His essay on Action painting of 1952 made him an important voice in the New York art world. 22; then published in Tradition of the New, 1959. Harold Rosenberg. Art on the Edge: Creators and Situations (1975) University of Chicago Press, ISBN 0-226-72674-6. As with other modern artists, his readings provided not an.
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By Can a situation of bad luck ultimately turn out to be one of the best events to happen in a person's life? As Richie Deusch steps onto the pavement, hears the explosion of his car, and sees it engulfed in flames, his seemingly mundane existence as a stockbroker changes before his eyes. Richie has committed a ridiculous error in judgment and finds himself in front of an old crusty judge who gives him a choice of life altering situations: 100 days in a federal penitentiary, or 100 days as a substitute teacher in a hard core New York City public high school. Which choice would be worse? 100 pages (Drama, Comedy ) doc format. By Nautius, captain of the Roman fleet comes back to Pompeii, his birth town after a brilliant career on sea. He brings with him Nikias a Greek man who saved his life during a pirate battle.
In town Nautius meets Sila who was a little girl when he left her and who became a lovely young woman. Nikias and him fall in love with her. But Sila is promised to another man, Livius who was Nautius' best friend when they were kids. Livius has become one of the most powerful men in town.
Jealousy makes its way between Livius and Nautius. But the Vesuvius is slyly rehearsing his famous show.
134 pages (Drama, History) pdf format. By A seventeen year-old small town girl, Story, falls for a twenty year- old, eccentric college boy, Billy, in her hometown. When they decide to move to Austin, TX together, Billy's addiction to drugs and a steady past leads to the quick demise of a perfect love, resulting in paranoia, sexual confusion, and infidelity.
While Billy is a whimsical dreamer, faced with internal demons, Story's blinded optimism keeps her believing that she can change him. His plans for them include traveling around the world and visiting his birthplace. When multiple tragedies provoke Billy to proclaim his freedom from Story once and for all, she feels compelled to participate in the life style that inevitably tears them apart. 111 pages (Drama) pdf format. By Ethan Scott is going to his 25th high school reunion for only one reason; to prove once and for all that he is no longer that fat, ugly nobody. Instead of revenge he finds the man of his dreams; Billy, a sexy man almost twenty years his junior. But there's just one small problem with Ethan's new beau, his parents are two of the kids that bullied Ethan in high school.
Now if they are going to be together Ethan will have to overcome his past and forgive his tormentors while Billy will have to come to terms with the fact that his parents weren't always the people he knows and loves. 102 pages (Drama, Gay) pdf format. By Nathan is a young, curious boy. He lives a small town, idolizing a local javelin hero/legend, and reads comic books religiously.
His curiosity takes over as he attempts to learn about the life of a mysterious old man living on the hillside outside of the town. The old man carries a secret that even Nathan would be unwilling to uncover it, if he'd know in advance. With the help of uncanny characters and unlikely heroes, Nathan will be able to solve the mystery of the house outside of the town and avoid apocalyptic results. 80 pages (Drama, Family, Animated, New Age) pdf format. By In 1861, seventeen-year-old Belle Boyd shoots and kills a Union soldier attempting to molest her mother.
Jeol Arm200f Manual Lymphatic Drainage. Before the age of twenty-one, Belle is imprisoned twice, charged with spying for the Confederacy. Her courage is never more evident then at the Battle of Front Royal, Virginia where, risking her life, Belle runs through muddy streams and woods to inform Stonewall Jackson of a Union trap. Charged with aiding and abetting the enemy, Belle is taken to prison where she continues to defy Union authority. Set free during a prisoner exchange, Belle continues her spying activities and is aided by her lover, a Union colonel.
He is captured by the Union and imprisoned on the charge of treason. He serves his sentence in the same cell once occupied by Belle. Does Belle help him? Does her courage and bravery extend across the Atlantic ocean?
90 pages (Drama) pdf format. Boy (protagonist) goes through personal Jerry Maguire-type crisis. He is mysteriously followed and questioned by a stranger. In fender bender, the extremely attractive, politically minded protagnist meets his perfect fit in the Mojave Desert. The ying/yang, two sides of the same coin, etc.--make for a great political team.
They start a new political party with late 60's type political movement. All the while, the stranger turns out to be the spirit fo the protagonist's girlfriend's dead father.
He struggles with telling her or not. The stranger is guided by (maybe) a supreme power. Tysoft Easypat Keygen Crack on this page. 104 pages (Drama) doc format. By It's a story of a young boy who encounters a new country and new culture when he moves into Brooklyn with his father and experiences the death of his mother at an early age.
He then becomes attracted to the sport of boxing and becomes obsessed with becoming a boxer himself. When he grows older he encounters several hurdles in the form of prejudice and discrimination against him as he desires to be a middleweight contender. With the help of a mentor, and his determination, he begins gaining attention and popularity among the middleweight division. Every boxer fights for something, but our hero is tormented because he doesn't realize what he fights for till the end of the film when everything comes crashing down as he realizes what he fights for. 97 pages (Drama) pdf format. By 'Buck and the Angel' is the faith based story of a fatherless twelve year-old boy that lives with his grandparents and dying mother in the small rural southern town of Newnan, Georgia in 1955. For a young boy of twelve Buck's life is far too complicated.
From the almost daily tardiness at school and the target of the classroom bully, Buck now has to find a way to deal with an angel only he can see and hear who promises to relieve his mother of her pain; but the discovery that the angel is one of death leaves Buck with the lone burden of finding a way to thwart the angel's plans in a race with time, before his mother's runs out. 95 pages (Drama, Family Drama) pdf format.
By It's about a journey of perverse discoveries for two adolescent Baltimore city hustlers that becomes one of self discovery as well. Spanning the sexually charged and turbulent me- generation from 1982 through 1992, the film is about friendship, solidarity, real world angst, youth in peril and finally death.
It's about the near crippling effects of too many seasons spent in the dark shadows of child abuse and the choices we all have to make- in order to survive the dangerous slide into- adulthood. And finally; It's about finding yourself suddenly alone in the world, a world that has, somehow passed you by, chewed you up and managed to spit you out.
90 pages (Drama) pdf format. By Ultra-conservative children's author, Margarete Ferrell, has her beliefs and humanity tested when a black family moves in next door with an adopted 8-year-old West African boy whose unchristian, tribal beliefs ignite suspicion and prejudice in her and her typical American middle class family (circa early 21st Century). It takes a near fatal stroke suffered by Margarete's aging husband to bring the festering wounds and fears between the family and its neighbors out into the open, and to a final resolving of their conflicts, even curing Margarete's terrible writer's block.
64 pages (Drama) pdf format. End of XIX century.
Diane and her daughter Clarissa try to survive working in their marionette theater in the streets. Diane educates Clarissa, but she becomes ill and decides to send to Clarissa to have a better life with her uncles. There Clarissa finds a world different to what she wants and how her dream of being a writer is push out but discover a group of bohemian writers that will teach her everything about the writing, so she runaway with them. Clarissa will have to grow, married to find money to put her own printer, forget what she believes and survive together with her friends to the events of the word and the people that wants something different of her. The biography of an unknown writer that fights for her dreams and an ideal almost impossible in her time.
145 pages (Drama) pdf format. By Set in the 90's, This dark coming of age drama follows the lives of a group of high school friends over a period of their senior year. This story sheds light on the friendships of a clique of seniors named The Class of 96 and the lives they live outside of school. Some of these friends live dark lives behind closed doors and touches on Child Abuse, Drug Addiction, Peer Pressure, Promiscuity and lastly the greatest frickin year of all, Senior year. Goochie is the popular jock at school and destined for fame. He's a future NBA star who comes home to deal with his parents broken marriage and and abusive father. PK is the Art Geek whose dream of being a writer, will become the story we are reading.
Brandon is unsure of what to do with his life and out to please his parents who pay him no attention. Kevin is the Class Clown who laughs his pain away of dealing with a crack addicted mom and raising his deaf biracial sister.
Zeek is the responsible Band Geek who holds the friends together. Destiny is the popular mean girl who hides a dark secret of being sexually abused by her father. 181 pages (Drama) pdf format.
By CLEOPATRA: QUEEN OF KINGS is an epic historical drama similar in vein to GLADIATOR but sharing the bombast of fare such as 300. Exiled from her kingdom by her cruel brother, the young Cleopatra wanders the deserts. Lost and without purpose, she is soon captured by a band of desert nomads who use the young woman for their own needs. When the nomads are intruded upon by the presence of the Roman army, led by the mighty Julius Caesar, Cleopatra is soon discovered for what she really is – the rightful heir to the throne of Alexandria, the Queen of Egypt. 132 pages (Drama) pdf format. By During the tumultuous Cocaine Era, MIAMI was the center of attention.
Dubbed the Cocaine Capital, and described as Paradise Lost, MIAMI held in its hands the key to a lifestyle backed by violence and drugs. COCAINE is the story of SILVIANO CASTRO, a prison inmate searching for redemption as he relives his past, and looks to the future. SILVIANO was a trained killer and dealer, working for a Columbian organization run by Natalia Ruiz, the lone female in a male dominated business. The story is loosely based off of the life of Griselda Blanco, the Godmother of Cocaine, and the documentary Cocaine Cowboys. 121 pages (Drama, Organized Crime) pdf format.
By Set in the fictional modern world, this L.A. Set life-of-crime tale follows Billy Rookes, a college undergrad who later comes upon and courageously helps save a band of gang crewmembers from a violent shootout and eventually becomes part of their organized crime unit. Now living as an uptight gangster living the dangerous yet impressive money-making new life, it won't be for long before consequences begin to escalate once the FBI - and one of their top agents, Agent Banagan - starts getting involved that could put Billy and his entire co. At high risk. 150 pages (Drama, Crime, Gangster) pdf format. By E-LIS is a young pretty white woman of precious gems and stones. But there is a special mission and request from an OLD BLACK WOMAN that she adorns like a mother.
The OLD WOMAN lives in a mansion on Galveston Island in Texas. It is something mystic about the old lady. ELIS partner, LUDY, a young handsome African American man is the key to the request, even though his only interest is in collecting the two million dollars. Not knowing the nature of his mission, she sends him to collect the death wish of a dying old lady. Putting his life on the line, he returns only to find out that the secret of the mission involves faith and tradition that change his life. 108 pages (Drama) rtf format.
Synopsis Harold Rosenberg is remembered as one of the most incisive and supportive critics of Abstract Expressionism. His famous 1952 essay, 'The American Action Painters,' effectively likened artists such as Willem de Kooning and Franz Kline to heroic existentialists wrestling with self-expression. And his stress on the expressive and thematic content of their art ultimately made his writing more popular - at least in the 1950s - than the formalist criticism of his rival, Clement Greenberg. Originally a contributor to fringe, leftist magazines such as The Partisan Review, Rosenberg went on to the influential post of art critic for The New Yorker. His reading of gestural abstraction as 'action painting' also proved important for early promoters of happenings and performance art, such as Allan Kaprow. Harold Rosenberg was the most influential critic and supporter of the Abstract Expressionists in the 1950s. His description of them as 'action painters,' and his stress on their dramatic and personal confrontation with the canvas, provided a compelling image of their creative process, and one that also proved popular with the artists themselves.
He believed that the action painters worked almost without regard for conventional standards of beauty: their achievement was an authentic expression of individuality and humanity. Rosenberg saw Abstract Expressionism as a major rupture within the history of modern art. As he put it, 'At a certain moment the canvas began to appear to one American painter after another as an arena in which to act. What was to go on the canvas was not a picture but an event.' Rather than strive to produce a perfect finished picture, Rosenberg believed the new American painters threw all their energies into the charged moment of creation - what was registered on the canvas was merely a record of that moment. Biography Childhood and Education Born Abraham Benjamin Rosenberg, Rosenberg spent his childhood in Brooklyn. For a brief time, he attended classes at City College (1923-24) before enrolling in St.
Lawrence University (Canton, New York) from where he would graduate in 1927 with a law degree. Shortly thereafter, he contracted osteomyelitis, a bone infection that would force him to walk with the assistance of a cane for the rest of his life, and which also kept him from military service during World War II. Early Years Not long after law school, Rosenberg became a New York bohemian - studying the writing and philosophy of Karl Marx, writing poetry, and publishing in The Partisan Review. He would later recall this early period by saying that he was 'educated on the steps of the New York Public Library.' During the Depression, Rosenberg found work writing about the arts for the government-supported Works Progress Administration (WPA).
It was during this time that he first met Willem de Kooning, with whom he often discussed abstract art. His encounter and ensuing friendship with de Kooning was a major turning point in his life and career. Through the WPA, Rosenberg was able to keep working almost constantly, even though many of his writings were censured by the WPA early on. In 1938, he moved to Washington, D.C. To assume the arts editorship for the WPA American Guides, a series of books and pamphlets funded by the Federal Writers' Project, which were designed to supply travel guides to all 48 states, as well as various cities.
The first major piece of writing to lend Rosenberg any notoriety was his 1940 essay 'The Fall of Paris.' Originally published in The Partisan Review, it announced the demise of Paris as the leading center of experimentation and innovation in modern art, and claimed that New York had moved into its place. As World War II continued, Rosenberg published a book of his poetry in 1943 titled Trance Above the Streets. At this time he was also working for the Office of War Information and the War Advertising Council.
In the late 1940s, Rosenberg, along with Robert Motherwell, Pierre Chareau and John Cage, edited and released the one and only issue of the journal Possibilities, which promoted many abstract artists known throughout Greenwich Village (such as Barnett Newman, Robert Motherwell and Willem de Kooning) and the bohemian getaway of East Hampton, New York. Middle Years It was in 1952 that Rosenberg really gained the art community's attention with the publication of 'American Action Painters' in the magazine Art News. The piece, which introduced the term ' action painting' to the American public, is still recognized as a seminal work.
In 1959, Rosenberg's first collection of essays was published as The Tradition of the New, for which Willem de Kooning provided the cover art. In a sense, Tradition was Rosenberg's manifesto on modern art. The title of the book, along with the term action painting, quickly became part of the popular vocabulary of art. The publication of The Tradition of the New garnered several awards for Rosenberg, and made the academic world take notice of him. After working as a lecturer on behalf of Princeton University and Southern Illinois University, Rosenberg was offered the position of Professor of Art at the University of Chicago in 1966. Despite his dislike for the convergence of modern art and academia - what he perceived as an old world's (the university's) attempts to grasp and theorize the new (modern art) - Rosenberg accepted the position. Rosenberg also ascended further in the world of journalism.
He began writing for The New Yorker in 1962, and in 1967, the magazine made him their resident art critic. Later Years and Death In 1973 Rosenberg resigned from his post on the Advertising Council (formerly the War Advertising Council) after nearly thirty years of being on the U.S. Government's payroll. Between 1969 and 1975 he published five different essay collections, with titles such as Artworks and Packages, Act and the Actor, and Discovering the Present.
There are also various collections of his writings that were compiled posthumously. In 1978, shortly before his death, he completed a book-length study of the artist Barnett Newman, and helped curate a show at The Whitney Museum of American Art looking at the work of his friend and colleague on The New Yorker, Saul Steinberg. Rosenberg continued writing for The New Yorker throughout the '60s and '70s. In 1978, he suffered a stroke and contracted pneumonia, which resulted in his death in his Long Island home that same year. Art Theory Introduction to Rosenberg's Art Theory Harold Rosenberg viewed modern art in the twentieth century as a giant laboratory where experiments took place, and like any good experiment, there must be trial and error. Action painting as he saw it was a prime example of such experiment, since it was premised more on spontaneous, felt expression than on coldly preconceived designs.
The experiment of abstract art was an occasion for spontaneous action. In this laboratory, Rosenberg proffers that 'The painter was no longer concerned with producing a certain kind of object, the work of art, but with living on the canvas.' This perspective, from his essay 'The American Action Painters,' marked a major turning point in how the art world viewed modern painting. Rosenberg's theory challenged Clement Greenberg's belief that contemporary American art had evolved out of European modernism in a constant process of renewal. Rosenberg on Marxism and Abstraction Rosenberg was first introduced to theories of abstract art upon meeting Willem de Kooning. At first, he struggled with them because they ran counter to his Marxism, which advocated that art should be put in the service of society. But his friendship with de Kooning led to a change in his thinking.
He continued to believe that art and society were interlinked, but he began to view art as a way of countering the values he deplored in wider society. And as he absorbed the Existentialism of writers such as John-Paul Sartre and Albert Camus, he came to an understanding of abstract art as an urgent means to assert the authentic self, to express individual identity, in the face of the anonymity of the modern world. Indeed, Rosenberg eventually grounded his support for action painting in his belief that it represented a way of confronting what he saw as a crisis in culture, society, and politics. Unlike his rival, Clement Greenberg, who believed artists needed to turn away from this crisis in order to preserve the values inherent in high art, Rosenberg argued that it was necessary to confront the crisis. Rosenberg on Paris, New York, and the 'New Globalism' One of Rosenberg's most famous early essays, 'The Fall of Paris,' (1940) argued that with the arrival of World War II, Paris's role as the 'laboratory of the twentieth century' had ended, and the job of cultural leadership had passed to New York. While the observation would later be proven true that New York came to dominate post-war art - his opinion was typical of the chauvinism that infected many American critics at this time, and Rosenberg later modified his attitude.
In a 1963 New Yorker review, subtitled 'International Art and the New Globalism,' he wrote: 'The early-twentieth-century internationalism in art has been dead for thirty years - since the ending of the Paris art movements and the closing down of its capital by the Depression, the War, and the Occupation. It has been superseded by a global art whose essence is precisely the absence of qualities attached to any geographical center.
In the present globalism, there is no opening for a 'new Paris.' ' On the significance of 'American Action Painters' Rosenberg's essay 'American Action Painters' (originally published in Art News in 1952, then republished in his essay collection The Tradition of the New in 1959) introduced a new theory on how and why abstract artists made their art.
The title 'Action Painting' was used in place of the less-favored 'Abstract Expressionism,' which he derided because he believed what was expressed on the canvas wasn't exactly abstract, but something deeply personal and familiar. Rosenberg's label became a favored alternative to 'Abstract Expressionism,' most likely due to the fact that it made modern art feel more accessible to the public. 'Action painting' was far more descriptive and gave the viewer a clearer idea of what the artist was doing. Interestingly enough, Rosenberg makes no mention of specific artists to whom the term action painting would apply (in fact, it's still debated to this day whether Pollock or de Kooning was the inspiration for the term). The essay and its title were designed to emphasize the art world's need to look at each action painting as an individual event. De Kooning's Woman series or Pollock's drip paintings, for example, are not depicting specific images or scenes from the artists' minds, but rather the events of their consciousness.
Just as the reader of a novel develops a relationship with the characters within, the action painters have a similar relationship with the canvas on which they paint, and if this is true, then the viewer will develop a relationship with the canvas as well. Onveying an image or picture of the world, but striving for the most authentic expression of their individuality and humanity: this, as Rosenberg put it, 'is not a picture but an event.' It also suggests a new way to look at pictures: rather than meaning arising from the way the artist has carefully arranged the forms and figures, Rosenberg suggests we should think about the flurry of activity that produced those forms, and the artist's state of mind when he went to work. Rosenberg on the Academy of Art While he held several professorships and college lecturing posts throughout his later career, Rosenberg was generally distrustful of academia. He saw great value in the study of art history since it could help inform artists and art lovers alike about where great art comes from; but he believed the relationship should end there. According to Rosenberg, the academy's attempt to define art, particularly abstract art, was in itself a crime, because it sought to pigeonhole artistic achievements into specific contexts - be they social, political, psychological, geographic or otherwise.
Rosenberg believed these attempts undermined the individual achievements of the artists, who in all likelihood had no grand political or social aspirations, but just wanted to paint something profound. Rosenberg on Color Field and Hard-Edge Painting Unlike his key critical rival, Clement Greenberg, Rosenberg was not supportive of some of the developments in painting in the late 1950s and '60s, namely those associated with Color Field and hard-edge painting, such as the work of Ellsworth Kelly and Frank Stella. Rosenberg viewed these artists' work as simply trying to capitalize on earlier modes of abstraction; worse, he believed them to be taking an academic approach to more important work of predecessors like de Kooning, Pollock and Rothko. Rosenberg and Existentialism Although the roots of Existentialism can be traced back to the 17th century, it became a particularly voguish movement in the 1940s and '50s.
Essentially the philosophy insists on the importance of personal, individual experience. It prizes human experience and all its profundities, and sees it as constantly at odds with an otherwise absurd and meaningless world; the course of one's life is completely dictated by individual choices, and there are no invisible outside forces that determine the course of events. It also supposes that nothing in the world of mankind can be viewed objectively.
Rosenberg's understanding of Abstract Expressionism was closely tied to these ideas. When de Kooning or Pollock approached a canvas, he saw them as entering an encounter with the canvas, and the marks they left on the canvas were the traces of that supremely personal encounter.
There is an existential drama occurring for such artists, because the style of action painting reveals the very process of painting (drips, heavy brush strokes), and this process is synonymous with the painter's personality. According to Rosenberg, the act of creating these paintings is an existential exercise, a brutally honest form of self-expression. Writing Style The art critic Jed Perl has written of Rosenberg: 'out of his powerful body emerged an endless stream of words. Rosenberg began his essays with grand assertions and aimed to keep them so much to the fast-talking, big-thinking level that the reader, gulping for air and a little relief, may have felt assaulted by an almost scattershot intellectual grandeur.' Rosenberg was an emotional writer, yet his style is philosophical without becoming too academic or bogged down by theoretical meandering.
With each essay or review he wrote, Rosenberg's aim wasn't so much to draw conclusions about art, but to raise questions about the importance of art and its history.