WorldCat Identities

Lubar, Robert S.

Overview
Works: 57 works in 104 publications in 4 languages and 1,572 library holdings
Genres: Catalogs  Exhibition catalogs  Catalogues raisonnés  Criticism, interpretation, etc  Academic theses  Biography  Art  History 
Roles: Author, Contributor, Editor, Author of introduction, zxx
Classifications: N7113.D3, 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 )

15 editions published between 1991 and 2000 in English and held by 679 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 )

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

Joan Miró by Carolyn Lanchner( Book )

6 editions published between 1980 and 1993 in Italian and held by 33 WorldCat member libraries worldwide

El libro, elaborado por un amigo del artista durante más de cincuenta años, realiza un análisis riguroso de las diferentes etapas de su obra. El nacimiento de sus signos y símbolos, su serie de pinturas sauvages de los años treinta, sus guaches, sus esculturas cerámicas, sus poemas visuales y su recurrente inclinación por la naturaleza y la noche
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

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 10 WorldCat member libraries worldwide

The culmination of Cuban modernism spanned the decade of the 1950s, conceptually bridging and defining cultural politics from the dictatorial coup of Fulgencio Batista in 1952 to the socialist revolution in 1959. Modernist values of abstraction and expressive freedom gained currency in Havana during this period, advanced by a young vanguardia seeking to redefine Cuban culture in contemporary, cosmopolitan terms. Both a visual form and an ideological platform, abstraction signaled a new horizon of possibility for art as a means of social and political transformation. Within an increasingly radicalized cultural field, this vanguardia channeled its energies in two principal directions: first and in concert with the building revolutionary movement, toward the overthrow of Batista; and second and jointly with their pan-American peers, toward the wider promulgation of abstraction as a liberal and socially constructive medium. The polemics of abstraction, within both Cuban and transnational contexts, resonated deeply across cultural and international networks, and the contingencies of these artworks broached vitally urgent questions over the transformative potential of art
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 9 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
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 9 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
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 9 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)
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 9 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 9 WorldCat member libraries worldwide

Just as the era had been brought to a violent end, in his Dada self-portraits Baader represents a life exploded by the First World War. Adopting the biographical model, chronological parameters, and retrospective orientation found in these works, this thesis reconstructs Baader's biography until 1920, and recontextualizes the fragments found in his collages and assemblages. This effects a reconsideration of Berlin Dada in general: a movement commonly understood to have reacted to its tumultuous times but rarely considered in terms of its historical consciousness
After Adorno: The essayistic impulse in Holocaust-related art by Andrew G Weinstein( )

1 edition published in 2006 in English and held by 9 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
When father doesn't know best: Surrealism, metaphor, masculinity by Edward D Powers( )

1 edition published in 2003 in English and held by 9 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)
 
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Dali : the Salvador Dali Museum collection
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The Park Avenue cubists : Gallatin, Morris, Frelinghuysen, and Shaw