), 47–60

Ulf Linde, “Claes Oldenburg,” translated from Swedish by Donald MacQueen, originally published as “Claes Oldenburg” in Efter hand: Texter 1950–1989, ed. Ulf Linde and Lars Nygren (Stockholm: Bonnier, 1985), 264–266

An Introduction to American Art in Finland after 1945

Sakari Saarikivi, “American Art Exhibition,” translated from Finnish by Jyri Kokkonen, originally published as “Amerikkalaisen taiteen näyttely,” in Suomen Sosialidemokraatti (February 3, 1951)

Einari J. Vehmas, “American Contemporary Art,” translated from Finnish by Jyri Kokkonen, originally published as “Amerikan nykytaidetta,” in Uusi Suomi (January 17, 1954)

Einari J. Vehmas, “Past and Present in the Guggenheim Collection,” translated from Finnish by Jyri Kokkonen, originally published as “Nykyisyys ja menneisyys Guggenheimin kokoelmassa,” in Uusi Suomi (October 13, 1957) (excerpt)

Lars-Gunnar Nordström, “The Magic of the Sign: Observations on the Arts in America,” translated from Finnish by Jyri Kokkonen, originally published as “Merkin magia—huomioita Amerikan taide-elamasta,” in Taide 1 (1961): 19–23

Juhani Harri, “Pop,” translated from Finnish by Jyri Kokkonen, originally published as “Pop,” in Taide 4 (1964): 176–181

Pekka Tarkka, “Pop—Ecclesiastic Art for Machines?,” translated from Finnish by Jyri Kokkonen, originally published as “POP—koneiden kirkkotaidettako,” in Uusi Suomi (April 19, 1964)

Petra Uexküll, “Here and Overseas,” translated from Finnish by Jyri Kokkonen originally published as “Meiltä ja meren taka,” in Suomi–Finland–USA 2–3 (May 18, 1965): 20

Antero Kare, “Art as a Weapon of the Cold War: The Image of America is Seeking its Form,” translated from Finnish by Jyri Kokkonen, originally published as “Amerikan kuva etsii muotoaan: Taide kylman sodan aseena,” in Taide 1 (1975): 20–23

Sakari Määttänen, “The Other Face of America,” translated from Finnish by Jyri Kokkonen, originally published as “Amerikan toiset kasvot,” in Taide 6 (1975): 24–27

Timo Valjakka, “Spiral, Center, and Edges,” translated from Finnish by Itha O’Neill, originally published as “Spiraali, keskus ja reunat,” in Taide 1 (1983): 19–22

Kimmo Sarje, “Neo-Geo—The New Clothes of Abstract Art,” translated from Finnish by Itha O’Neill, originally published as “Neogeo—Abstraktin taiteen uudet vaatteet,” in Helsingin Sanomat (April 5, 1987) and reprinted in the author’s anthology Romantiikka ja postmoderni (Helsinki: Valtion painatuskeskus, 1989), 196–207

Timo Valjakka, “Sketches for Heroic Acts,” translated from Finnish by Itha O’Neill, originally published as “Luonnoksia sankarillisiin tekoihin: Claes Oldenburg Tampereen taidemuseossa 12.1.– 6.3.1990,” in Arkkitehti 2 (1990): 22

Leena-Maija Rossi, “Lost by Society and the Disneyland of Art,” translated from Finnish by Jyri Kokkonen, originally published as “Yhteiskunnan kadottamat ja taiteen Disneyland,” in Helsingin Sanomat (January 28, 1990)