WorldCat Identities

Lubar, Robert S.

Works: 57 works in 104 publications in 4 languages and 1,574 library holdings
Genres: Catalogs  Exhibition catalogs  Catalogues raisonnés  Criticism, interpretation, etc  Academic theses  Biography  Art  History 
Roles: Author, Contributor, Author of introduction, zxx, Editor
Classifications: N7113.D3, 709.2
Publication Timeline
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 682 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 155 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

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
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

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
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 Conclusion discusses Noguchi's merging of art and design between 1938 and 1939 and examines his institutional ties to The Museum of Modern Art, whose trustees privately commissioned him to execute sculpted portraits, furniture, and design objects. This dissertation provides a context for Noguchi's later career, distinguished by his broadened definition of sculpture and expanded participation in the commercial world
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
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)
Beyond self-portraiture: The fabrication of Andy Warhol, 1960--1968 by Kelly Sidley( )

1 edition published in 2006 in English and held by 9 WorldCat member libraries worldwide

The first chapter discusses how Warhol altered his physical appearance and demeanor in order to fashion his Pop image. It emphasizes his attempts to exhibit in galleries during the 1950s, as well as Warhol's production of commercial work well into the 1960s. It dispels the misconception that Warhol worked solely as a commercial artist in the 1950s and only as a fine artist in the 1960s. The second chapter looks at Warhol's photobooth self-portraits made from early 1963 until mid-1965. Warhol used the Photomaton as a tool to document the changes he orchestrated in his appearance and as a method to generate source material for his silkscreened self-portrait canvases. This chapter considers all the known self-portrait photobooth images, orders them chronologically, and explains how many were used for publicity purposes. The third chapter focuses on Warhol's three major series of painted self-portraits from the 1960s. This trio of images captures Warhol's evolving sense of how he wanted to be perceived by the art world and the general public. The chapter traces the motivations for each series and discusses how the paintings were produced, exhibited, and sold. Chapter four examines Warhol's methods of promoting himself in the media. Through interviews, television appearances, and publicity in mass circulation magazines and newspapers, Warhol achieved notoriety well beyond the fine arts community. Gene Swenson's 1963 interview and Gretchen Berg's 1966 interview are analyzed for how they captured Warhol's voice, as well as how these texts have been further edited and cited. The artist's continuing appeal is shown to be not just the product of his artwork, but is also a function of his manufactured persona
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

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
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
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

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
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Dali : the Salvador Dali Museum collection
The Park Avenue cubists : Gallatin, Morris, Frelinghuysen, and Shaw