ABSTRACT
Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources.
With the exception of those originally published in English, the majority of these texts are translated into English for the first time from eight languages, and are introduced by scholarly essays. They offer a representative selection of the diverse responses to American art in Great Britain, Ireland, France, Belgium, the Netherlands, West Germany (FRG), Austria, Switzerland, Denmark, Norway, Sweden, and Finland. There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural, and artistic positions that varied considerably across the European nations.
This volume and its companion, Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences.
Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism.
This book, together with its companion volume Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990,, is a joint initiative of the Terra Foundation for American Art and the editors of the journal Art in Translation at the University of Edinburgh. The journal, launched in 2009, publishes English-language translations of the most significant texts on art and visual cultures presently only available only in their source language. It is committed to widening the perspectives of art history, making it more pluralist in terms of its authors, viewpoints, and subject matter.
TABLE OF CONTENTS
part 1|55 pages
United Kingdom
entry 1.2|2 pages
Lawrence Alloway, “US Modern Paintings,” in Art News and Review 7, no. 26 (January 21, 1956): 1, 9 (excerpts)
entry 1.3|2 pages
John Berger, “The Battle,” in The New Statesman and Nation (January 21, 1956): 70–71 (excerpt)
entry 1.4|3 pages
Herbert Read, “An Art of Internal Necessity,” in Quadrum 1 (1956): 7–22 (excerpts)
entry 1.5|4 pages
Patrick Heron, “The Americans at the Tate Gallery,” in Arts 30, no. 6 (1956): 15–17
entry 1.6|2 pages
Lawrence Alloway, “Art in New York Today,” in The Listener (October 20, 1958): 647–648
entry 1.7|4 pages
Patrick Heron, “The Ascendancy of London in the Sixties,” in Studio International 172, no. 884 (1966): 280–281
entry 1.8|2 pages
Patrick Heron, “A Kind of Cultural Imperialism,” in Studio International 175, no. 897 (1968): 62–64 (excerpt)
entry 1.9|2 pages
Lawrence Alloway, “Popular Culture and Pop Art,” in Studio International 178, no. 913 (1969): 17–21 (excerpt)
entry 1.10|3 pages
John Russell, “Pop Reappraised,” in Art in America 57, no. 4 (1969): 78–89 (excerpt)
entry 1.11|5 pages
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)
entry 1.12|2 pages
“Editorial,” in The Burlington Magazine 118, no. 877 (1976): 187–188 (excerpt)
entry 1.13|1 pages
Richard Morphet, “Carl Andre’s Bricks,” in The Burlington Magazine 118, no. 884 (1976): 762–767 (excerpt)
entry 1.14|3 pages
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).
entry 1.15|5 pages
Peter Fuller, “The Eastward March of Civilization,” in Art and Design 3 no. 9 (1987): 19–25
part 2|31 pages
Ireland
entry |10 pages
The Irish Diaspora, the Cold War and American Art in Ireland
entry 2.1|3 pages
Anonymous, “Painting à l’Américaine,” in The Irish Times (April 22, 1953): 6
entry 2.2|2 pages
Brian Fallon, “Magnificent Exhibition of US Paintings,” in The Irish Times (April 16, 1964): 8
entry 2.3|1 pages
Marian Burleigh, “American Art Styles Please and Displease,” in Irish Press (April 17, 1964): 2
entry 2.4|1 pages
Anonymous, “The Great American Art Show,” in Sunday Independent Magazine (April 26, 1964)
entry 2.5|1 pages
Anonymous, “832 People a Day at Art Exhibition,” The Irish Times (May 9, 1964): 5
entry 2.6|1 pages
Bruce Arnold, “Artists are Critical of Rosc Exhibition,” in Irish Independent (October 11, 1967): 8
entry 2.7|4 pages
Brian Fallon, “A Hawk’s-Eye View of the World’s Gallery,” in The Irish Times (November 13, 1967)
entry 2.8|1 pages
P.F.B., “Rosc ’71 at RDS is Gay and Exciting,” in Evening Herald (October 25, 1971): 8
entry 2.9|1 pages
Bruce Arnold, “The Great Rosc Adventure,” in Irish Independent (October 27, 1971): 6
entry 2.10|3 pages
Brian O’Doherty, “The Irish Imagination 1959–1971,” exhibition catalog (Dublin: Municipal Gallery of Modern Art, 1971): 10–11
entry 2.11|2 pages
Desmond Rushe, “You Must See This Exhibition!,” in Tatler’s Parade, Irish Independent (October 28, 1971): 12
part 3|55 pages
France
entry |15 pages
With Love (and Hate) from Paris
entry 3.1|2 pages
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
entry 3.2|8 pages
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
entry 3.3|3 pages
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
entry 3.4|2 pages
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
entry 3.5|2 pages
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)
entry 3.6|8 pages
Alain Jouffroy, “Robert Rauschenberg,” translated from French by Susan de Muth, originally published as “R. Rauschenberg,” in L’œil (May 1964): 30–34
entry 3.7|1 pages
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
entry 3.8|7 pages
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
entry 3.9|5 pages
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
part 4|40 pages
Belgium
entry |10 pages
Art Turned Upside Down: American Art in Belgium 1958–1978
entry 4.1|2 pages
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)
entry 4.2|2 pages
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
entry 4.3|2 pages
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
entry 4.4|1 pages
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
entry 4.5|2 pages
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
entry 4.6|4 pages
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
entry 4.7|2 pages
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
entry 4.8|8 pages
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)
entry 4.9|4 pages
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
entry 4.10|2 pages
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
part 5|50 pages
The Netherlands
entry |11 pages
The Reception of American Art in the Netherlands
entry 5.1|4 pages
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)
entry 5.2|2 pages
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)
entry 5.3|3 pages
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
entry 5.4|2 pages
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
entry 5.5|7 pages
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
entry 5.6|5 pages
E. Develing, “Introduction,” Minimal Art, bilingual exhibition catalog (Gemeentemuseum, The Hague, 1968), 11–16
entry 5.7|3 pages
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)
entry 5.8|5 pages
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
entry 5.9|3 pages
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
entry 5.10|4 pages
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
part 6|56 pages
Federal Republic of Germany (West Germany)
entry |15 pages
American Art in Cold War West Germany
entry 6.1|2 pages
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)
entry 6.2|1 pages
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)
entry 6.3|1 pages
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)
entry 6.4|3 pages
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)
entry 6.5|3 pages
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)
entry 6.6|3 pages
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)
entry 6.7|2 pages
Richard Huelsenbeck, “Pop Art,” translated from German by Iain Boyd Whyte, originally published as “Pop Art,” in Frankfurter Allgemeine Zeitung (April 18, 1963)
entry 6.8|2 pages
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)
entry 6.9|1 pages
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)
entry 6.10|4 pages
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)
entry 6.11|1 pages
Eduard Beaucamp, “Olympic Misery,” translated from German by Iain Boyd Whyte, originally published as “Olympische Misere,” in Kunstjahrbuch 2 (1972): 77–80 (excerpt)
entry 6.12|2 pages
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)
entry 6.13|2 pages
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)
entry 6.14|2 pages
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
entry 6.15|4 pages
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)
entry 6.16|2 pages
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
entry 6.17|1 pages
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)
entry 6.18|1 pages
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
entry 6.19|3 pages
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)
part 7|32 pages
Austria
entry |13 pages
“Muses with a Cold”
entry 7.1|2 pages
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
entry 7.2|2 pages
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
entry 7.3|1 pages
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)
entry 7.4|1 pages
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)
entry 7.5|1 pages
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
entry 7.6|7 pages
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.
entry 7.7|1 pages
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)
entry 7.8|2 pages
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
part 8|32 pages
Switzerland
entry |11 pages
Isle of the Blessed—Audiences Shocked: American Art in Switzerland 1945–1990
entry 8.1|3 pages
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)
entry 8.2|1 pages
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
entry 8.3|2 pages
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)
entry 8.4|3 pages
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
entry 8.5|3 pages
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
entry 8.6|2 pages
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
entry 8.7|2 pages
Hans Neuburg, “Nihilistic Art,” translated from German by Iain Boyd Whyte, originally published as “Nihilistische Kunst,” in Die Tat (February 22, 1969): 31
entry 8.8|4 pages
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
part 9|44 pages
Denmark
entry |10 pages
American Art Viewed from Denmark: From Skepticism to Acceptance
entry 9.1|3 pages
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
entry 9.2|4 pages
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.
entry 9.3|1 pages
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
entry 9.4|3 pages
Eric Andersen, “After Cage,” translated from Danish by Marianne Ølholm, originally published as “Efter Cage,” in Dansk Musiktidsskrift (DMT) 2 (1966): 44–46
entry 9.5|3 pages
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)
entry 9.6|4 pages
Jane Pedersen, “The New Abstraction,” translated from Danish by Marianne Ølholm, originally published as “Den ny abstraktion,” in Billedkunst 1 (1967): 24–36 (excerpt)
entry 9.7|7 pages
Stig Brøgger, “Some Recent Trends,” translated from Danish by René Lauritsen, originally published as “Nogle nyere tendenser,” in A+B 2 (1970): 43–46
entry 9.8|2 pages
Erik Thygesen, “The Atrocity Exhibition,” translated from Danish by Marianne Ølholm, originally published as “Grusomhedsudstillingen,” in A+B 1 (1970): 40–42
entry 9.9|4 pages
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
entry 9.10|2 pages
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
part 10|33 pages
Norway
entry |7 pages
Norway and American Postwar Art during the Cold War
entry 10.1|6 pages
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
entry 10.2|6 pages
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
entry 10.3|2 pages
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
entry 10.4|2 pages
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
part 11|48 pages
Sweden
entry |9 pages
American Art in Swedish Art Criticism: An Introduction
entry 11.1|6 pages
Ludvig Rasmusson, “Pop,” translated from Swedish by Donald S. MacQueen, originally published as “Pop,” in Rondo 3 (1963): 25–32
entry 11.2|3 pages
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
entry 11.3|8 pages
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
entry 11.4|2 pages
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
entry 11.5|2 pages
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
entry 11.6|2 pages
Leif Nylén, “Pentagon Structures?,” translated from Swedish by Donald S. MacQueen, originally published as “Pentagon Structures?,” in Paletten 3 (1968)
entry 11.7|3 pages
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
entry 11.8|2 pages
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
entry 11.9|5 pages
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
entry 11.10|3 pages
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
part 12|43 pages
Finland
entry |5 pages
An Introduction to American Art in Finland after 1945
entry 12.1|2 pages
Sakari Saarikivi, “American Art Exhibition,” translated from Finnish by Jyri Kokkonen, originally published as “Amerikkalaisen taiteen näyttely,” in Suomen Sosialidemokraatti (February 3, 1951)
entry 12.2|2 pages
Einari J. Vehmas, “American Contemporary Art,” translated from Finnish by Jyri Kokkonen, originally published as “Amerikan nykytaidetta,” in Uusi Suomi (January 17, 1954)
entry 12.3|1 pages
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)
entry 12.4|4 pages
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
entry 12.5|2 pages
Juhani Harri, “Pop,” translated from Finnish by Jyri Kokkonen, originally published as “Pop,” in Taide 4 (1964): 176–181
entry 12.6|4 pages
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)
entry 12.7|2 pages
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
entry 12.8|6 pages
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
entry 12.9|3 pages
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
entry 12.10|4 pages
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
entry 12.11|3 pages
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
entry 12.12|2 pages
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
entry 12.13|2 pages
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)
entry |2 pages
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