WorldCat Identities

Lubar, Robert S.

Overview
Works: 55 works in 98 publications in 4 languages and 1,519 library holdings
Genres: Exhibition catalogs  Catalogs  Catalogues raisonnés  Criticism, interpretation, etc  Academic theses  Biography  Art  History 
Roles: Author, Contributor, Editor, Author of introduction, zxx
Classifications: N7113.M54, 759.6
Publication Timeline
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Most widely held works by Robert S Lubar
Dali : the Salvador Dali Museum collection by Salvador Dalí( Book )

15 editions published between 1991 and 2000 in English and held by 681 WorldCat member libraries worldwide

Dali's værker på Salvador Dali museet i St. Petersburg, Florida - med forklarende tekst
The Park Avenue cubists : Gallatin, Morris, Frelinghuysen, and Shaw( Book )

8 editions published in 2002 in English and held by 308 WorldCat member libraries worldwide

Spanish drawings in the Princeton University Art Museum by Lisa A Banner( Book )

6 editions published in 2012 in English and held by 154 WorldCat member libraries worldwide

Icons of postwar art : painting and sculpture from the Norman and Irma Braman collection( Book )

2 editions published in 1984 in English and held by 73 WorldCat member libraries worldwide

Rachel Friedberg : a fragile balance : works 1962-1997 by Rachel Friedberg( Book )

1 edition published in 1998 in English and held by 33 WorldCat member libraries worldwide

Miró & Noguchi : selections from the Martin Z. Margulies collection : [exhibition] September 8-October 11, 1995 by Joan Miró( Book )

4 editions published in 1995 in English and held by 31 WorldCat member libraries worldwide

Joan Ponç by Robert S Lubar( Book )

4 editions published in 1994 in Spanish and held by 25 WorldCat member libraries worldwide

The Dalí Museum collection : oil paintings, objects and works on paper by Salvador Dali Museum( Book )

1 edition published in 2012 in English and held by 24 WorldCat member libraries worldwide

Joan Miroś Spanish dancer: variation on a theme by Adina Kamien-Kazhdan( Book )

2 editions published in 2013 in English and held by 22 WorldCat member libraries worldwide

Dali inattendu : le Musée Salvador Dali de St. Petersburg, Floride by Albert Reynolds Morse( Book )

2 editions published in 1994 in French and held by 16 WorldCat member libraries worldwide

Picasso : musas y modelos = muses and models : Museo Picasso Málaga, 02/10/2006-02/28/2007 by Pablo Picasso( Book )

1 edition published in 2006 in English and held by 13 WorldCat member libraries worldwide

The practice and politics of Cuban abstraction, c.1952--1963 by Abigail McEwen( )

1 edition published in 2010 in English and held by 8 WorldCat member libraries worldwide

This dissertation examines the intercultural and ideological purchase of abstraction in 1950s Havana vis-a-vis the larger avant-garde project to which it belonged and within a broadly conceived American context. Abstraction was instrumentalized as a political medium, deeply invested in the national ideology of cubania and committed to the role of the artist and intellectual in the revolutionary process. Focusing primarily on Cuba's third-generation vanguardia, the dissertation analyzes the history of two pioneering artist groups -- Los Once and Los Diez -- and their respective practices of gestural and geometric abstraction. Their work is considered in light of contemporary debates over the social and aesthetic values of abstraction and also in relation to Cuba's past vanguardia tradition and the expectations of the post-1959 regime. Abstraction is further contextualized within the generational "horizon of vanguards" that formed the nucleus of Cuba's modern movement during this period and their relationship to international avant-gardes from New York to Buenos Aires. The social history of abstraction is here prioritized and its critical fortunes ultimately assessed as a barometer of the modern and cubanista values to which it was connected
Experimental artists' groups in Europe, 1951--1968: Abstraction, interaction and internationalism by Valerie L Hillings( )

1 edition published in 2002 in English and held by 7 WorldCat member libraries worldwide

The tendency to form partnerships, groups and teams became especially prevalent after 1957. The group phenomenon was not limited to artists associated with a single geographic location or visual vocabulary. However, it was particularly pronounced among European and Latin American artists producing abstract art that emphasized both virtual and actual representations of light and movement. Such groups were founded in most countries in Europe and on both sides of the Iron Curtain: Exat 51 (1951--1956), Yugoslavia; Equipo 57 (1957--1965), Spain; Zero (1957--1966), Germany; Groupe de Recherche d'Art Visuel (1960--1968), France; Gruppo Enne (1959--1964) and Gruppo T (1959--1967), Italy; Nul (1960--1965), the Netherlands; Dvizhenie (1962--1977), the Soviet Union and the international group Nouvelle Tendance--recherche continuelle (1963--1965)
Re-inventing Spain: Images of the nation in painting and propaganda, 1936--1943 by Miriam Basilio( )

1 edition published in 2002 in English and held by 7 WorldCat member libraries worldwide

I examine paintings, propaganda posters, graphic portfolios, illustrated books and pamphlets, interpreting these in relation to contemporary art historical texts and exhibition reviews. I make extensive use of periodicals and archival materials related to the organization of exhibitions, propaganda and cultural preservation campaigns. Chapter 1 traces references to Spanish history and visual traditions employed by right- and left-wing parties in the 1936 electoral campaign that set the stage for the imagery discussed in subsequent chapters. The use of nationalist rhetoric, historical parallels and the appropriation of Spanish art history in Republican propaganda are examined. In Chapter 2, works in the Spanish Republican Pavilion at the 1937 Paris World's Fair initiate a discussion of debates within the Republic related to realism, Popular Front imagery, and regionalist nationalism
Mexican muralism without walls: The critical reception of portable work by Orozco, Rivera, and Siqueiros in the United States, 1927--1940 by Anna Indych-López( )

1 edition published in 2003 in English and held by 7 WorldCat member libraries worldwide

The first chapter argues that American reactions to the visualization of the violence of the Mexican Revolution forced Orozco to alter his work in order to accommodate the expectations placed on a Mexican artist and the commercial vicissitudes of the market place. Chapter two proposes that the search for common American cultural origins prompted one of the first blockbuster exhibitions of Mexican art (Mexican Arts which originated at the Metropolitan Museum of Art in 1930) and informed its portrayal of Mexican nationalism. Chapter three considers the critical reception of Rivera's exhibition at The Museum of Modern Art (1931--1932) and argues that the public rejection of the artist's "portable" frescoes indicates that American critics began to reach more informed conclusions about Mexican muralism. An analysis of MoMA's exhibition, Twenty Centuries of Mexican Art (1940), is the focus of the fourth chapter, which reveals Orozco's more successful use of the portable fresco medium and changing attitudes towards Mexican modern art over the course of the decade
Johannes Baader and the demise of Wilhelmine culture: Architecture, Dada, and social critique, 1875--1920 by Adrian V Sudhalter( )

1 edition published in 2005 in English and held by 7 WorldCat member libraries worldwide

This dissertation examines the life and work of Johannes Baader (1875--1920), focusing on the years leading up to and including his involvement with the Berlin Dada group. A practicing architect in Germany before the First World War, Baader abandoned architecture to become a writer and, in 1918, became a founding member of Berlin Dada. Although known for his public provocations and his now-lost three-dimensional assemblage, the Great Plasto-Dio-Dada-Drama , exhibited at the First International Dada-Fair in 1920, Baader remains the most understudied member of the group. The reasons for Baader's neglect are manifold. The small number of surviving works from the Dada period is one reason, his reputation for being insane, another
Joan Miró by Carolyn Lanchner( Book )

3 editions published in 1993 in Italian and English and held by 7 WorldCat member libraries worldwide

The most comprehensive look at Miro's art available in book form. In honor of Miro's 100th birthday, 1993 has been designated Miro Year, which is being celebrated with great
After Adorno: The essayistic impulse in Holocaust-related art by Andrew G Weinstein( )

1 edition published in 2006 in English and held by 7 WorldCat member libraries worldwide

To demonstrate commonality, this dissertation engages Theodor W. Adorno's philosophy's primary concern, the subversion of positivist identity thinking. (Indeed, such subversion can be understood as a central concern of recent Holocaust-related and mainstream art.) Identity thinking defines the other with reductive terms (i.e. valuable/valueless), and Adorno recognizes its pervasive presence in society, most notoriously in Nazi death camps. Through the conceptual approach and literary style of his philosophy as exemplified by "The Essay as Form," Adorno presents an alternative model of thinking which combines the exactitude of research with the freedom of imagination. This dissertation argues that many Holocaust-related and mainstream artworks since the mid-1970s may be regarded as Adornian essays
When father doesn't know best: Surrealism, metaphor, masculinity by Edward D Powers( )

1 edition published in 2003 in English and held by 7 WorldCat member libraries worldwide

The Introduction discusses how language and desire--metaphor and masculinity--occupy the fulcrum of Bretonian Surrealism. My dissertation then addresses how Duchamp identifies masculinity to metaphor, and femininity to its rejection--most notably, in The Large Glass which he divides in two--including the binary male-female axis which structures his use of language and space more generally. It next addresses how Bataille and Oppenheim directly repudiate Bretonian metaphor and also "pervert" its basis in masculinity, in favor of an immediate, bodily relationship to their erotic writings and objects, respectively. In particular, it focuses on Breton's response to Bataille's rejection of metaphor and symbolism more generally, as processes which, by disembodying meaning, reduce it to what Bataille calls a "common measure"; as well as Oppenheim's rejection of Breton's efforts to metaphorize her Object as Breakfast in Fur, or her Pair of boots as Undressing. Lastly, it addresses how Dali and Cocteau, rather than rejecting metaphor, instead reveal its failure. In particular, it focuses on how the Oedipus myth, to which they return time and again, is symbolized as a failure of the Oedipal interdiction. The Conclusion repositions these artists' treatment of metaphor within a counter-teleology of Modernism which, traceable through Neo-Dada and Pop, effectively culminates in Literalism (or Minimalism, as it is now known)
Isamu Noguchi: The artist as engineer and visionary designer, 1918--1939 by Deborah A Goldberg( )

1 edition published in 2000 in English and held by 7 WorldCat member libraries worldwide

The Japanese-American artist Isamu Noguchi considered himself to be not only a sculptor, but also an artist-engineer, inventor, and visionary designer. This dissertation explores the trajectory of his design career and cross-influences between his sculpture and design from his youth through 1939. Two inventors and engineers, Dr. Edward A. Rumely and R. Buckminster Fuller, shared Noguchi's enthusiasm for new technologies and efficiency engineering, offered him his first design opportunities, portrait commissions, and links to the industrial world, and fostered Noguchi's ambitious self-marketing campaign as a visionary designer. Chapter One investigates the pedagogy of Rumely and his progressive school, Interlaken, in Rolling Prairie, Indiana, whose summer camp Noguchi attended in 1918. Noguchi later reinterpreted the craft, industrial, and agricultural practices that were promoted there
 
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Dali : the Salvador Dali Museum collection
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The Park Avenue cubists : Gallatin, Morris, Frelinghuysen, and Shaw