Abstract
Given the mostly unopposed dominance of liberalism in America, beauty’s connection to survival—the focus of the liberal enterprise—is especially strong. The classic coupe is elegant, but traversing wide expanses at freeway speeds is exhilarating. The wilderness is pristine, but overcoming its dangers and exploiting its bounty are rewarding. And the Nightingale is ethereal, but taming her exotic seductions with child rearing and wholesomeness is reaffirming. Restricting beauty to domains that retain a strong connection to survival concerns compromises its experience with instrumentality. American beauty resembles, then, the roses in the Beast’s garden—a cultivated beauty, manicured and safe.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
See Chap. 3 for my substantiation of Kant’s attachment to the British aesthetic commentators who precede him. His beauty is the philosophical equivalent of women, wilderness, and machines.
- 2.
Allen Ginsberg articulates the simultaneous senses of depletion and inspiration: “So ‘beat’ was interpreted in various circles to mean emptied out, exhausted, and at the same time wide-open and receptive to vision” (Ginsberg 1995, p. 18).
- 3.
Vytautas Kavolis (1972), augmenting the earlier work of Sorokin (1957) and Kroeber (1952), discovers that cultural and artistic efflorescence tends to occur not during periods of “resource mobilization,” but just after, in the “integrative phases” during which societies undertake difficult adjustments to new social arrangements. The postwar USA fits well in this category.
- 4.
See, for instance, Hopper’s Hotel Lobby, 1943.
- 5.
Interestingly, in 1934 running boards serve as perches for motel proprietors, relieving patrons of the need to prematurely dismount (Agee 1934, p. 56).
- 6.
Perhaps worth mentioning here is that just prior to Hopper’s execution of Western Motel, Jackson Pollock, focus of my ensuing discussion, died in his beloved green 1950 Oldsmobile 88 convertible.
- 7.
So depicted by Josephine Hopper (Levin 1995a, vol. 4 cd-rom [Record Book III, p. 63]).
- 8.
Lee Krasner reports that Pollock considers jazz “the only other really creative thing happening in this country” (Karmel and Vernedoe 1999, p. 34.)
- 9.
“Verbal communication must have seemed at best a clumsy fiat for probing one’s innermost feelings through art, and he mistrusted words as a diversion and a possible betrayal” (Hunter et al. 1956, p. 5).
- 10.
Any easy connections between Pollock’s associations and his work are perilous. When asked in 1944 about his relationship with Benton, Pollock responds: “My work with Benton was important as something against which to react very strongly” (Pollock 1944, p. 14).
- 11.
At least one scholar is skeptical regarding the sufficiency of Newman’s depictions: “As is well known, Newman himself made all sorts of claims for the art he and his fellow abstract expressionist painters created, but these claims, interesting as they are in relation to a cultural history of modern painting, are nothing in comparison with the claims made by the painting itself” (De Bolla 2001, p. 33).
- 12.
“Like the other three masters of the Abstract Sublime, Newman bravely abandons the securities of familiar pictorial geometries in favor of the risks of untested pictorial intuitions; and like them, he produces awesomely simple mysteries that evoke the primeval movement of creation. His very titles (Onement, The Beginning, Pagan Void, Death of Euclid, Adam, and Day One) attest to this sublime intention” (Rosenblum 2005, p. 243). Rosenblum’s assessment persists. Wendy Steiner considers Pollock the epitome of “heroic athleticism” (2001, p. 112) and continues to describe Abstract Expressionism as quintessentially sublime.
- 13.
Krasner herself complicates the issue: “If anything, my identity was enriched by knowing Pollock” (quoted in Maroni 2002, p. 178).
- 14.
“While he applied his art to therapy, he also applied his therapy to art” (Derrick 1991, p. 19).
- 15.
- 16.
Even those who are skeptical of Jung’s direct influence on Pollock’s work are nevertheless prone to consider Full Fathom Five as psychoanalytical: “What Pollock invented in 1947–50 was a set of forms in which previously disorganized aspects of self-representation—the wordless, the somatic, the wild, the self-risking, spontaneous, uncontrolled, ‘existential,’ the ‘beyond’ or ‘before’ the conscious activities of mind—could achieve a bit of clarity, get themselves a relatively stable set of signifiers” (Clark 1990, p. 180).
- 17.
It is deceptively simplistic to exclude Pollock from full participation in title selection. Lee Krasner insists that he is always involved, if not at times wholly responsible for them (Wolfe 1972, p. 74, n. 41). And, as far as Full Fathom Five is concerned, Pollock’s clear interest in James Joyce (O’Connor and Thaw 1978, vol. 4, p. 193; see also Firestone 2005), whose Ulysses (Episode 3) employs Shakespeare’s poem, suggests the artist’s strong connection with the title. In any case, Krasner is aghast at the extent to which Pollock’s works are exploited for facile connections to endeavors, like psychoanalysis, outside the paintings (Krauss 1999, p. 155).
- 18.
Sea Change is the title of another painting in the 1947 series (O’Connor and Thaw 1978, vol. 1. p. 175).
- 19.
In a letter where Pollock notes “an enormous amount of interest and excitement for modern painting” he mentions, without any perturbation, that “Vogue has three pages of my painting (with models of course) will send a copy” (O’Connor and Thaw 1978, vol. 4, p. 258).
- 20.
His pathbreaking albums of the period are Something Else, Tomorrow is the Question, The Shape of Jazz to Come, Change of the Century, and This Is Our Music.
- 21.
“I couldn’t accept the fact that they felt like they had to respect me because that was their responsibility as Communists” (quoted in Spellman 1970, p. 109).
- 22.
John Coltrane’s Alabama (1963) and Max Roach’s Freedom Now Suite (1960) are obvious correlates.
- 23.
The original interview was conducted in English, but the existing textual transmission is in French, then retranslated into English by Murphy (Coleman and Derrida 2004). The French version is as follows: “Depuis ce jour-là, j’essaie de trouver un moyen pour éviter de me sentir coupable de faire quelque chose que quelqu’un d’autre ne fait pas” (Coleman and Derrida 1997, p. 39).
- 24.
“For me I mean it’s, I don’t call it composing, I think I’ve been calling it sound grammar and for a better technical part I call it Harmolodics” (Coleman 2007).
- 25.
Coleman himself is not help much here. He distinguishes harmolodics as a musical form where “the rhythm, harmonies and tempos are equal in relationship and independent melodies at the same time” (Cogswell 1996, p. 111). Without detailed clarification, it is difficult, at least technically, to entertain the simultaneity of rhythm and melody.
- 26.
Wilson finds that Coleman defies traditional commitments to metrical consistency, that he constantly changes the tonal focus in his compositions, and that tempo changes are unusually frequent. In addition, the peculiarities of Coleman’s (white plastic) alto saxophone incline him to experiment with pitches transposed by a minor third.
- 27.
Michael Cogswell undertakes an even more technical assessment of Coleman’s compositions, but must conclude that the compositional “logic” he discovers is at most tangential to a harmolodic theory that is, under Cogswell’s musicological criteria, “undefinable” (Cogswell 1996, p. 139).
- 28.
“Today, still, the individual is either swallowed up in a group situation, or else he is out front soloing, with none of the other horns doing anything but calmly awaiting their turn for their solos” (Coleman 1959).
- 29.
“As long as they don’t do anything to make me sound good but they get with the music, then that’s beautiful” (quoted in Spellman 1970, p. 143).
- 30.
Coleman’s position resonates with that of Igor Stravinsky (1882–1971), whose “Rite of Spring” has been compared to Coleman’s “Sleep Talk” (O’Neal 2013, p. 38). Stravinsky retracts an earlier remark that music expresses nothing (Stravinsky 1962 [1936], p. 53). In a clarification he states: “I would put it the other way around: music expresses itself” (Stravinsky and Craft 1959, p. 101).
- 31.
- 32.
Regarding his compositions in Jazz Abstractions (Atlantic Records 1365), Schuller says: “Yeah. That is a twelve-tone piece, and when I had conceived this and I started working on it, I met with Ornette one day and I played this twelve-tone row for him, and I wanted to hear his reaction, and I said ‘Can you improvise on that?’ He says, ‘Yeah, I can relate to that.’ That was all he said! And so then I went ahead. I just figured I would write a little thing, that I’d give him the twelve-tone row in the beginning and at the tail end” (Schuller 2009). So while the specifics of Coleman’s technique may be difficult to isolate, it comports with the wider, often more formal, parameters of progressive music.
- 33.
Schuller himself is hardly immune to the prejudice and condescension that I discuss later in more detail, for he attributes Coleman’s genius to his ignorance of the conventions of “serious” music, rather than to his indifference to them: “On the contrary, we believe it is precisely because Mr. Coleman was not “handicapped” by conventional music education that he has been able to make his unique contribution to contemporary music” (Schuller 1986, pp. 80-81).
- 34.
For an excellent defense of the less recognized importance of jazz to “modernism,” and of its more powerful prosecution of modernist inclinations like those associated with Pollock, see Gennari 1991.
- 35.
Here are Coleman’s words, with hardly a trace of disrespect: “Embraceable You is the first standard that we have recorded, and we played it the way standards are played, with as much spontaneity as we could” (Coleman 1960).
- 36.
In fact, this is just another, albeit more deferential, valuation of Coleman in terms of conventional standards. That he plays his plastic horn with Pat Metheny and jams with the Grateful Dead does not mean he “converges” with more transitory expressions of “beauty.” And his frequent association with the admittedly delightful music of Sun Ra is problematic (see Such 1993). Ironically, it is Jerry Garcia who, despite no lack of modesty of his own, nevertheless senses Coleman’s artistic distinctiveness and integrity: “Influences for me are rarely that direct. It’s just the exposure of having Ornette in my life. He’s a wonderful model for a guy who’s done what we did, in the sense of creating his own reality of what music is and how you survive within it. He’s a high-integrity kind of person and just a wonderful man. It was great to have him play with us. It was such a hoot to hear him play totally Ornette and totally Grateful Dead at the same time without compromising either one of them” (Trager 1997, p. 68).
- 37.
Of course I make these comments within a wider sense that liberalism and the concentration of identity is ready for enhancements (see Lukes 2007; Warnke 2007). The scholarly industry regarding the injection of “republican” into liberal habitats is massive, just to name one campaign (see Pettit 1997).
References
Adams, Henry. 2009. Tom and Jack: The Intertwined Lives of Thomas Hart Benton and Jackson Pollock. New York: Bloomsbury Press.
Adorno, Theodor W. 1973. Philosophy of Modern Music. New York: Seabury Press.
Agee, James. 1934. “The Great American Roadside.” Fortune 10 (September): 56.
Anderson, Iain. 2007. This Is Our Music: Free Jazz, the Sixties, and American Culture. Philadelphia, PA: Univ. of Pennsylvania Press.
Arendt, Hannah. 1951. The Origins of Totalitarianism. New York: Harcourt Brace and Co.
Baraka, Imamu Amiri. 1963. Blues People: Negro Music in White America. New York: William Morrow and Company.
Baraka, Imamu Amiri. 1984. The Autobiography of LeRoi Jones. Chicago, IL.: Lawrence Hill Books.
Beauvoir, Simone de. 1948. The Ethics of Ambiguity. Secaucus, NJ: Citadel Press.
Bell, Daniel. 1960. The End of Ideology: On the Exhaustion of Political Ideas in the Fifties. Glencoe, IL: Free Press.
Buettner, Stewart. 1981. American Art Theory, 1945–1970. Ann Arbor, MI: UMI Research Press.
Cage, John. 1961. Silence. Middletown, CT: Wesleyan University Press.
Clark, T. J. 1990. “Jackson Pollock’s Abstraction.” In Reconstructing Modernism: Art in New York, Paris, and Montreal, 1945–1964, edited by Serge Guilbaut, 172–238. Cambridge, MA: MIT Press.
Clark, T. J. 1999a. Farewell to an Idea: Episodes from a History of Modernism. New Haven, CT: Yale University Press.
Clark, T. J. 1999b. “Pollock’s Smallness.” In Jackson Pollock: New Approaches, edited by Kirk Vardedoe and Pepe Karmel, 15–31. New York: The Museum of Modern Art.
Coddington, James. 1999. “No Chaos Damn It.” In Jackson Pollock: New Approaches, edited by Kirk Vardedoe and Pepe Karmel, 101–115. New York: The Museum of Modern Art.
Cogswell, Michael. 1996. “Melodic Organization in Two Solos by Ornette Coleman.” In Annual Review of Jazz Studies 1994–95, edited by Edward Berger et. al., 101–145. Newark, NJ: Institute of Jazz Studies, Rutgers-The State University of New Jersey; Scarecrow Press.
Coleman, Ornette. 1959. Liner Notes, Change of the Century. Vol. 1329. Atlantic.
Coleman, Ornette. 1960. Liner Notes, This Is Our Music. Vol. 1351. Atlantic.
Coleman, Ornette. 1982a. “Harmolodic–Highest Instinct: Something to Think About.” In Free Spirits: Annals of the Highest Imagination, edited by Paul Buhle, et. al., 117–120. San Francisco, CA: City Lights Books.
Coleman, Ornette. 1982b. “Ornette Coleman: Interview.” Edited by Adam Bresnick and Russell Fine. Cadence 8 (9): 5–7, 51.
Coleman, Ornette. 1996. “Tone Dialing.” BOMB 56 (July): 20–22.
Coleman, Ornette. 2007. Interview with Ornette Coleman Video. youtube.com/watch?v=8CoPGDfMWFc.
Coleman, Ornette. 2004. “The Other’s Language: Jacques Derrida Interviews Ornette Coleman, 23 June 1997.” Translated by Timothy S. Murphy. Genre 37 (2): 319–329.
Coleman, Ornette, and Jacques Derrida. 1997. “Ornette Coleman et Jacques Derrida–La Langue de L’autre.” Translated by Thierry Jousse. Les Inrockuptibles, 2 September.
De Bolla, Peter. 2001. Art Matters. Cambridge, MA: Harvard University Press.
Derrick, Paul Scott. 1991. “The Art of Jackson Pollock: Man Restored to the Web.” Atlantis 12 (2): 13–29.
Doss, Erika Lee. 1991. Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism. Chicago, IL: University of Chicago Press.
Emmerling, Leonhard. 2003. Jackson Pollock: 1912–1956. Köln, Germany; Los Angeles, CA: Taschen.
Firestone, Evan R. 2005. “James Joyce and the First Generation New York School.” In Reading Abstract Expressionsim: Context and Critique, edited by Ellen G. Landau, 399–414. New Haven, CT: Yale University Press.
Freud, Sigmund, William McGuire, R. F. C. Hull, Alan McGlashan, and C. G. Jung. 1994. The Freud-Jung Letters: The Correspondence between Sigmund Freud and C.G. Jung. Translated by Ralph Manheim. Princeton, NJ: Princeton University Press.
Friedman, B. H. 1972. Jackson Pollock: Energy Made Visible. New York: McGraw-Hill.
Frink, Nathan A. 2012. “An Analysis of the Compositional Practices of Ornette Coleman as Demonstrated in His Small Group Recordings During the 1970s.” Master’s Thesis, University of Pittsburgh.
Fukuyama, Francis. 1989. “The End of History?” The National Interest 16 (Summer): 3–18.
Gennari, John. 1991. “Jazz Criticism: Its Development and Ideologies.” Black American Literature Forum 25 (3): 449–523.
Giddens, Gary, and Scott DeVeaux. 2009. Jazz. New York: W. W. Norton.
Ginsberg, Allen. 1995. “Prologue.” In Beat Culture and the New America: 1950–1965, edited by Lisa Phillips, 17–19. New York: Whitney Museum of American Art.
Greenberg, Clement. 1961. Art and Culture: Critical Essays. Boston, MA: Beacon Press.
Greenberg, Clement. 1986. The Collected Essays and Criticism. Edited by John O’Brian. 4 vols. Chicago, IL: University of Chicago Press.
Guilbaut, Serge, and Thomas Repensek. 1980. “The New Adventures of the Avant-Garde in America: Greenberg, Pollock, or from Trotskyism to the New Liberalism of the ‘Vital Center.’” October 15: 61–78.
Harker, Brian. 2005. Jazz: An American Journey. Upper Saddle River, NJ: Pearson Prentice Hall.
Hersch, Charles. 1995. “‘Let Freedom Ring!’: Free Jazz and African-American Politics.” Cultural Critique 32 (December): 97–123.
Hobsbawm, Eric. 2010. “Diary.” London Review of Books 32 (10): 41.
Hopper, Edward. 1997. Edward Hopper: A Journal of His Work. Edited by Deborah Lyons and Brian O’Doherty. New York: Whitney Museum of American Art in association with W.W. Norton and Co.
Hunter, Sam, Jackson Pollock, and Bernard Karpel. 1956. “Jackson Pollock.” The Bulletin of the Museum of Modern Art 24 (2): 3–36.
Jacobi, Jolan de. 1959. Complex, Archetype, and Symbol in the Psychology of C. G. Jung. London: Routledge and Paul.
Jakle, John A., Keith A. Sculle, and Jefferson S. Rogers. 1996. The Motel in America. Baltimore, MD: Johns Hopkins University Press.
Karmel, Pepe. 1999. “A Sum of Destructions.” In Jackson Pollock: New Approaches, edited by Kirk Varnedoe and Pepe Karmel, 71–160. New York: The Museum of Modern Art.
Karmel, Pepe, and Kirk Varnedoe, eds. 1999. Jackson Pollock: Interviews, Articles, and Reviews. New York: The Museum of Modern Art.
Kavolis, Vytautas. 1972. History on Art’s Side; Social Dynamics in Artistic Efflorescences. Ithaca, NY: Cornell University Press.
Kernfeld, Barry. 2012. “Harmolodic Theory.” The New Grove Dictionary of Jazz, 2nd Ed. http://www.oxfordmusiconline.com.libproxy.scu.edu/subscriber/article/grove/music/J189500.
Kim, Rebecca Y. 2012. “John Cage in Separate Togetherness with Jazz.” Contemporary Music Review 31 (1): 63–89.
Kofsky, Frank. 1970. Black Nationalism and the Revolution in Music. New York: Pathfinder Press.
Krauss, Rosiland E. 1999. “The Crisis of the Easel Picture.” In Jackson Pollock: New Approaches, edited by Kirk Vardedoe and Pepe Karmel, 155-179. New York: The Museum of Modern Art.
Kroeber, A. L. 1952. The Nature of Culture. Chicago, IL: University of Chicago Press.
Lanchner, Carolyn. 2009. Jackson Pollock. New York: The Museum of Modern Art.
Lee, David. 2006. The Battle of the Five Spot: Ornette Coleman and the New York Jazz Field. Toronto, Ontario: Mercury Press.
Leja, Michael. 1993. Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. New Haven, CT: Yale University Press.
Levin, Gail, ed. 1995a. Edward Hopper: A Catalogue Raisonné. 4 vols. New York: Whitney Museum of Art.
Levin, Gail. 1995b. Edward Hopper: An Intimate Biography. New York: Knopf.
Lewis, George E. 1996. “Improvised Music after 1950: Afrological and Eurological Perspectives.” Black Music Research Journal 16 (1): 91-122.
Litweiler, John. 1984. The Freedom Principle: Jazz after 1958. New York: Da Capo Press.
Litweiler, John. 1994. Ornette Coleman: A Harmolodic Life. New York: Da Capo Press.
Lukes, Timothy J. 1985. The Flight into Inwardness: An Exposition and Critique of Herbert Marcuse’s Theory of Liberative Aesthetics. Selinsgrove, PA; Cranbury, NJ; London: Susquehanna University Press; Associated University Presses.
Lukes, Timothy J. 2007. “Putting Space Between Beauty and Politics.” The Chronicle of Higher Education, no. 21 December: B 6.
MacKinnon, Catharine A. 1983. “Feminism, Marxism, Method, and the State: Toward Feminist Jurisprudence.” Signs 8 (4): 635–658.
Maroni, Monica, ed. 2002. Pollock’s America: Jackson Pollock in Venice. Milan: Skira Editore.
Mills, C. Wright. 1956. The Power Elite. New York: Oxford University Press.
Motherwell, Robert. 1992. The Collected Writings of Robert Motherwell. New York: Oxford University Press.
Mumford, Lewis. 1973. The Condition of Man. New York: Harcourt Brace Jovanovich.
Newman, Barnett B. 1948. “The Sublime Issue of The Tiger’s Eye.” The Tiger’s Eye: On Arts and Letters 6 (December): 57.
Newton, Francis. 1960a. The Jazz Scene. New York: Monthly Review Press.
Newton, Francis. 1960b. “The Arts and Entertainment: Manhattan Solo.” New Statesman 60 (1529): 12, 14.
Nisenson, Eric. 1996. ’Round about Midnight: A Portrait of Miles Davis. New York: Da Capo Press.
Nyman, Michael. 1999. Experimental Music: Cage and Beyond. 2nd ed. Cambridge, U.K. ; New York: Cambridge University Press.
O’Connor, Francis V., and Eugene Victor Thaw, eds. 1978. Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings, and Other Works. 4 vols. New Haven, CT: Yale University Press.
O’Doherty, Brian. 1964. “Portrait: Edward Hopper.” Art in America 52 (December): 68–88.
O’Neal, Claire. 2013. Ornette Coleman. Hockessin, DE: Mitchell Lane Publishers.
Palmer, Robert. 1972. “Ornette Coleman and the Circle with a Hole in the Middle.” The Atlantic 230 (6): 91–93.
Pettit, Philip. 1997. Republicanism: A Theory of Freedom and Government. Oxford, U.K.: Clarendon Press.
Piekut, Benjamin. 2014. “Indeterminacy, Free Improvisation, and the Mixed Avant-Garde: Experimental Music in London, 1965–1975.” Journal of the American Musicological Society 67 (3): 769–824.
Pitman, Joanna. 2003. On Blondes. New York: Bloomsbury.
Plato. 1991. The Republic of Plato. Translated by Allan David Bloom. New York: Basic Books.
Plato. 1999. The Symposium. Edited by Christopher Gill. London; New York: Penguin Books.
Pollock, Jackson. 1944. “Questionnaire.” Arts and Architecture 61: 14–15.
Rampley, Matthew. 1996. “Identity and Difference: Jackson Pollock and the Ideology of the Drip.” Oxford Art Journal 19 (2): 83–94.
Ratcliff, Carter. 1996. The Fate of a Gesture: Jackson Pollock and Postwar American Art. New York: Farrar, Straus, Giroux.
Riesman, David. 1950. The Lonely Crowd: A Study of the Changing American Character. New Haven, CT: Yale University Press.
Rockwell, John. 1983. All American Music: Composition in the Late Twentieth Century. New York: Knopf : Distributed by Random House.
Rosenberg, Harold. 1952. “The American Action Painters.” Art News 51 (8): 22–23, 48–50.
Rosenblum, Robert. 2005. “The Abstract Sublime.” In Reading Abstract Expressionsim: Context and Critique, edited by Ellen G. Landau, 239–244. New Haven, CT: Yale University Press.
Sappho. 2007. The Poetry of Sappho. Oxford, U.K.; New York: Oxford University Press.
Saunders, Frances Stonor. 2000. Who Paid the Piper?: The CIA and the Cultural Cold War. London: Granta.
Schapiro, Meyer. 1978. Modern Art, 19th and 20th Centuries. New York: G. Braziller.
Schlesinger, Arthur M. 1949. The Vital Center: The Politics of Freedom. Boston, MA: Houghton Mifflin.
Schuller, Gunther. 1986. Musings: The Musical Worlds of Gunther Schuller. New York: Oxford University Press.
Schuller, Gunther. 2009. “Interview with Gunther Schuller.” BBC Jazz on 3. http://dothemath.typepad.com/dtm/interview-with-gunther-schuller-1.html.
Solomon, Deborah. 2001. Jackson Pollock: A Biography. New York: Cooper Square Press.
Sorokin, Pitirim A. 1957. Social and Cultural Dynamics: A Study of Change in Major Systems of Art, Truth, Ethics, Law, and Social Relationships. Boston, MA: P. Sargent.
Spellman, A. B. 1970. Black Music Four Lives. New York: Schocken.
Steiner, Wendy. 2001. Venus in Exile: The Rejection of Beauty in Twentieth-Century Art. Chicago, IL: University of Chicago Press.
Stravinsky, Igor. 1962. An Autobiography. New York: W. W. Norton.
Stravinsky, Igor, and Robert Craft. 1959. Expositions and Developments. Berkeley and Los Angeles, CA: University of California Press.
Such, David G. 1993. Avant-Garde Jazz Musicians: Performing “Out There.” Iowa City, IA: University of Iowa Press.
Trager, Oliver. 1997. The American Book of the Dead: The Definitive Grateful Dead Encyclopedia. New York: Simon & Schuster.
Varnedoe, Kirk. 1998. Jackson Pollock. New York: The Museum of Modern Art; Distributed in the U.S. and Canada by Harry N. Abrams.
Warnke, Georgia. 2007. After Identity: Rethinking Race, Sex, and Gender. Cambridge, U.K.; New York: Cambridge University Press.
Waxman, Chaim Isaac. 1969. The End of Ideology Debate. New York: Simon and Schuster.
Wilson, Peter Niklas. 1999. Ornette Coleman: His Life and Music. Berkeley, CA: Berkeley Hills Books.
Wolf, Naomi. 2002. The Beauty Myth: How Images of Beauty Are Used Against Women. New York: Perennial.
Wolfe, Judith. 1972. “Jungian Aspects of Jackson Pollock’s Imagery.” Art Forum 11 (November): 65–74.
Wylie, Philip. 1996. Generation of Vipers. Normal, IL: Dalkey Archive Press.
Author information
Authors and Affiliations
Copyright information
© 2016 The Editor(s) (if applicable) and The Author(s)
About this chapter
Cite this chapter
Lukes, T.J. (2016). Reconstructing Beauty: Edward Hopper, Jackson Pollock, and Ornette Coleman. In: Politics and Beauty in America. Palgrave Macmillan, New York. https://doi.org/10.1057/978-1-137-02090-1_8
Download citation
DOI: https://doi.org/10.1057/978-1-137-02090-1_8
Published:
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-137-02088-8
Online ISBN: 978-1-137-02090-1
eBook Packages: Political Science and International StudiesPolitical Science and International Studies (R0)