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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD>Acknowledgments</TD><TD WIDTH=40></TD><TD VALIGN=TOP>vii</TD><TD></TD></TR><TR><TD>Introduction</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xi</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Serge Guilbaut</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Abstraction Chaude in Paris in the 1950s</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD VALIGN=TOP>(16)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>John-Franklin Koenig</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Hot Painting: The Inevitable Fate of the Image</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>17</TD><TD VALIGN=TOP>(13)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Jean Baudrillard</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Postwar Painting Games: The Rough and the Slick</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>30</TD><TD VALIGN=TOP>(55)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Serge Guilbaut</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Cold War Constructivism</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>85</TD><TD VALIGN=TOP>(28)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Benjamin H. D. Buchloh</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Marginality as a Political Stance: The Canadian Painter Jean McEwen</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>113</TD><TD VALIGN=TOP>(17)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Constance Naubert-Riser</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>New York as Seen from Montreal by Paul-Emile Borduas and the Automatists, 1943-1953</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>130</TD><TD VALIGN=TOP>(14)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Francois-Marc Gangon</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Greenberg's Matisse and the Problem of Avant-Garde hedonism</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>144</TD><TD VALIGN=TOP>(28)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>John O'Brian</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Jackson Pollock's Abstraction</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>172</TD><TD VALIGN=TOP>(72)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Timothy J. Clark</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>The Monochrome and the Blank Canvas</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>244</TD><TD VALIGN=TOP>(67)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Thierry de Duve</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Saturday Disasters: Trace and Reference in Early Warhol</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>311</TD><TD VALIGN=TOP>(21)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Thomas Crow</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>The Politics of Consumption: The Screen Actor's Guild, Ronald Reagan, and the Hollywood Red Scare</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>332</TD><TD VALIGN=TOP>(37)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Lary May</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>Cultural Cartography: American Designs at the 1964 Venice Biennale</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>369</TD><TD VALIGN=TOP>(48)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>Laurie J. Monahan</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD></TD><TD></TD><TR><TD>Contributors</TD><TD WIDTH=40></TD><TD VALIGN=TOP>417</TD><TD></TD></TR></TABLE>

Papers from the Hot Paint for Cold War symposium, held at the University of British Columbia, Vancouver, Canada, Sept. 1986

xvii, 418 pages : illustrations, map, portraits ; 24 cm

These essays reopen the case of postwar abstraction.

Reconstructing modernism : art in New York, Paris, and Montreal, 1945-1964