WorldCat Identities

Lubar, Robert S.

Overview
Works: 57 works in 106 publications in 4 languages and 1,554 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, 709.2
Publication Timeline
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Most widely held works by Robert S Lubar
Dali : the Salvador Dali Museum collection by Salvador Dalí( Book )

16 editions published between 1991 and 2000 in English and held by 680 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 307 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 156 WorldCat member libraries worldwide

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

3 editions published in 1984 in English and held by 74 WorldCat member libraries worldwide

Joan Miró by Carolyn Lanchner( Book )

7 editions published between 1980 and 1993 in Italian and English and held by 35 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
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 32 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 25 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

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 15 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
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

This thesis examines competing images of the Spanish nation elaborated by artists, art historiaras and propagandists in their attempts to mobilize sectors of the population and legitimate their political agendas between 1936 and 1943. The Republican government, the Nationalists (a coalition led by General Francisco Franco which rose up in arms), and political factions within both camps sought to establish definitions of a "true Spain" and a "Spanish tradition" that selectively recontextualized and reinterpreted elements of Spanish history. Although recent histories of the Spanish Civil War have demonstrated that the Republican and Nationalist camps were not ideologically monolithic, the effects of these internal divisions as well as regional differences on the visual arts and propaganda have until now not been studied in an in-depth, comparative framework
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)
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

Perhaps the most serious obstacle to Baader's recognition, however, was Richard Huelsenbeck's claim in the movement's first chronicle, the Dada Almanach (1920), that Baader "had nothing to do with Dada, neither in establishing it nor in representing the Dadaist idea." Baader's collages and assemblages of the Dada period do differ from those of his colleagues. While the works of all of the Berlin Dadaists may be seen to register the aftershocks of the war in the fragmentation of their form, iconographically they tend to concentrate upon the present. Baader's works stand out by way of their retrospective orientation. Comprising materials often drawn from his own past, Baader's Dada works are all essentially self-portraits. Baader recognized that his lifetime chronologically paralleled the "rise" and "fall" of the Prussian-led German state between its founding in 1871 and its military defeat in 1918, and proposed that his biography be considered a mirror of this period
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

This dissertation argues that Holocaust-related art is best understood not as a product of limits arising from ethical concerns about Holocaust representation, but instead within a contemporary art context. It explores the epistemological approach common to much Holocaust-related and "mainstream" contemporary art, and it investigates how neither Holocaust scholars nor art world professionals generally acknowledge the commonality
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

This dissertation reconstructs the individual histories of these groups, and it examines the relationships and rivalries among them. Their cross-national collaborations with their colleagues, coupled with the organization of exhibitions in cities across Europe by artists and institutions, constituted some of the earliest attempts to establish a European community. The various groups combined visual and participatory elements in their art to activate the artist-viewer-work of art relationship. Through their works, texts, and actions, they demonstrated art's potential for generating a climate of communication and interaction
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
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
 
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Dali : the Salvador Dali Museum collection
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The Park Avenue cubists : Gallatin, Morris, Frelinghuysen, and Shaw