The Barnett Newman Foundation

The Key to Short Titles of Exhibitions and of Literature refers to the scholarly apparatus in Barnett Newman: A Catalogue Raisonné and is repeated here to enable the reader to view a catalogue entry and its citations side by side.

Aarau 2000

Aargauer Kunsthaus, Aarau, Switzerland. Paint: Das Gedächtnis der Malerei: Ein Lesebuch zur Malerei des 20. Jahrhunderts. 27 August–19 November 2000. Catalogue edited by Sibylle Omlin and Beat Wismer.

Abadie et al. 1977

Daniel Abadie et al. “Paris—New York, un autre itinéraire.” In Paris—New York, pp. 648–59. Exh. cat. Centre National d’Art et de Culture Georges Pompidou, Musée National d’Art Moderne, Paris, 1977.

Acton 2001

David Acton. Catalogue entry “Barnett Newman.” In The Stamp of Impulse: Abstract Expressionist Prints, pp. 200–201. Exh. cat., Worcester Art Museum, Worcester, Massachusetts, 2001.

Adams 1979a

Hugh Adams. Modern Painting. New York: Mayflower Books, 1979.

Adams 1979b

Brooks Adams. Review of Barnett Newman monograph by Harold Rosenberg. The Print Collector’s Newsletter 10, no. 2 (May–June 1979), pp. 63–65.

Adams 2002

Tim Adams. “He Had to Draw the Line Somewhere.” Observer Review, 22 September 2002, p. 10.

Adams and Mullins 1978

Doug Adams and Phil Mullins. “Meaning with the Arts: The Implications of Polanyi’s Epistemology for the Arts.” Studia Mystica 1, no. 2 (Summer 1978), pp. 28–39, 42–46.

Ades 1978

Dawn Ades. Dada and Surrealism Reviewed. Exh. cat. Hayward Gallery, London, 1978.

AIA Journal 1972

“Reflections on the Rothko Chapel.” AIA Journal 57 (April 1972), p. 52.

Akita 1994

Akita Sensyu Museum of Art, Akita, Japan. Kenzo Okada: 1950–60nendai amerika chusyokaiga no nakade [Kenzo Okada and American abstract painting 1950–60]. 1994. Catalogue.

Albany 1977

New York State Museum, Albany. New York, the State of Art: The New York School. 8 October 1977–15 January 1978. Catalogue with texts by Thomas B. Hess et al.

Albert 1996

Karl Albert. “Das Thema des Erhabenen in der Ästhetik der Gegenwart.” Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft 41, no. 2 (1996), pp. 195–204.

Allen Memorial Art Museum 1970

“Painting and Sculpture Acquisitions 1966–1969.” Allen Memorial Art Museum Bulletin 27, no. 2 (Winter 1970), pp. 58–102.

Alley 1969

Ronald Alley. Recent American Art. London: Tate Gallery, 1969.

Alley 1981

Ronald Alley, comp. Catalogue of the Tate Gallery’s Collection of Modern Art Other than by British Artists. London: The Tate Gallery in association with Sotheby Parke Bernet, [1981].

Alloway 1959

Lawrence Alloway. “The New American Painting.” Art International 3, nos. 3–4 (March–April 1959), pp. 21–26, 53.

Alloway 1961

Lawrence Alloway. “Easel Painting at the Guggenheim.” Art International 5, no. 10 (Christmas 1961), pp. 26–35.

Alloway 1963

Lawrence Alloway. “The American Sublime.” Living Arts [ICA London] 1, no. 2 (June 1963), pp. 11–22. Reprinted in Lawrence Alloway, Topics in American Art Since 1945, pp. 31–41. New York: W. W. Norton, 1975.

Alloway 1965

Lawrence Alloway. “Barnett Newman” [preview of São Paulo exhibition]. Artforum 3, no. 9 (June 1965), pp. 20–22, cover.

Alloway 1966a

Lawrence Alloway. “The Stations of the Cross and the Subjects of the Artist.” In Barnett Newman: The Stations of the Cross, Lema Sabachthani, pp. 11–16. Exh. cat. Solomon R. Guggenheim Museum, New York, 1966. Reprinted in Lawrence Alloway, Topics in American Art Since 1945, pp. 42–51. New York: W. W. Norton, 1975.

Alloway 1966b

Lawrence Alloway. Introduction to Systemic Painting, pp. 11–21. Exh. cat. Solomon R. Guggenheim Museum, New York, 1966. Reprinted in Minimal Art: A Critical Anthology, ed. Gregory Battcock, pp. 37–60. New York: E. P. Dutton & Co., 1968. Reprinted again in Lawrence Alloway, Topics in American Art Since 1945, pp. 76–91. New York: W. W. Norton, 1975.

Alloway 1969

Lawrence Alloway. “Notes on Barnett Newman.” Art International 13, no. 6 (Summer 1969), pp. 35–39.

Alloway 1970

Lawrence Alloway. “The Spectrum of Monochrome.” Arts Magazine 45, no. 3 (December 1970/January 1971), pp. 30–33.

Alloway 1971a

Lawrence Alloway. “One Sculpture.” Arts Magazine 45, no. 7 (May 1971), pp. 22–24. For correction, see Arts Magazine 45, no. 8 (Summer 1971), p. 64.

Alloway 1971b

Lawrence Alloway. “Color, Culture, The Stations: Notes on the Barnett Newman Memorial Exhibition.” Artforum 10, no. 4 (December 1971), pp. 31–39.

Alloway 1972

Lawrence Alloway. “The Public Sculpture Problem.” Studio International 184, no. 948 (October 1972), pp. 122–25. Reprinted in Lawrence Alloway. Topics in American Art Since 1945, pp. 245–50. New York: W. W. Norton, 1975.

Alloway 1973

Lawrence Alloway. “Residual Sign Systems in Abstract Expressionism.” Artforum 12, no. 3 (November 1973), pp. 36–42.

Alloway 1987

Lawrence Alloway. “Field Notes: An Interview.” In Abstract Expressionism: The Critical Developments, pp. 124–36. Exh. cat. Albright-Knox Art Gallery, Buffalo, N.Y., 1987.

Altabe 1992

Joan Altabe. “Seeing Red: Longboat Key Art Restorer’s Work on One Painting Has Made Headlines Around the World.” Sarasota Herald-Tribune, 19 April 1992, pp. G1–G2.

Amherst 1983

University Gallery, University of Massachusetts, Amherst. The Prints of Barnett Newman. 5 November–17 December 1983. Catalogue by Hugh M. Davies with essay by Riva Castleman.

Amishai-Maisels 1993

Ziva Amishai-Maisels. Depiction and Interpretation: The Influence of the Holocaust on the Visual Arts. Oxford and New York: Pergamon Press, [1993].

Amsterdam 1958

Stedelijk Museum, Amsterdam. Jong amerika schildert. 17 October–24 November 1958. Catalogue with texts by Alfred Barr [sic] and Porter A. McCray and artists statements.

Amsterdam 1964

Stedelijk Museum, Amsterdam. Amerikaanse grafiek. 25 September–2 November 1964. Catalogue with text by William S. Lieberman.

Amsterdam 1972

Stedelijk Museum, Amsterdam. Barnett Newman. 30 March–22 May 1972. Catalogue with text by Thomas B. Hess and foreword by Edy de Wilde, both in Dutch [revised version of exhibition catalogue New York 1971c].

Amsterdam 1980

Stedelijk Museum, Amsterdam. Barnett Newman: Tekeningen 1944–1969. 8 September–19 October 1980. Catalogue with text in Dutch by Barbara Rose.

Amsterdam 1982

Stedelijk Museum, Amsterdam. ‘60 ‘80: Attitudes, Concepts, Images. 9 April–11 July 1982. Catalogue with texts by Edy de Wilde, Wim Beeren, et al.

Amsterdam 1984

Stedelijk Museum, Amsterdam. La Grande Parade: Highlights in Painting After 1940. 15 December 1984–15 April 1985. Catalogue with text by Edy de Wilde.

Amsterdam 2001

Stedelijk Museum, Amsterdam. Rondom Cathedra. 8 December 2001–10 February 2002.

Anderson-Reece 1993

Erik Anderson-Reece. “Who’s Afraid of Corporate Culture: The Barnett Newman Controversy.” The Journal of Aesthetics and Art Criticism 51, no. 1 (Winter 1993), pp. 49–56.

Andreae 1969

Christopher Andreae. “Newman: Defying, Transcending.” Christian Science Monitor 61, no. 107 (2 April 1969), p. 6.

Andreae 1989

Christopher Andreae. “Modern Art ‘From Scratch.’” Christian Science Monitor 81, no. 237 (2 November 1989), pp. 16–17.

Anfam 1990

David Anfam. Abstract Expressionism. New York: Thames and Hudson, [1990].

Anfam 1994

David Anfam. “Kline’s Colliding Syntax: ‘Black, White, and Things.’” In Franz Kline: Black & White, 1950–1961, pp. 9–31. Exh. cat. The Menil Collection, Houston, 1994.

Anfam 1996

David Anfam. “Barnett Newman.” In The Dictionary of Art, vol. 23, pp. 27–30. [s.l.]: Grove, [1996].

Anfam 2002

David Anfam. “Philadelphia and London: Barnett Newman.” The Burlington Magazine 144, no. 1194 (September 2002), pp. 583–85.

Antar-Wesly 1971

Jenny Antar-Wesly. “The New York Art Scene: Barnett Newman.” Vie des Arts, no. 65 (Winter 1971–72), p. 81.

Antwerp 1971

Middelheim Park, Antwerp. Eleventh International Biennale of Outdoor Sculpture. 6 June–3 October 1971. Catalogue with texts by Andrew Carnduff Ritchie et al.

Apollo 1969

“Art Across the U.S.A.: Outstanding Exhibitions” [exhibition at M. Knoedler & Co., Inc.]. Apollo 89, n.s. 86 (April 1969), p. 319.

Archer 1996

Michael Archer. “Barnett Newman.” Art Monthly, no. 201 (November 1996), pp. 32–33.

Archer 1997

Michael Archer. Art Since 1960. London: Thames and Hudson, 1997.

Armstrong 1962

R[ichard] Armstrong. “The American Revolution.” USA*1, May 1962, pp. 46–53. Revised version published as “Abstract Expressionism Was an American Revolution.” Canadian Art 21, no. 5, issue 93 (September–October 1964), pp. 262–65.

Armstrong 1993

Matthew Armstrong. Catalogue entry 57. In Masterworks from The Museum of Modern Art, New York, p. 194. Exh. cat. Royal Ueno Museum, Tokyo, 1933.

Armstrong and Growe 1981

Tom Armstrong and Bernd Growe. Amerikanische Malerei 1930–1980. Exh. cat. Haus der Kunst, Munich, 1981.

Arnason 1968

H. Arnason. H[arvard]. History of Modern Art: Painting, Sculpture, Architecture. New York: Harry N. Abrams, Inc., [1968].

Arnason 1986

H. Arnason. H[arvard]. History of Modern Art: Painting, Sculpture, Architecture, Photography. 3rd ed., rev. New York: Harry N. Abrams, Inc., 1986.

Arnason et al. 1998

H. Arnason. H[arvard], et al. History of Modern Art: Painting, Sculpture, Architecture, Photography. 4th ed. [New York]: Harry N. Abrams, Inc., [1998].

Ars Kunst A-Z 1995

Ars Kunst A-Z: 500 Bilder, 500 Künstler. Munich: Ars Ed., 1995.

Art Book 1994

The Art Book. London: Phaidon Press Ltd., 1994.

Art Gallery 1967

The Art Gallery, November 1967, p. 43.

Art Gallery 1971

“Etcetera.” The Art Gallery April 1971, p. 30.

Art in America 1968

Publisher’s advertisement. Art in America 56, no. 4 (July–August 1968), p. 19.

Art International 1959

“Exhibitions Here and There.” Art International 3, nos. 3–4 (March–April 1959), pp. 48–56.

Art International 1960

“Illustrations—from Exhibitions Here and There: An American Group at the Galerie Neufville, Paris.” Art International 4, nos. 2–3 (1960), p. 74.

Art Quarterly 1970a

“Accessions of American and Canadian Museums, July–September 1969.” The Art Quarterly 33, no. 1 (1970), pp. 83–95.

Art Quarterly 1970b

“Recent Acquisitions of American and Canadian Museums.” The Art Quarterly 33, no. 3 (1970), pp. 319–38.

Arte Moderna 1967

“Barnett Newman e la pittura americana.” L’Arte Moderna 13, no. 117 [ca. 1967], pp. 337–38.

Artforum 1962

“Seattle’s World Fair: Art Since 1960: American.” Artforum 1, no. 4 (September 1962), pp. 30–36.

Artnews 1962

“Some Real Background for American Abstraction.” Artnews 61, no. 3 (May 1962), p. 37.

Artnews 1965

“Newman Leads a Cool Contingent to the São Paulo Bienal.” Artnews 64, no. 5 (September 1965), p. 42.

Arts Magazine 1964

“The Modern Visits Washington.” Arts Magazine 38, no. 4 (January 1964), pp. 56–59.

Asahi Graph 1966

“Two Decades of American Painting.” Asahi Graph: The Asahi Picture News 10, no. 20 (1966), pp. 3–80 [special issue].

Ashbery 1968

John Ashbery. “Growing up Surreal.” Artnews 67, no. 3 (May 1968), pp. 40–44, 65.

Ashton 1959b

Dore Ashton. “Art.” Arts and Architecture 76, no. 5 (May 1959), pp. 6–7.

Ashton 1962

Dore Ashton. “New York Report.” Das Kunstwerk 16, nos. 5–6 (November–December 1962), pp. 68–71.

Ashton 1966a

Dore Ashton. “Barnett Newman and the Making of Instant Legend.” Arts and Architecture 83, no. 5 (June 1966), pp. 4–5, 34.

Ashton 1967

Dore Ashton. “Gli inizi: Dell’espressionismo astratto in America.” L’Arte Moderna 13, no. 109 [ca. 1967], pp. 1–40.

Ashton 1968

Dore Ashton. “New York Commentary: ‘The Art of the Real’ at the Museum of Modern Art.” Studio International 176, no. 903 (September 1968), pp. 92–93.

Ashton 1970

Dore Ashton. Modern American Painting. A Mentor-Unesco Art Book. New York: The New American Library, 1970.

Ashton 1973

Dore Ashton. “From the 1960s to the Present Day.” In The Genius of American Painting, ed. John Wilmerding, pp. 303–35. New York: William Morrow & Company, Inc., 1973.

Ashton 1988

Dore Ashton. “The City and the Visual Arts.” In New York 1940–1965: Culture Capital of the World, ed. Leonard Wallock, pp. 123–55. New York: Rizzoli, 1988.

Athens 1969

Georgia Museum of Art, The University of Georgia, Athens. American Painting: The 1960s. 22 September–3 November 1969. Catalogue with text by Samuel Adams Green.

Atlanta 1993

High Museum of Art, Atlanta. Abstract Expressionism: Works on Paper: Selections from The Metropolitan Museum of Art. 26 January–4 April 1993. Catalogue by Lisa Mintz Messinger.

Auping 1987

Michael Auping. “Beyond the Sublime.” In Abstract Expressionism: The Critical Developments, pp. 146–66. Exh. cat. Albright-Knox Art Gallery, Buffalo, N.Y., 1987.

Auping 1989

Michael Auping. “Fields, Planes, Systems: Geometric Abstract Painting in America Since 1945.” In Abstraction—Geometry—Painting: Selected Geometric Abstract Painting in America Since 1945, pp. 13–93. Exh. cat. Albright-Knox Art Gallery, Buffalo, N.Y., 1989.

Auping 1992

Michael Auping. “Clyfford Still and New York, the Buffalo Project.” In Clyfford Still, 1904–1980: The Buffalo and San Francisco Collections, ed. Thomas Kellein, pp. 23–46. Exh. cat. Albright-Knox Art Gallery, Buffalo, N.Y., 1992.

Baigell 1969

Matthew Baigell. “American Painting: On Space and Time in the Early 1960’s.” Art Journal 28, no. 4 (Summer 1969), pp. 368–74, 387, 401.

Baigell 1984

Matthew Baigell. A Concise History of American Painting and Sculpture. New York: Harper & Row, 1984.

Baigell 1994

Matthew Baigell. “Barnett Newman’s Stripe Paintings and Kabbalah: A Jewish Take.” American Art 8, no. 2 (Spring 1994), pp. 32–42. For Annalee Newman’s rejoinder in a letter to the editor, see American Art 9, no. 1 (Spring 1995), p. 117. For Baigell’s rebuttal, see pp. 117–18. Reprinted in Matthew Baigell, Artist and Identity in Twentieth-Century America, pp. 232–42, 284–85. Cambridge: Cambridge University Press, 2001.

Bak Andersen 1993

Kirsten Bak Andersen. “Tomme scener: Betragtninger over to amerikanske billeder” [Empty scenes: Reflections on two American pictures]. Passepartout [Denmark] 1, no. 2 (1993), pp. 3–17.

Baker 1967

Elizabeth C. Baker. “Is There a New Academy?” Artnews Annual 33 (October 1967), pp. 140–48.

Baker 1969

Elizabeth C. Baker. “Barnett Newman in a New Light.” Artnews 67, no. 16 (February 1969), pp. 38–41, 60–62, 64.

Baker 1980

Kenneth Baker. “Reckoning with Notation: The Drawings of Pollock, Newman, and Louis.” Artforum 18, no. 10 (Summer 1980), pp. 32–36.

Baker 2002

Kenneth Baker. “Master Minimalist Still Divides Viewers.” San Francisco Chronicle, 30 March 2002, pp. D1, D10.

Baldwin 1972

Carl R. Baldwin. “Barnett Newman, en quête du sublime.” Connaissance des Arts, no. 248 (October 1972), pp. 78–81.

Baltimore 1973

The Baltimore Museum of Art. Barnett Newman: 18 Cantos. 8 May–31 August 1973.

Baltimore 1979

The Baltimore Museum of Art. Barnett Newman: The Complete Drawings, 1944–1969. 22 April–17 June 1979. Catalogue by Brenda Richardson.

Bannard 1971

Walter D. Bannard. “Touch and Scale: Cubism, Pollock, Newman, and Still.” Artforum 9, no. 10 (June 1971), pp. 58–66.

Bannard 1972

Walter D. Bannard. Review of Barnett Newman monograph by Thomas B. Hess. The Print Collector’s Newsletter 3, no. 3 (July–August 1972), pp. 63–64. For Thomas B. Hess’s rejoinder, see The Print Collector’s Newsletter 3, no. 4 (September–October 1972), pp. 87–88. For Walter D. Bannard’s rebuttal, see The Print Collector’s Newsletter 3, no. 5 (November–December 1972), p. 112. For Thomas B. Hess’s rebuttal, see The Print Collector’s Newsletter 3, no. 6 (January–February 1973), p. 137.

Barber 1996

Bruce Barber, Serge Guilbaut, and John O’Brian, eds. Voices of Fire: Art, Rage, Power, and the State. Toronto, Buffalo, and London: University of Toronto Press, [1996].

Barcelona 2001

MACBA [Museu d’Art Contemporani der Barcelona], Barcelona. Onnasch: Aspects of Contemporary Art. 7 November 2001–24 February 2002. Catalogue with essays by Boris Groys and Petra Kipphoff.

Barker 1966

Walter Barker. “The Passion Without the Image: Barnett Newman Paints Metaphors of Stations of Cross.” St. Louis Post-Dispatch, 12 June 1966, p. 5C.

Barnes 1989

Susan J. Barnes. “The Making of the Chapel: Broken Obelisk.” In The Rothko Chapel: An Act of Faith, pp. 90–99. Austin: Rothko Chapel/University of Texas Press, 1989.

Barnes 1993

Lucinda Barnes. “A Proclamation of Moment: Adolph Gottlieb, Mark Rothko, and Barnett Newman and the Letter to the New York Times .” Allen Memorial Art Museum Bulletin 47, no. 1 (1993), pp. 2–13.

Baro 1968

Gene Baro. “American Sculpture: A New Scene.” Studio International 175, no. 896 (January 1968), pp. 9–19.

Basel 1958

Kunsthalle, Basel. Die neue amerikanische Malerei. 19 April–26 May 1958. Catalogue with texts by Arnold Rüdlinger and Alfred H. Barr Jr. and artists’ statements.

Basel 1964

Kunsthalle, Basel. Bilanz: Internationale Malerei seit 1950. 20 June–23 August 1964. Catalogue with introduction by Arnold Rüdlinger.

Basel 1969

Kunstmuseum, Basel. Barnett Newman: 22 Lithographien. 15 March–4 May 1969. Mimeographed typescript of text in German by Carlo Huber and Barnett Newman’s “Preface to 18 Cantos.”

Basel 1970

Galerie Beyeler, Basel. Moon and Space. January–March 1970. Catalogue.

Basel 1976

Galerie Beyeler, Basel. America America. October–December 1976. Catalogue with preface by Reinhold Hohl.

Basel 1978

Kunstmuseum, Basel. Barnett Newman: Das lithographische Werk. October–November 1978. Pamphlet with texts in German by Franz Meyer and Carlo Huber as well as Barnett Newman’s “Preface to 18 Cantos.”

Basel 1981

Kunstmuseum, Basel. Barnett Newman: Das zeichnerische Werk. 9 May–5 July 1981. Catalogue with texts in German by Christian Geelhaar and Barbara Rose.

Basel 1984

Merian-Park, Basel. Skulptur im 20. Jahrhundert. 3 June–30 September 1984. Catalogue with essays by Karina Türr et al.

Basel 1989

Galerie Beyeler, Basel. Wege zur Abstraktion. July–September 1989. Catalogue with preface by Willy Rotzler.

Basel 1992

Kunstmuseum and Kunsthalle, Basel. Transform: BildObjektSkulptur im 20. Jahrhundert. 14 June–27 September 1992. Catalogue.

Basel 1994a

Galerie Beyeler, Basel. Der Traum vom Absoluten. June–September 1994. Catalogue with essay by Gottfried Boehm.

Basel 1994b

Kunstmuseum, Basel. Jasper Johns: Neue Graphik-Geschenke und Barnett Newman: 18 Cantos. 12 June–7 August 1994. Exhibition brochure with text by Rudolf Velhagen.

Basel 1995

Galerie Beyeler, Basel. Wer hat Angst vor Rot . . .? June–September 1995. Catalogue with text in English and German by Robert Th. Stoll.

Basel 1999

Museum für Gegenwartskunst der Öffentlichen Kunstsammlung Basel und der Emanuel Hoffmann-Stiftung, Basel. White Fire—Flying Man: Amerikanische Kunst 1959–1999 in Basel. 5 June–26 September 1999. Catalogue edited by Katharina Schmidt and Philip Ursprung.

Basel 2001a

Museum für Gegenwartskunst der Öffentlichen Kunstsammlung Basel und der Emanuel Hoffmann-Stiftung, Basel. Weiss: Skulpturen und Bilder des 20. Jahrhunderts aus der Öffentlichen Kunstsammlung Basel und der Emanuel Hoffmann-Stiftung. 18 January–18 March 2001. Catalogue with essay in German and English by Hartwig Fischer.

Basel 2001b

Galerie Beyeler, Basel. Classics. 31 May–29 September 2001.

Basel 2002

Kunstmuseum, Basel. Painting on the Move: A Century of Contemporary Painting (1900–2000). 26 May–8 September 2002. Catalogue with texts by Bernhard Mendes Bürgi et al.

Bätschmann 1996

Oskar Bätschmann. “Der Künstler als Erfahrungsgestalter.” In Ästhetische Erfahrung heute, ed. Jürgen Stöhr, pp. 248–81. Cologne: DuMont, 1996.

Battcock 1968

Gregory Battcock. “The Art of the Real: The Development of a Style, 1948–68.” Arts Magazine 42, no. 8 (June/Summer 1968), pp. 44–47.

Battcock 1970a

G[regory] B[attcock]. “Sculpture at Knoedler.” Arts Magazine 44, no. 4 (February 1970), p. 62.

Battcock 1970b

Gregory Battcock. “Monuments to Technology.” Art and Artists 5, no. 2 (May 1970), pp. 52–55.

Baudson 1972

Michel Baudson. “Paris: Qui a peur du rouge, du jaune, du bleu ou la longue quête . . . de Barnett Newman.” Cles pour les Arts [Brussels], no. 27 (November 1972), p. 20.

Beaucamp 1997

Eduard Beaucamp. “Terror des Erhabenen: Prophet der reinen Malerei: Barnett Newman in Düsseldorf.” Frankfurter Allgemeine Zeitung, 5 June 1997, p. 35.

Beck 1997

Georg Beck. “Warum Ausstellen? Perspektive 2.” Inform [Pulheim/Cologne], no. 3, 1997, p. 11.

Beckett 1994

Sister Wendy Beckett. The Story of Painting: The Essential Guide to the History of Western Art. London, New York, Stuttgart: Dorling Kindersley, 1994.

Beeren and de Wilde 1966

W. A. L. Beeren and E. de Wilde. Vormen van de kleur/New Shapes of Color Exh. cat. Stedelijk Museum, Amsterdam, 1966.

Beijer 1997

Wiel Beijer. “‘Geliefde invalide’ ontbreekt in Newman-overzicht.” Dagblad de Limburger, 27 May 1997, p. unavailable.

Belasco 2002

Daniel Belasco. “Acts of Creation.” The Jewish Weekly, 19 April 2002, pp. 47–48.

Bell 1986

Tiffany Bell. “After Matisse.” In After Matisse, pp. 5–15. Exh. cat. Queens Museum, New York, 1986.

Belting 1998

Hans Belting. Das unsichtbare Meisterwerk: Die modernen Mythen der Kunst. Munich: C. H. Beck, [1998].

Bennington 1958

New Gallery, Bennington College, Bennington, Vermont. Barnett Newman: First Retrospective Exhibition. 4–24 May 1958. Pamphlet with introduction by Clement Greenberg and note by E. C. Goossen.

Berkman 1964

Florence Berkman. “Echoes of Abstract Artists’ Revolt.” The Hartford Times, 25 January 1964, p. 26.

Berkowitz 1992

Peggy Berkowitz. “Seeing Red (and Yellow and Blue): Conservator’s Restoration of Newman Painting at Centre of Growing Storm.” The Globe and Mail [Toronto], 6 February 1992, p. unavailable.

Berkson 1966

W[illiam] B[erkson]. “In the Museums, Recent Exhibitions: Barnett Newman.” Arts Magazine 40, no. 8 (June 1966), p. 44.

Berlin 1958

Hochschule für Bildende Künste, Berlin. Die neue amerikanische Malerei. 3 September–1 October 1958. Catalogue with texts by Porter A. McCray and Arnold Rüdlinger and artists’ statements.

Berlin 1976

Nationalgalerie, Staatliche Museen, Preussischer Kulturbesitz, Berlin. New York in Europa. 4 September–7 November 1976. Accompanied by publication entitled Amerikanische Kunst von 1945 bis heute: Kunst der USA in europäischen Sammlungen, ed. Dieter Honisch and Jens Christian Jensen. Cologne: DuMont, [1976].

Berlin 1980

Schloß Charlottenburg, Berlin. Zeichen des Glaubens, Geist der Avantgarde: Religiöse Tendenzen in der Kunst des 20. Jahrhunderts. 31 May–13 July 1980. Catalogue edited by Wieland Schmied; also a checklist.

Berlin 1981

Kuperstichkabinett, Nationalgalerie, Staatliche Museen Preussischer Kulturbesitz, Berlin. Druckgraphik: Wandlungen eines Mediums seit 1945. 17 June–16 August 1981. Catalogue by Alexander Dückers and Angela Schönberger.

Berlin 1982

Nationalgalerie, Staatliche Museen, Preussischer Kulturbesitz, Berlin. Hommage à Barnett Newman. 30 January–14 February 1982. Catalogue with text by Dieter Honisch, artists’ statements in German, and Barnett Newman quotations in English.

Berlin 1993

Martin-Gropius-Bau, Berlin. American Art in the Twentieth Century: Painting and Sculpture, 1913–1993. 8 May–25 July 1993. Catalogue edited by Christos M. Joachimides and Norman Rosenthal.

Berlin 1997

Martin-Gropius-Bau, Berlin. Die Epoche der Modernen Kunst im 20. Jahrhundert/The Age of Modernism: Art in the 20th Century. 7 May–27 July 1997. Catalogue edited by Christos M. Joachimides and Norman Rosenthal with essays by Brooks Adams et al.

Berliner Morgenpost 1980

“Millionen-Kunstwerk für Nationalgalerie? Mäzene wollen Bild von Newman kaufen.” Berliner Morgenpost, 26 October 1980, p. unavailable.

Berliner Morgenpost 1982

“‘Monteur’ schlug auf Millionen-Gemälde ein: ‘Wer hat Angst vor Rot, Gelb und Blau’ in Nationalgalerie schwer beschädigt.” Berliner Morgenpost, 14 April 1982, p. unavailable.

Bern 1967

Kunsthalle, Bern. Formen der Farbe—Shapes of Colour. 14 April–21 May 1967. Catalogue with introduction by W. A. L. Beeren.

Bern 1970

Kammerkunsthalle, Bern. Barnett Newman: Das lithographische Werk. 17 October–22 November 1970. Pamphlet with text in German by Carlo Huber as well as Barnett Newman’s “Preface to 18 Cantos.”

Bern 1979

Kunstmuseum, Bern. American Art of the Twentieth Century from the Museum of Modern Art. 16 February–16 April 1979. Catalogue, entitled “Das Museum of Modern Art New York zu Gast im Kunstmuseum Bern und Museum Ludwig Köln,” with texts by Waldo Rasmussen et al.

Berns et al. 2002

Roy S. Berns et al. “Multiple Pigment Selection for Inpainting Using Visible Reflectance Spectrophotometry.” Studies in Conservation 47, no. 1 (2002), pp. 46–61.

Bernstock 1991

Judith E. Bernstock. Under the Spell of Orpheus: The Persistence of a Myth in Twentieth-Century Art. With a foreword by Peter Selz. Carbondale: Southern Illinois University Press, 1991.

Bernstock 1993

Judith E. Bernstock. “Classical Mythology in Twentieth-Century Art: An Overview of a Humanistic Approach.” Artibus et Historiae: An Art Anthology [Vienna], no. 27 (1993), pp. 153–83.

Berrie and Lomax 1997

Barbara H. Berrie and Suzanne Quillen Lomax. “Azo Pigments: Their History, Synthesis, Properties, and Use in Artists’ Materials.” Conservation Research 1996/1997, pp. 8–33. Studies in the History of Art, 57. Monograph Series II. Washington, D.C.: National Gallery of Art, 1997.

Bessenich 1970

Wolfgang Bessenich. “Essenz der Farben: Farbige Lithos von Barnett Newman.” National-Zeitung Basel, 18 September 1970, p. unavailable.

Bessenich 1981

Wolfgang Bessenich. “Newman als Zeichner.” Basler Zeitung, 11 May 1981, p. unavailable.

Beßling 1997

Rainer Beßling. “Alleingelassen: Kunstsammlung NRW in Düsseldorf zeigt Barnett Newman.” Syker Zeitung [Syke], 30 July 1997, p. 10.

Bevlin 1977

Marjorie Elliott Bevlin. Design Through Discovery. 3d ed. New York: Holt, Rinehart and Winston, 1977.

Bielefeld 1987

Kunsthalle Bielefeld, Germany. Enzo Cucchi: Guida al disegno—Beuys, Fontana, van Gogh, Hugo, Newman, Pasolini. 18 January–1 March 1987. Catalogue with texts in German and English edited by Carla Schulz-Hoffmann and Ulrich Weisner.

Bihalji-Merin 1960

Oto Bihalji-Merin. “Crisis and Creation: International Look at the USA: Yugoslavian.” Art in America 48, no. 2 (Summer 1960), pp. 49–53.

Blechen 1982a

Camilla Blechen. “Wer spendet für Rot, Gelb und Blau? Barnett-Newman-Gemälde nach Berlin.” Frankfurter Allgemeine Zeitung, 5 February 1982, p. unavailable.

Blechen 1982b

C[amilla] B[lechen]. “Newman-Bild beschädigt.” Frankfurter Allgemeine Zeitung, 15 April 1982, p. unavailable.

Bleyl 1988

Matthias Bleyl. “Transzendenz der Farbe.” In Essentielle Malerei in Deutschland: Wege zur Kunst nach 1945, pp. 47–51. Nuremberg: Verlag für moderne Kunst Nürnberg, 1988.

Blistène 1999

Bernard Blistène. “De l’histoire de l’art au XXe siècle: États-Unis, de l’expressionisme abstrait au minimalisme: Newman, dans ses propres limites.” Beaux Arts Magazine, no. 182 (July 1999), pp. 82–94.

Blotkamp 1970

Carel Blotkamp. “Barnett Newman—twee schilderijen.” Museumjournaal [Otterloo] 15, no. 1 (February 1970), pp. 3–11.

Blotkamp 1972

Carel Blotkamp. “De actuele ideeen van Barnett Newman.” Vrij Nederland, 13 May 1972, p. 19.

Bockemühl 1985

Michael Bockemühl. Die Wirklichkeit des Bildes: Bildrezeption als Bildproduktion: Rothko, Newman, Rembrandt, Raphael. Stuttgart: Urachhaus, [1985].

Bockemühl 1988

Michael Bockemühl. “Abstrakte Kunst und die ästhetische Wirklichkeit.” In Die Wirklichkeit des Geistigen in der abstrakten Kunst, ed. Jelle van der Meulen, pp. 76–92. Stuttgart: Verlag Freies Geistesleben, 1988.

Bocola 1994

Sandro Bocola. Die Kunst der Moderne: Zur Struktur und Dynamik ihrer Entwicklung von Goya bis Beuys. Munich and New York: Prestel, 1994.

Boehm 1990

Gottfried Boehm. “Ikonoklastik und Tranzendenz: Der historische Hintergrund.” In GegenwartEwigkeit: Spuren des Transzendenten in der Kunst unserer Zeit, pp. 27–34. Exh. cat. Martin-Gropius-Bau, Berlin, 1990.

Boehm et al. 1997

Gottfried Boehm et al. Fondation Beyeler. Munich and New York: Prestel, 1997.

Bogotá 1975

Museo de Arte Moderno, Bogotá. Color as Language. 24 February–30 March 1975. Checklist for Bogotá; individual catalogues for Caracas and Mexico City, with texts in Spanish by Kynaston McShine and Waldo Rasmussen.

Bois 1990

Yve-Alain Bois. “Perceiving Newman.” In Painting as Model, pp. 186–213. An October Book. Cambridge, Massachusetts, and London: The MIT Press, 1990. Bois’s essay was originally published 1988 as the introduction to the catalogue of a Barnett Newman exhibition at the Pace Gallery, New York.

Bois 1991

Yve-Alain Bois. “Artist as Critic” [review of O’Neill 1990]. Art in America 79, no. 4 (April 1991), pp. 37, 39, 41.

Bois 1994

Yves-Alain Bois. “Le déclin de Paris, l’ascension de New York.” In Atlas de l’Art, pp. 558–59. Paris: Encyclopedia Universalis, 1994.

Bois 1996b

Yve-Alain Bois. “Barnett Newman’s Sublime=Tragedy.” In Negotiating Rapture: The Power of Art to Transform Lives, pp. 138–39. Exh. cat. Museum of Contemporary Art, Chicago, 1996.

Bois 2002

Yve-Alain Bois. “Here to There and Back.” Artforum, March 2002, pp. 100–108.

Bonn 1976

Rheinisches Landesmuseum, Bonn. Two Hundred Years of American Painting. 30 June–28 July 1976. Catalogue in respective language for each showing.

Bonn 1992a

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn. Territorium Artis. 19 June–20 September 1992. Catalogue with texts by Pontus Hultén et al.

Bonn 1992b

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn. The Great Collections, 1: The Museum of Modern Art, New York, from Cézanne to Pollock. 17 October 1992–10 January 1993. Catalogue with texts by Pontus Hultén et al.

Bonnier and Hultén 1963

Gerard Bonnier and K. G. H[ultén]. Önskemuseet/The Museum of Our Wishes. Exh. cat. Moderna Museet, Stockholm, 1963.

Boomgaard 1997

Jeroen Boomgaard. “Stomp voor de kop.” Metropolis, no. 6 (December 1997/January 1998), pp. 18–21.

Bordeaux 1981

Galerie des Beaux-Arts, Bordeaux, France. Profil du Metropolitan Museum of Art de New York: De Ramses à Picasso. 15 May–1 September 1981. Catalogue.

Boston 1970a

Boston University School of Fine and Applied Arts. American Artists of the Nineteen Sixties. 6 February–14 March 1970. Catalogue with essay by H. H[arvard] Arnason.

Boston 1970b

Museum of Fine Arts, Boston. Masterpieces of Painting in the Metropolitan Museum of Art. 17 September–1 November 1970. Catalogue.

Bothner 1998

Roland Bothner. “Angst vor der Farbe? Ellsworth Kelly, Günter Fruhtrunk, Frank Stella.” Pantheon, no. 56 (1998), pp. 173–85.

Bouisset 1980

Maïten Bouisset. “Dessins, Barnett Newman à Beaubourg: La géométrie avec les accents de la passion.” Le Matin, 29 December 1980, p. unavailable.

Bowness 1967

Alan Bowness. “The American Invasion and the British Response.” Studio International 173, no. 890 (June 1967), pp. 285–93.

Bracht 1997

Christian Bracht. “Tragisch und zeitlos: Barnett Newman in Düsseldorf.” Klenkes [Aachen], June 1997, p. 42.

Bracht et al. 2001

E. Bracht et al. “The Restoration of Barnett Newman’s Cathedra.” In Barnett Newman: Cathedra, pp. 66–99. SMA Cahiers, 24. Amsterdam: Stedelijk Museum, 2001.

Breerette 2002

Geneviève Breerette. “Barnett Newman, l’ascète.” Le Monde, 20 October 2002, p. unavailable.

Brenson 1989

Michael Brenson. “Sculpture by Painters at the Pace.” The New York Times, 30 June 1989, sec. 3, p. 21.

Brett 1972

Guy Brett. “Barnett Newman at the Tate.” The Times [London], 28 June 1972, p. 13.

Breuning 1947

Margaret Breuning. “Symbols and Ideas.” Art Digest 21, no. 9 (1 February 1947). p. 13.

Brüderlin et al. 2000

Markus Brüderlin. “Vom gemalten Licht zum Malen mit Licht: Von Rothko zu Flavin.” In Farbe zu Licht, pp. 109–17. Exh. cat. Fondation Beyeler, Riehen, Switzerland, 2000.

Brüderlin et al. 2001

Markus Brüderlin et al. Information sheets for Ornament and Abstraction: The Dialogue Between Non-Western, Modern, and Contemporary Art. Exh. brochure. Fondation Beyeler, Riehen, 2001.

Brussels 1958

Palais des Beaux-Arts, Brussels. La nouvelle peinture américaine. 6 December 1958–4 January 1959. Catalogue with introduction by Alfred A. Barr, Jr., and artists’ statements.

Brussels 1978

Palais des Beaux-Arts, Brussels. La peinture américaine au 20e siècle de la collection du Metropolitan Museum of Art. 28 June–23 August 1978. Catalogue.

Brussels 1984

Palais des Beaux-Arts, Brussels. L’art et le temps: Regards sur la quatrième dimension. 21 November 1984–20 January 1985. Catalogue edited by Michel Baudson with texts by Jean-François Lyotard et al.

Bucharest 1969

Sala Dalles, Bucharest. The Disappearance and Reappearance of the Image: American Painting Since 1945. 17 January–2 February 1969. Catalogue with text by Ruth Kaufmann and John W. McCoubrey.

Buchholz and Magnani 1992

Benjamin Buchholz and Gregorio Magnani, eds. International Index of Multiples: From Duchamp to the Present. Tokyo and Cologne: Spiral/Wacoal Art Center and Verlag der Buchhandlung Walther König, 1992.

Buettner 1981

Stewart Buettner. American Art Theory, 1945–1970. Ann Arbor, Michigan: UMI Research Press, 1981.

Buffalo 1987

Albright-Knox Art Gallery, Buffalo, N.Y. Abstract Expressionism: The Critical Developments. 19 September–29 November 1987. Catalogue with essays by Michael Auping et al.

Bunge 1990

Matthias Bunge. “Die Wirklichkeit des Bildes: Eine kritische Auseinandersetzung mit Michael Bockemühls These von der Bildrezeption als Bildproduktion.” Zeitschrift für Ästhetik and allgemeine Kunstwissenschaft 35 (1990), pp. 131–89.

Bürgi 1988

Bernhard Bürgi, ed. Rot, Gelb, Blau: Die Primärfarben in der Kunst des 20. Jahrhunderts. Stuttgart: Verlag Gerd Hatje, 1988.

Burnett 1980

D[avid] Burnett. “A Declaration of Space: Jackson Pollock and Barnett Newman.” Vanguard [Vancouver] 9, no. 7 (September 1980), pp. 20–23.

Burton 2002

Jane Burton. Who’s Afraid of Red Yellow and Blue. Exh. brochure. Tate Modern, London, 2002.

Butler 1970

Joseph T. Butler. “The American Way with Art.” Connoisseur 173, no. 696 (February 1970), pp. 146–51.

Butler 1971

Joseph T. Butler. “The American Way with Art.” Connoisseur 177, no. 713 (July 1971), pp. 220–25.

Calas 1967

Nicolas Calas. “Subject Matter in the Work of Barnett Newman.” Arts Magazine 42, no. 2 (November 1967), pp. 38–40. Reprinted, with fewer illustrations, in Nicolas Calas, Art in the Age of Risk and Other Essays, pp. 208–15. New York: E. P. Dutton & Co., 1968. Reprinted also in Minimal Art: A Critical Anthology, ed. Gregory Battcock, pp. 109–15. New York: E. P. Dutton & Co., 1968.

Calas 1971

Nicolas Calas. “Barnett Newman’s Sense of Space.” In Icons and Images of the Sixties, pp. 177–83. New York: E. P. Dutton & Co., 1971.

Cambridge 1992

Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts. The Prints of Barnett Newman. 2 May–5 July 1992.

Cambridge 1997

Arthur M. Sackler Museum, Harvard University Art Museums, Cambridge, Massachusetts. Drawing Is Another Kind of Language: Recent American Drawings from a New York Private Collection. 12 December 1997–22 February 1998. Catalogue by Pamela Lee and Christine Mehring with essay by Dieter Schwarz.

Campbell 2002

Peter Campbell. “At Tate Modern.” London Review of Books 24, no. 19 (3 October 2002), p. 11.

Campbell-Johnston 2002

Rachel Campbell-Johnston. “A Tale of Two Tates.” The Times [London], 25 September 2002, pp. 14–15.

Canaday 1964

John Canaday. “Two Exhibitions Begin Guggenheim’s Season.” The New York Times, 17 September 1964, p. 50.

Canaday 1966

John Canaday. “Art with Pretty Thorough Execution: Newman and Alloway Provide the Rope.” The New York Times, 23 April 1966, p. 26. Concerning this review, see “Art Mailbag: Is Canaday Unfair to Newman?” The New York Times, 14 November 1971, p. D21.

Canaday 1969

John Canaday. “Nix on Barnett Newman’s Stations of the Cross.” In Culture Gulch: Notes on Art and Its Public in the 1960s, pp. 79–81. New York: Farrar, Straus and Giroux, 1969. The essay is a reprint of Canaday 1966.

Canaday 1971b

John Canaday. “Mike, Elaine, Woody, Mr. Newman, God, and Me.” The New York Times, 31 October 1971, p. D21. For Thomas B. Hess’s rejoinder in a letter to the editor and for John Canaday’s rebuttal, see The New York Times, 14 November 1971, p. D21.

Carlson 1949

Helen Carlson. “Diversity of Style and Media: Betty Parsons Gallery.” New York Sun, 14 October 1949, p. 27.

Carmean 1976

E. A. Carmean, Jr. Morris Louis: Major Themes and Variations. Exh. cat. National Gallery of Art, Washington, D.C, 1976.

Cash 1998

Stephanie Cash. “Newman’s Cathedra Slashed at Stedelijk.” Art in America 86, no. 1 (January 1998), p. 27.

Castleman 1973

Riva Castleman. Modern Art in Prints. Exh. cat. The International Council, The Museum of Modern Art, New York, 1973.

Castleman 1976

Riva Castleman. Prints of the Twentieth Century: A History. New York: The Museum of Modern Art, [1976].

Castleman 1983

Riva Castleman. “Making the Prints.” In The Prints of Barnett Newman, pp. 23–29. Exh. cat. University Gallery, University of Massachusetts, Amherst, 1983.

Castleman 1985

Riva Castleman. American Impressions: Prints Since Pollock. New York: Alfred A. Knopf, 1985.

Cathedra/Troon 1982

Cathedra/Troon factsheet. Op het tweede gezicht [Stedelijk Museum Amsterdam], December 1982, pp. 7–10.

Causey 1989

Andrew Causey. “American Art in the 20th Century.” In New York New Art, ed. Andreas C. Papadakis, pp. 85–96. An Art and Design Profile. London and New York: Academy Editions/St. Martin’s Press, 1989.

Cavaliere 1980

Barbara Cavaliere. “Barnett Newman.” Flash Art [Milan], nos. 96–97 (March–April 1980), pp. 5–7.

Cavaliere 1981

Barbara Cavaliere. “Barnett Newman’s Vir Heroicus Sublimis: Building the ‘Idea Complex.’” Arts Magazine 55, no. 5 (January 1981), pp. 144–52.

Champa et al. 1985

Kermit S. Champa et al. Flying Tigers: Painting and Sculpture in New York, 1939–1946. Exh. cat. Bell Gallery, Brown University, Providence, Rhode Island, 1985.

Charrière 1988

Edmond Charrière. “La triade et le monochrome.” Art Press [Paris], no. 128 (September 1988), pp. 14–17.

Chassey 2001

Éric de Chassey. La peinture efficace: Une histoire de l’abstraction aux États-Unis (1910–1960). Paris: Art et Artistes/Éditions Gallimard, 2001.

Chicago 1947

The Art Institute of Chicago. The Fifty-Eighth Annual Exhibition of American Painting and Sculpture: Abstract and Surrealist American Art. 6 November 1947–11 January 1948. Catalogue with essays by Katharine Kuh and Frederick A. Sweet.

Chicago 1961

The Art Institute of Chicago. The Collection of Mr. and Mrs. Ben Heller. 22 September–14 October 1961. Catalogue with text by Alfred H. Barr, Jr.

Chicago 1964

The Art Institute of Chicago. Sixty-Seventh Annual American Exhibition: Directions in Contemporary Painting. 28 February–12 April 1964. Catalogue with foreword by A. James Speyer.

Chicago 1968

Richard Feigen Gallery, Chicago. Richard J. Daley. 23 October–23 November 1968. Catalogue for the Cincinnati showing, flyer for the New York showing.

Chicago 1979

David and Alfred Smart Museum of Art, The University of Chicago, Abstract Expressionism: A Tribute to Harold Rosenberg: Paintings and Drawings from Chicago Collections. 11 October–25 November 1979. Catalogue with text by Saul Bellow et al.

Chicago 1984

The Museum of Contemporary Art, Chicago. The Museum of Contemporary Art, Chicago, Selections from the Permanent Collection. 13 April–10 June 1984. Catalogue with text by Mary Jane Jacob.

Chicago 1988

Richard L. Feigen & Company, Chicago. “Richard J. Daley”: The Twentieth Anniversary. 8 November–6 December 1988. Exhibition brochure with text by Richard L. Feigen.

Chicago 1996

The Museum of Contemporary Art, Chicago. Negotiating Rapture: The Power of Art to Transform Lives. 21 June–20 October 1996. Accompanied by publication of same title edited by Richard Francis with essays by Homi K. Bhabha et al. and contributions by Yve-Alain Bois et al.

Christian Science Monitor 1968

“Balancing Act” [photograph of Broken Obelisk outside The Corcoran Gallery of Art, Washington, D.C.]. The Christian Science Monitor, 21 September 1968, p. 3.

Cincinnati 1970a

The Contemporary Arts Center, Cincinnati. Prints by Nine New York Painters. 9 February–22 March 1970. Exhibition brochure with introduction by John J. McKendry and checklist.

Cincinnati 1970b

The Contemporary Arts Center, Cincinnati. Monumental Art. 13 September–1 November 1970. Catalogue with text by William A. Leonard.

Coates 1959

Robert M. Coates. “The Art Galleries: Excursions (and Alarums) Abroad.” The New Yorker, 6 June 1959, pp.151–56.

Cohn 1988

Sherrye Cohn. Pat Adams: Circles, Spheres, and Other Correspondences. Exh. cat. The New York Academy of Sciences, 1988.

Colby 1979

Joy Hakanson Colby. “At Art Institute, Drawings with Zip.” The Detroit News, 19 August 1979, p. 6E.

Cologne 1981a

Museum Ludwig, Cologne. Barnett Newman: Das zeichnerische Werk. 20 February–29 March 1981. Catalogue with texts in German by Karl Ruhrberg and Barbara Rose.

Cologne 1981b

Museen der Stadt Köln, Rheinhallen, Cologne. Westkunst: Zeitgenössische Kunst seit 1939. 29 May–16 August 1981. Catalogue with texts by Laszlo Glozer et al.

Cologne 1985

Kölnischer Kunstverein, Cologne. Raum, Zeit, Stille. 23 March–2 June 1985. Catalogue edited by Wulf Herzogenrath.

Cologne 1986

Museum Ludwig, Cologne. Europa/Amerika: Die Geschichte einer künstlerischen Faszination seit 1940. 6 September–30 November 1986. Catalogue with texts by Siegfried Gohr et al.

Cologne 1989

Museum Ludwig, Rheinhallen, Cologne. Bilderstreit: Widerspruch, Einheit und Fragment in der Kunst seit 1960. 8 April–28 June 1989. Catalogue by Siegfried Gohr and Johannes Gachnang.

Cologne 1997

Skulpturenpark Köln, Cologne. KölnSkulptur 1. 8 November 1997–1 September 1999. Catalogue with texts by Eleonore and Michael Stoffel et al.

Colpitt 1993

Frances Colpitt. Minimal Art: The Critical Perspective. Studies in the Fine Arts: Criticism, 34. Ann Arbor and London: UMI Research Press, 1993.

Columbus 1960

The Columbus Gallery of Fine Arts, Columbus, Ohio. Contemporary American Painting. 14 January–18 February 1960. Catalogue with introduction by Tracy Atkinson.

Columbus 1976

The Columbus Gallery of Fine Arts, Columbus, Ohio. Aspects of Postwar Painting in America. 17 January–29 February 1976. Catalogue with preface by Thomas M. Messer.

Cone 1975

Michèle Cone. The Roots and Routes of Art in the 20th Century. New York: Horizon Press, 1975.

Contour 1997

“Barnett Newman—Bilder, Skulpturen, Graphik.” Contour, no. 4 (July/August), 1997, pp. 28–29.

Cooke 1980

Lynne Cooke. “Held, Louis, and Newman.” Artscribe [London], no. 23 (June 1980), pp. 41–45.

Cooke 1986

Lynne Cooke. “Paragone Rediscovered: The Painter-Sculptor in the Twentieth Century: Part II.” In In Tandem: The Painter-Sculptor in the Twentieth Century, pp. 42–64. Exh. cat. Whitechapel Art Gallery, London, 1986.

Cooke 1990

Lynne Cooke. “Robert Mangold: Frames of Reference.” In Robert Mangold: Attic Series I–VI, pp. 7–23. Exh. cat. Lisson Gallery, London, 1990.

Cooling 2000

Margaret Cooling et al. The Bible Through the Ages: From Genesis to Esther. Stapleton, Nottingham, G.B.: RMEP, 2000.

Coral Gables 1974

Lowe Art Museum, University of Miami, Coral Gables, Florida. The Bauhaus and Its Influence on America. 7 February–10 March 1974.

Coral Gables 1989

Lowe Art Museum, University of Miami, Coral Gables, Florida. Abstract Expressionism: Other Dimensions: An Introduction to Small Scale Painterly Abstraction in America, 1940–1965. 26 October–3 December 1989. Catalogue with essay by Jeffrey Wechsler and contributions by Sam Hunter, Irving Sandler, et al.

Cork 1972

Richard Cork. “The Positive Art of Self-Destruction.” Evening Standard, 6 July 1972, p. unavailable.

Cotter 2000

Holland Cotter. “A Postwar Survey, Semi-Wild at Heart.” The New York Times, 29 September 2000, pp. E27, E30.

Cotter 2002

Holland Cotter. “A Gift to the Whitney, for New Yorkers to Open.” The New York Times, 25 October 2002, p. E38.

Cox 1982

Annette Cox. “Utopian Color: Anarchism and the Art of Barnett Newman.” In Art-As-Politics: The Abstract Expressionist Avant-Garde and Society, pp. 67–82. Studies in the Fine Arts, The Avant-Garde, 26. Ann Arbor, Michigan: UMI Research Press, [1982].

Crane 1987

Diana Crane. The Transformation of the Avant-Garde: The New York Art World, 1940–1985. Chicago and London: The University of Chicago Press, [1987].

Craven 1991

David Craven. “Abstract Expressionism and Third World Art: A Post-Colonial Approach to ‘American’ Art.” The Oxford Art Journal 14, no. 1 (June 1991), pp. 44–66.

Crehan 1959

H[ubert] C[rehan]. “Barnett Newman” [exhibition at French and Company, Inc.]. Artnews 58, no. 2 (April 1959), p. 12. For the rejoinders by “H. Rumbold” and Barnett Newman as well as for Crehan’s rebuttal, see Artnews 58, nos. 3 (May 1959) and 4 (Summer 1959), p. 6. See also “Editor’s letters.” Artnews 58, no. 6 (September 1959), p. 6.

Crépu 1982

M. Crépu. “Abraham à New York: Leçon des ténèbres: A propos de Barnett Newman.” Esprit [Paris] 9 (September 1982), pp. 34–41.

Crow 1997

Thomas Crow. Die Kunst der Sechziger Jahre. Cologne: DuMont, 1997.

Crowther 1984

Paul Crowther. “Barnett Newman and the Sublime.” The Oxford Art Journal 7, no. 2 (1984), pp. 52–59. Reprinted in Paul Crowther. The Language of Twentieth-Century Art: A Conceptual History, pp. 149–63. New Haven and London: Yale University Press, 1997.

Cruickchank 1990

John Cruickchank. “Newman: A Canvas of Strong Opinion.” The Globe and Mail [Canada], 16 March 1990, p. unavailable.

Csaczar 2002

Tom Csaczar. “Philadelphia: Barnett Newman: The Philadelphia Museum of Art.” Sculpture [Washington, D.C.] 21, no. 9 (November 2002), pp. 77–78.

Curnow 1977

Wystan Curnow. “Thinking About Colin McCahon and Barnett Newman.” Art New Zealand 8 (November 1977–January 1978), pp. 48–52.

Curnow 1991

Wystan Curnow. “The Shining Cuckoo.” In Interpreting Contemporary Art, ed. Stephen Bann and William Allen, pp. 27–46. New York: Icon Editions, 1991.

Dabrowski 1998

Magdalena Dabrowski. The New York School: Selections from the Collection. Exh. cat. The Museum of Modern Art, New York, 1998.

Dallas 1987

Dallas Museum of Art. A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection. 5 April–31 May 1987. Catalogue edited by Steven A. Nash.

Danese 1973

Renato Danese. “Barnett Newman: 18 Cantos.” The Baltimore Museum of Art Record 3, no. 9 (June 1973), unpaginated.

Danto 1987

Arthur C. Danto. The State of the Art. New York: Prentice Hall Press, 1987.

Darmstadt 1961

Hessisches Landesmuseum Darmstadt, Germany. Abstrakte amerikanische Malerei. 14 April–13 May 1961. Catalogue with introduction by H. Harvard Arnason.

Darwent 2002

Charles Darwent. “Just What Is He on About?” The Independent, 29 September 2002, p. 13.

Davies 1975

Hugh Marlais Davies. Artist and Fabricator. Exh. cat. Fine Arts Center Gallery, University of Massachusetts, Amherst, 1975.

Davies 1983

Hugh M. Davies. The Prints of Barnett Newman. With an essay by Riva Castleman. Exh. cat. University Gallery, University of Massachusetts, Amherst, 1983.

Davies and Davies 1978

Horton Davies and Hugh Davies. Sacred Art in a Secular Century. Collegeville, Minnesota: The Liturgical Press, 1978.

Davies and Yard 1974

Hugh M. Davies and Sally E. Yard. “Scale in Contemporary Sculpture.” In Monumenta: A Biennial Exhibition of Outdoor Sculpture, pp.11–13. Exh. cat. Newport, Rhode Island, 1974.

Davies and Yard 1976

Hugh M. Davies and Sally E. Yard. “Some Observations on Public Scale Sculpture.” Arts Magazine 50, no. 5 (January 1976), pp. 67–69.

Davis 1969

Douglas M. Davis. “After Ten Years, a One-Man Show by Mr. Newman.” National Observer, 14 April 1969, p. 20.

Davis 1971

Douglas Davis. “The Red, the Yellow, the Blue.” Newsweek, 18 October 1971, pp. 90–93.

De Antonio and Tuchman 1984

Emile de Antonio and Mitch Tuchman. Painters Painting: A Candid History of the Modern Art Scene, 1940–1970. New York: Abbeville Press, [1984]. Barnett Newman passages reprinted in Barnett Newman: Selected Writings and Interviews, ed. John P. O’Neill, pp. 302–8. New York: Alfred A. Knopf, 1990.

De Bolla 2001

Peter de Bolla. “Serenity: Barnett Newman’s ‘Vir Heroicus Sublimis.’” In Art Matters, pp. 23–55. Cambridge, Massachusetts, and London: Harvard University Press, 2001.

Denny 2002

Ned Denny. “Nothing to It.” New Statesman, 7 October 2002, pp. 40–41.

Denvir 1972

Bernard Denvir. “London Letter” [includes review of the Barnett Newman exhibition at the Tate Gallery]. Art International 16, no. 8 (October 1972), p. 44.

Dering 1997

Peter Dering. “Mit Streifen gegen europäische Nostalgie: Barnett Newman zu Gast in Düsseldorf.” Die Welt, 11 June 1997, p. 12.

Des Moines 1973

Des Moines Art Center. Twenty-Five Years of American Painting, 1948–1973. 5 March–22 April 1973. Catalogue with introduction by Max Kozloff.

Deschamps 1980

Madeleine Deschamps. “B. Newman entre le texte et le zip.” Art Press [Paris], no. 35 (March 1980), pp. 22–23.

Deschamps-Huppert 1973

Madeleine Deschamps-Huppert. “Barnett Newman.” Revue d’Esthétique 26, no. 1 (1973), pp. 57–59.

Detroit 1965

Gertrude Kasle Gallery, Detroit. Collector’s Choice: Selected Lithographs by Major Contemporary Artists. 4 December–7 January 1965. Flyer.

Detroit 1969

Michigan State Council for the Arts, Detroit. Sculpture Downtown. 1 July–31 August 1969.

Dickson 1977

Joanne A. Dickson. “Barnett Newman’s ‘Cantos.’” Artweek [Oakland, California], 17 September 1977, pp. 1, 16.

Didi-Huberman 1996

Georges Didi-Huberman. “The Supposition of the Aura: The Now, the Then, and Modernity.” In Negotiating Rapture: The Power of Art to Transform Lives, pp. 48–63. Exh. cat. Museum of Contemporary Art, Chicago, 1996.

Didi-Huberman 1998

Georges Didi-Huberman. “Supposition de l’aura: Du maintenant, de l’autrefois et de la modernité.” Les Cahiers du Musée National d’Art Moderne, no. 64 (Summer 1998), pp. 94–115. English version, “The Supposition of the Aura: The Now, the Then, and Modernity,” published in Negotiating Rapture: The Power of Art to Transform Lives, pp. 48–63. Exh. cat. Museum of Contemporary Art, Chicago, 1996.

Die Welt 1972

“Amerikas Prophet mit dem Walroßbart: Große Retrospektive der Arbeiten Barnett Newmans im Amsterdamer Stedelijk Museum.” Die Welt, 27 April 1972 (Edition B), p. unavailable.

Dienst 1996

Rolf-Gunter Dienst. “Gesänge auf Stein.” Frankfurter Allgemeine Zeitung, 29 August 1996, p. 32.

Dillenberger 1969

Jane Dillenberger. “The Stations of the Cross by Barnett Newman.” In Secular Art with Sacred Themes, pp. 99–116. Nashville and New York: Abingdon Press, [1969]. Originally published as “The Abstraction of Agony: Barnett Newman’s Stations of the Cross.” Religion in Life: A Christian Quarterly of Opinion and Discussion, Summer 1969), pp. 183–97.

Dillenberger 1976

Jane Dillenberger et al. “From the Record: I.” Religious Communities and the Arts 13, no. 1 (Spring–Summer 1976), pp. 39–44.

Dillenberger 1980

John Dillenberger. “Barnett Newman’s Significance for Religion and the Visual Arts.” Address delivered at Creatio et Spiritus Award Dinner Honoring Barnett Newman, Saint Peter’s Church, New York, 15 February 1980. Typescript. On deposit at the Barnett Newman Foundation.

Dillenberger 1985

Jane Dillenberger. “Images of God in Western Art.” Bible Review 1, no. 2 (Summer 1985), pp. 26–36.

Dillenberger 1986

John Dillenberger. A Theology of Artistic Sensibilities: The Visual Arts and the Church. New York: Crossroads, [1986].

Dillenberger 1989

John Dillenberger. The Visual Arts and Christianity in America: From the Colonial Period to the Present. New, expanded edition. New York: Crossroads, 1989.

Dillenberger 1990

Jane Dillenberger. Image and Spirit in Sacred and Secular Art. New York: Crossroad, 1990.

Dillenberger and Dillenberger 1977

Jane and John Dillenberger. Perceptions of the Spirit in Twentieth-Century American Art. Exh. cat. Indianapolis Museum of Art, 1977.

Dippel 1972

Rini Dippel. “Barnett Newman (1905–1970): Overzichtstentoonstelling in het Stedelijk Museum Amsterdam, 31 Maart–22 Mei.” Museumjournaal [Otterloo], ser. 17, April 1972, pp. 55–58.

Dittmann 1987

Lorenz Dittmann. Farbgestaltung und Farbtheorie in der abendländischen Malerei: Eine Einführung. Darmstadt: Wissenschaftliche Buchgesellschaft, [1987].

Dittmann 1989

Lorenz Dittmann. “Religiöse Dimensionen in der modernen Malerei.” In Ars et ecclesia: Festschrift für Franz J. Ronig, ed. Hans-Walter Stork, pp. 79–95. Veröffentlichungen des Bistumsarchivs Trier, 26. Trier: Paulinus-Verlag, 1989.

Dorment 2002

Richard Dorment. “Thin Lines, Thick with Emotion.” The Daily Telegraph, 18 September 2002, p. 25.

Dowler 1996

Kevin Dowler. “In Defence of the Realm: Public Controversy and the Apologetics of Art.” In Theory Rules: Art as Theory, Theory and Art, ed. Jody Berland et al., pp. 79–100. Toronto: University of Toronto Press, 1996.

Drucker 1997

Joanna Drucker. Catalogue entry “Barnett Newman, Day One (Il primo giorno).” In American Art from the Whitney Museum: Multiple Identity, pp. 48–49. Exh. cat. Castello di Rivoli, Museo d’Arte Contemporanea, Turin.

Drudi 1988

Barbara Drudi. “Coscienza romantica e linguaggio astratto nella pittura americana del dopoguerra” [Romantic conscience and abstract language in postwar American painting]. Storia dell’ Arte [Florence], no. 62 (1988), pp. 105–12.

du Plessix 1965

Francine du Plessix, ed. “Painters and Poets.” Art in America 53, no. 5 (October–November 1965), pp. 24–57.

Dublin 1967

Royal Dublin Society, Dublin. ROSC ‘67: The Poetry of Vision. 13 November–30 December 1967. Catalogue with forewords by Jean Leymarie, Willem Sandberg, and James Johnson Sweeney.

Dubreuil-Blondin 1996

Nicole Dubreuil-Blondin. “Tightrope Metaphysics.” In Voices of Fire: Art, Rage, Power, and the State, ed. Bruce Barber, Serge Guilbaut, and John O’Brian, pp. 153–164. Toronto, Buffalo, and London: University of Toronto Press, [1996].

Dückers 1989

Alexander Dückers. “Barnett Newman (1905–1970): ‘18 Cantos,’ Mappenwerk mit achtzehn Lithographien, 19963–64.” Jahrbuch Preußischer Kulturbesitz 25 (1989), pp. 250–54.

Dumont 1991

Jean Dumont. “Arts visuels/chronique: Une maquette de Barnett Newman au CCA.” Le Devoir, 16 May 1991, p. unavailable.

Dunlop 1979

Ian Dunlop. “Edvard Munch, Barnett Newman, and Mark Rothko: The Search for the Sublime.” Arts Magazine 53, no. 6 (February 1979), pp. 128–30.

Dunning 1991

William V. Dunning. Changing Images of Pictorial Space: A History of Spatial Illusion in Painting. Syracuse, N.Y.: Syracuse University Press, 1991.

Düsseldorf 1981

Kunsthalle, Düsseldorf. 25 Jahre ULAE—Amerikanische Graphik. December 1981–January 1982. Catalogue with texts by Tony Towle et al.

Düsseldorf 1997

Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Barnett Newman: Bilder, Skulpturen, Graphik. 17 May–10 August 1997. Catalogue by Armin Zweite; also illustrated exhibition brochure with essay in German and English as well as short guide in German.

Duve 1983

Thierry de Duve. “Who’s Afraid of Red, Yellow, and Blue?” Artforum 22, no. 1 (September 1983), pp. 30–37.

Duve 1989

Thierry de Duve. “Ex situ.” Cahiers du Musée National d’Art Moderne, no. 27 (Spring 1989), pp. 39–55.

Duve 1990

Thierry de Duve. “Vox ignis vox populi.” Parachute [Canada], no. 60 (October–December 1990), pp. 29–38. Reprinted in Voices of Fire: Art, Rage, Power, and the State, ed. Bruce Barber, Serge Guilbaut, and John O’Brian, pp. 81–95. Toronto, Buffalo, and London: University of Toronto Press, [1996].

Edinburgh 1981

City Art Centre and Fruitmarket Gallery, Edinburgh. American Abstract Expressionists. 13 August–12 September 1981. Catalogue with texts by Waldo Rasmussen and John Drummond.

Edinburgh 1984

Scottish National Gallery of Modern Art, Edinburgh. Creation: Modern Art and Nature. 15 August–October 1984. Catalogue with texts by Robert Rosenblum et al.

Egenhofer 1996

Sebastian Egenhofer. The Sublime Is Now: Zu den Schriften und Gesprächen Barnett Newmans. Koblenz: Fölbach, 1996.

Eindhoven 1967

Stedelijk van Abbemuseum, Eindhoven, The Netherlands. Kompas 3: Paintings After 1945 in New York. 9 November–17 December 1967. Catalogue with introduction in Dutch and English by Jean Leering.

Elliott 1979

David Elliott. “Newman’s Sober Crusade in Esthetics.” Chicago Sunday Times, 11 November 1979, p. unavailable.

Elsen 1981

Albert E. Elsen. Purposes of Art: An Introduction to the History and Appreciation of Art. 4th ed. New York: Holt, Rinehart and Winston, [1981].

Emery 1971

Julie Emery. “Newman Sculpture Donated for New U[niversity of] W[ashington] Quadrangle.” The Seattle Times, 11 July 1971, p. A20.

Epperlein 1997

Beate Epperlein. “Ganzfelder und Monochromie in der Malerei: Barnett Newman.” In Monochrome Malerei: Zur Unterschiedlichkeit des vermeintlich Ähnlichen, pp. 37–42. Nuremberg: Verlag für moderne Kunst, [1997].

Erickson 1995

Jon Erickson. The Fate of the Object: From Modern Object to Postmodern Sign in Performance, Art, and Poetry. Ann Arbor: The University of Michigan Press, 1995.

Esman 1992

Abigail Esman. “Roller Brawl.” Art & Antiques, May 1992, p. 16.

Essen 1977

Museum Folkwang Essen, Essen, Germany. Barnett Newman, Robert Ryman, Brice Marden: Druckgraphische Arbeiten. 25 February–20 March 1977.

Essers 1995

Volkmar Essers. “Berichte aus westdeutschen Museen: Kunstsammlung Nordrhein-Westfalen Düsseldorf.” Wallraf-Richartz-Jahrbuch 56 (1995), pp. 339–41.

Everitt 1978

Anthony Everitt. Abstract Expressionism. Woodbury, N.Y.: Barron’s, 1978.

Fabbri 2002a

Anne Fabbri. “Barnett Newman: Philadelphia Museum of Art.” The Art Newspaper [international edition], What’s On, p. 7.

Fabbri 2002b

Anne R. Fabbri. “A Painter at ‘Onement’: Barnett Newman: New Notions on Art.” Philadelphia Daily News, 22 March 2002, p. 65.

Fairbrother 1999

Trevor Fairbrother. “Virginia and Bagley Wright’s Campaign for Contemporary Art in Seattle.” In The Virginia and Bagley Wright Collection of Modern Art, pp. 23–47. Exh. cat. Seattle Art Museum, 1999.

Fechner-Smarsly 1997

Thomas Fechner-Smarsly. “Der absolute Augenblick: Skupturen und Bilder von Barnett Newman in der Kunstsammlung Nordrhein-Westfalen.” Frankfurter Rundschau, 23 May 1997, p. 7. Reprinted in Neue bildende Kunst, no. 4 (August–September 1997), pp. 89–90.

Fedier 1977

Franz Fedier. “Barnett Newman 1905–1970: White Fire II, 1960.” Kunstnachrichten 13, no. 6 (September 1977), pp. 164–65.

Feigen 2000

Richard Feigen. Tales from the Art Crypt: The Painters, the Museums, the Curators, the Collectors, the Auctions, the Art. New York: Alfred A. Knopf, 2000.

Feldman 1997

Barbara Monk Feldman. “Music and the Picture Plane: Poussin’s Pyramus and Thisbe and Morton Feldman’s For Philip Guston.“ Res, no. 32 (Autumn 1997), pp. 135–52.

Felix 1976

Zdenek Felix. “Zur Neuerwerbung des Gemäldes ‘Prometheus Bound’ von Barnett Newman.” Museum Folkwang Essen Mitteilungen 10/11 (1976/77), pp. 37–45.

Fer 1997

Briony Fer. On Abstract Art. New Haven and London: Yale University Press, 1997.

Ferretti 1969

Fred Ferretti. “Houston Getting a Sculpture After All.” The New York Times, 26 August 1969, p. 37.

Ferrier and le Pichon 1989

Jean-Louis Ferrier and Yann le Pichon. Art of Our Century: The Chronicle of Western Art, 1900 to the Present. New York: Prentice Hall, [1989].

Fichner-Rathus 1977

Lois Fichner-Rathus. “Abstract Expressionism.” In Sam Hunter, ed. The Dada/Surrealist Heritage, pp. 9–12. Exh. cat. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1977.

Field 1975

Richard S. Field. Recent American Etching. Exh. cat. Davison Art Center, Wesleyan University, Middletown, Connecticut, 1975.

Fineberg 1995

Jonathan Fineberg. “Barnett Newman.” In Art Since 1940: Strategies of Being, pp. 98–106. Englewood Cliffs, New Jersey: Prentice Hall, 1995.

Firestone 1981

Evan R. Firestone. “Color in Abstract Expressionism: Sources and Background for Meaning.” Arts Magazine 55, no. 7 (March 1981), pp. 140–43.

Fischer 2001

Hartwig Fischer. “In Vast White Space.” English insert in Weiss: Skulpturen und Bilder des 20. Jahrhunderts aus der Öffentlichen Kunstsammlung Basel und der Emanuel Hoffmann-Stiftung, pp. 3–27. Exh. cat. Museum für Gegenwartskunst der Öffentlichen Kunstsammlung Basel und der Emanuel Hoffmann-Stiftung, Basel, 2001.

Fisher 2002

Lucy Fisher. “Primal Force.” Time, 14 October 2002, pp. 92–94.

Flanders 2002

Judith Flanders. “Newman Unzipped.” Times Literary Supplement, 11 October 2002, p. 20.

Fleming 1980

William Fleming. Art and Ideas. 6th ed. New York: Holt, Rinehart and Winston, 1980.

Forder 1994

Caroline Forder. “Who’s Afraid of Red, Yellow, and Blue III?” International Journal of Cultural Property 3, no. 1 (1994), pp. 83–91.

Fort Lauderdale 1986

Museum of Art, Fort Lauderdale. An American Renaissance: Painting and Sculpture Since 1940. 12 January–30 March 1986. Catalogue edited by Sam Hunter with texts by Harry F. Gaugh et al.

Fortuin 2002

Arjen Fortuin. “Barnett Newman in Londen: Doe een stap naar voren.” NRC-Handelsblad, 22 November 2002, p. 22.

Francis 1996

Richard Francis. “Barnett Newman.” In Negotiating Rapture: The Power of Art to Transform Lives, pp. 140–47. Exh. cat. Museum of Contemporary Art, Chicago, 1996.

Frank 1988

Elizabeth Frank. “At the Galleries” [concerning Barnett Newman exhibition at the Pace Gallery]. Partisan Review 55, no. 4 (Fall 1988), pp. 632–33.

Frankfurt 1967

Kunstverein, Frankfurt am Main. Kompass USA: Paintings After 1945 in New York. 30 December 1967–11 February 1968. Catalogue with introduction in German and English by Jean Leering.

Frankfurt 1985

Städtische Galerie im Städelschen Kunstinstitut, Frankfurt am Main. Amerikanische Zeichnungen 1930–1980. 28 November 1985–26 January 1986. Catalogue with introduction by Walter Hopps and Neil Printz.

Frankfurt 1994

Städtische Galerie im Städelschen Kunstinstitut, Frankfurt am Main. Konzeptionelle Druckgraphik: Dan Flavin, Donald Judd, Richard Serra, Barnett Newman, Josef Albers. 1 June–23 October 1994. Exhibition brochure with introductory text by Jutta Schütt and Margret Stuffmann.

Frankfurter Rundschau 1982

“Barnett-Newman-Gemälde schwer zu restaurieren.” Frankfurter Rundschau, 20 April 1982, p. unavailable.

Franks 2002

Pamela Franks. “The Tiger’s Eye:” The Art of a Magazine. Exh. cat. Yale University Art Gallery, New Haven, 2002.

Franz 1996a

Erich Franz. “Absolutheit und Näherung: Zu Imdahls Gestaltung seiner Interpretationen.” In Die Unersetzbarkeit des Bildes: Zur Erinnerung an Max Imdahl, pp. 19–35. Exh. cat. Westfälischer Kunstverein, Münster, 1996.

Franz 1996b

Erich Franz. “The Presence of the Absolute.” In In Quest of the Absolute, pp. 13–89. Exh. cat. Blumarts, Inc./Peter Blum Edition, New York, 1996.

Franzke 1982

Andreas Franzke. “Newmans absolute Formen.” In Skulpturen und Objekte von Malern des 20. Jahrhunderts, pp. 228–34. Cologne: DuMont, 1982.

Frascina 1993

Francis Frascina. “The Politics of Representation.” In Paul Wood et al. Modernism in Dispute: Art Since the Forties, pp. 77–169. New Haven and London: Yale University Press, 1993.

Fredericton 1963

Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada. Dunn International Exhibition. 7 September–6 October 1963. Catalogue.

Freed 1971

Eleanor Freed. “A Triumph of Austerity: The Rothko Chapel.” The Houston Post, 28 February 1971, pp. 6–7.

Freedberg 1989

David Freedberg. The Power of Images: Studies in the History and Theory of Response. Chicago and London: University of Chicago Press, 1989.

French 1972

Philip French. “In General: Meeting Barnett Newman.” The New Statesman [London], 28 January 1972, p. 120.

Fried 1962

Michael Fried. “New York Letter.” Art International 6, no. 10 (20 December 1962), pp. 54–58.

Frimbois 2002

Jean-Pierre Frimbois. “Barnett Newman du void au zip.” Art Actuel, September 2002, pp. 86–92.

Fukuyama 1988

Fukuyama Museum of Art, Fukuyama, Japan. 20seiki kaiga-heno shotai [An introduction to twentieth-century painting]. 1988. Catalogue.

Fulford 1961

Robert Fulford. “American Revolution.” Toronto Daily Star, 14 October 1961, p. 30.

Fuller 1972

Peter Fuller. “Barnett Newman at the Tate.” Arts Review 24, no. 14 (15 July 1972), p. 423.

Gachnang 1989

Johannes Gachnang. “Haltestellen des Werdens: Eine biographische Ausstellungschronologie (1958–1974).” In Bilderstreit: Widerspruch, Einheit und Fragment in der Kunst seit 1960, pp. 345–62. Exh. cat. Museum Ludwig, Rheinhallen, Cologne, 1989.

Gachnang 1996

Johannes Gachnang. “Day Before One—Ein Bild und ein Buch.” In Barnett Newman: Schriften und Interviews 1925–1970, ed. John P. O’Neill, trans. Tarcisius Schelbert, pp. 407–10. Bern and Berlin: Gachnang & Springer, 1996.

Gagnon 1980

François-Marc Gagnon. “. . . sur la voie.” Vie des Art, 24 no. 98 (Spring 1980), pp. 31–33.

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Peter Galassi et al. Making Choices: 1929, 1939, 1948, 1955. New York: The Museum of Modern Art, 2000.

Gamboni 1997

Dario Gamboni. The Destruction of Art: Iconoclasm and Vandalism Since the French Revolution. New Haven and London: Yale University Press, 1997.

García-Herráiz 1969

Enrique García-Herráiz. “Crónica de Nueva York.” Goya 92 (September–October 1969), pp. 109–113.

García-Herráiz 1970

Enrique García-Herráiz. “Crónica de Nueva York.” Goya 99 (November–December 1970), pp. 172–78.

Garino 1968

David P. Garino. “Portrait of a Mayor: Art Show in Chicago Takes Aim at Daley.” The Wall Street Journal, 23 October 1968, p. 1.

Gaugh 1986

Harry F. Gaugh. “Reappraising the New York School.” In An American Renaissance: Painting and Sculpture Since 1940, pp. 27–61. Exh. cat. Museum of Art, Fort Lauderdale, 1986.

Gaul 1963

Winfred Gaul. “Amerika, hast Du es besser? Marginalien zu einem Aufenthalt in New York.” Das Kunstwerk 9, no. 16 (March 1963), pp. 2–13.

Gauville 1993

Hervé Gauville. “Fraction, fractures, fissure et cicatrice.” Cahiers du Musée National d’Art Moderne, no. 43 (Spring 1993), pp. 61–71.

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Martin Gayford. “The Avant-Garde Dandy.” Telegraph, 7 September 2002, p. A10.

Gayford 2002b

Martin Gayford. “Star of the Stripes.” The Spectator [London], 21 September 2002, pp. 53–54.

Gayford 2002c

Martin Gayford. “Being in a Field.” Modern Painters, Autumn 2002, pp. 60–65.

Gazette des Beaux-Arts 1970

“La chronique des Arts.” Gazette des Beaux-Arts, no. 1213 (February 1970), sup. p. 107.

Gebhardt 1997

Volker Gebhardt. Kunstgeschichte: Malerei Schnellkurs. Cologne: Dumont, 1997.

Geelhaar 1980

Christian Geelhaar. “Museen und Galerien, The Metropolitan Museum of Art: Ausstellung Barnett Newman—Complete Drawings 1944–1969.” Pantheon [Munich] 38, no. 3 (July–September 1980), pp. 237–38.

Geelhaar 1988

Christian Geelhaar. “Schenkungen für das Kunstmuseum Basel: Delacroix—Newman.” Basler Zeitung, 4 August 1988, p. 33.

Geelhaar 1989

Christian Geelhaar. Kunstmuseum Basel: Ankäufe und Schenkungen 1988. Basel: Öffentliche Kunstsammlung and Eidolon AG, 1989.

Geelhaar 1992

Christian Geelhaar. Kunstmuseum Basel: The History of the Paintings Collection and a Selection of 250 Masterworks. Basel: The Friends of the Kunstmuseum Basel, 1992.

Geldzahler 1961

Henry Geldzahler. “Heller: New American-Type Collector.” Artnews, 60 (September 1961), pp. 28–30, 58.

Geldzahler 1965

Henry Geldzahler. American Painting in the Twentieth Century. The Metropolitan Museum of Art, New York, 1965.

Geldzahler 1969a

Henry Geldzahler. New York Painting and Sculpture, 1940–1970. Exh. cat. The Metropolitan Museum of Art, New York, 1969.

Geldzahler 1969b

Henry Geldzahler. “Reports of the Departments, 1968–69: Contemporary Arts.” The Metropolitan Museum of Art Bulletin 28, no. 2 (October 1969), pp. 62–64.

Geldzahler 1975

H[enry] G[eldzahler]. Catalogue entry “Barnett Newman.” In The Metropolitan Museum of Art: Notable Acquisitions 1965–1975, p. 209. New York: The Metropolitan Museum of Art, [1975].

Genauer 1950

E[mily] G[enauer]. “Barnett Newman Exhibit.” New York Herald Tribune, 26 January 1950, p. 19.

Genauer 1951

Emily Genauer. “Art and Artists: Super-Realistic Old and Nearly Blank Modern Art Both ‘Fool the Eye.’” New York Herald Tribune, 6 May 1951, sec. 4, p. 5.

Genauer 1959

Emily Genauer. “The Great Void: Now Come ‘Inaction’ Painters Shouting a Significant Silence.” New York Herald Tribune, 15 March 1959, sec. 4, p. 7.

Genauer 1965

Emily Genauer. “Like Peeping Into a Keyhole.” New York Herald Tribune, 2 February 1965, p. unavailable.

Genauer 1966a

Emily Genauer. “Christ’s Journey on Canvas.” New York Herald Tribune, 20 April 1966, p. 20.

Genauer 1966b

E[mily] G[enauer]. “Barnett Newman.” New York Herald Tribune, 23 April 1966, p. 7.

Genauer 1966c

Emily Genauer. “Journal of Art: The Latest Madness at Whitney Museum.” World Journal Tribune, 15 December 1966, p. 33.

Genauer 1968

Emily Genauer. “Realer Than Real.” New York Post, 6 July 1968, magazine, p. 42.

Genauer 1971a

Emily Genauer. “Art and the Artist.” New York Post, 13 March 1971, p. 36.

Genauer 1971b

Emily Genauer. “Art and the Artist.” New York Post, 10 October 1971, p. 34.

Geneva 1976

Musée d’Art et d’Histoire, Geneva. Peinture américaine en Suisse 1950–1965. 8 July–4 October 1976. Catalogue with essay in English and French by Charles Goerg.

Getlein 1957

Frank Getlein. “Kidding the Id in Minneapolis.” The New Republic 137, nos. 9–10 (26 August 1957), p. 21. For Barnett Newman’s rejoinder and Getlein’s rebuttal, see The New Republic 137, nos. 17–18 (28 October 1957), p. 23.

Getlein 1966

Frank Getlein. “First U.S.-Backed Art Show for Overseas Is Shown.” The Sunday Star, 30 January 1966, pp. D-1, D-3.

Gibson 1972

Michael Gibson. “Barnett Newman—Midrash and Beyond.” International Herald Tribune [Paris], 14–15 October 1972, p. 7.

Gibson 1981

Ann Gibson. “Regression and Color in Abstract Expressionism: Barnett Newman, Mark Rothko, and Clyfford Still.” Arts Magazine 55, no. 7 (March 1981), pp. 144–53.

Gibson 1984

Ann Eden Gibson.”Theory Undeclared: Avant-Garde Magazines as a Guide to Abstract Expressionist Images and Ideas.” Ph.D. dissertation, University of Delaware, 1984.

Gibson 1985

Ann Gibson. “Barnett Newman and Alberto Giacometti.” Issue [New York], no. 3 (Spring/Summer 1985), pp. 2–9. See also Pat Passlof’s rejoinder, “Nostalgia,” in Issue, no. 5 (Winter 1986), pp. 2–5.

Gibson 1987a

Ann Gibson. “Monochrome Malerei in Amerika seit 1950.” Kunstforum International, no. 88 (March–April 1987), pp. 114–26.

Gibson 1987b

Ann Gibson. “The Rhetoric of Abstract Expressionism.” Abstract Expressionism: The Critical Developments, pp. 64–93. Exh. cat. Albright-Knox Art Gallery, Buffalo, N.Y., 1987.

Gibson 1988

Ann Gibson. “Retracing Original Intentions: Barnett Newman and Tiger’s Eye.” Art International 31, no. 5 (Winter 1988), pp. 14–23.

Gibson 1994

Ann Gibson. “Lesbian Identity and the Politics of Representation in Betty Parsons’s Gallery.” In Gay and Lesbian Studies in Art History, ed. Whitney Davis, pp. 245–70. New York and London: The Haworth Press, 1994.

Gibson 1997

Ann Eden Gibson. Abstract Expressionism: Other Politics. New Haven and London: Yale University Press, [1997].

Gilbert-Rolfe 1999

Jeremy Gilbert-Rolfe. Beauty and the Contemporary Sublime. New York: Allworth Press, 1999.

Giménez 1990

Carmen Giménez, ed. Spain Collects: Modern Masterpieces from the Collection of Jacques Hachuel. Exh. cat. The Spanish Institute, New York, 1990.

Glaser 1982

David J. Glaser. “Transcendence in the Vision of Barnett Newman.” The Journal of Aesthetics and Art Criticism 40, no. 4 (Summer 1982), pp. 415–20.

Glenn 1978

Constance W. Glenn. “Words & Images: ULAE at UCLA.” The Print Collector’s Newsletter 9, no. 3 (July–August 1978), pp. 75–77.

Glozer 1972

Laszlo Glozer. “Wer hat Angst vor Rot, Gelb und Blau?” Süddeutsche Zeitung, 27 July 1972, p. 8. Reprinted, as “Barnett Newman,” in Laszlo Glozer, Kunstkritiken, pp. 236–41. Frankfurt am Main: Suhrkamp, 1974.

Glozer 1981

Laszlo Glozer. Westkunst: Zeitgenössische Kunst seit 1939. Exh. cat. Museen der Stadt Köln, Cologne, 1981.

Goddard 1990

Donald Goddard. American Painting. Introduction by Robert Rosenblum. New York: Hugh Lauter Levin Associates, Inc., 1990.

Godfrey 1997

Mark Godfrey. “Painting a Place of Mourning: Barnett Newman’s Stations of the Cross.“ Master’s thesis, University College, London, 1997. On deposit in typecript at the Barnett Newman Foundation.

Godfrey 2002

Mark Godfrey. “At Onement: Jewish Approaches to the Art of Barnett Newman.” The Jewish Quarterly, Winter 2002, pp. 17–22.

Gohr 1986

Siegfried Gohr. Museum Ludwig Köln: Gemälde, Skulpturen, Environments vom Expressionismus bis zur Gegenwart. 2 vols. Cologne: Prestel-Verlag, 1986.

Golding 2000

John Golding. Paths to the Absolute: Mondrian, Malevich, Kandinsky, Pollock, Newman, Rothko and Still. London: Thames & Hudson, 2000.

Gombrich 1985

E. H. Gombrich. “Image and Word in Twentieth-Century Art.” Word & Image 1, no. 3 (July–September 1985), pp. 213–41.

Gombrich 1991

E. H. Gombrich. Topics of Our Time. Berkeley and Los Angeles: University of California Press, 1991.

Goossen 1958a

E. C. Goosens [sic]. “The Philosophic Line of B. Newman.” Artnews 57, no. 4 (Summer 1958), pp. 30–31, 62–63. Reprinted in Abstract Expressionism: A Critical Record, ed. David and Cecile Shapiro, pp. 332–35. Cambridge and New York: Cambridge University Press, 1990.

Goossen 1974

E. C. Goossen. “Color and Light.” Arts Magazine 48, no. 4 (January 1974), pp. 32–41.

Göpfert 1982a

Peter Hans Göpfert. “Das Millionen-’Schlußwort’: Zur ‘Hommage à Barnett Newman’ in der Neuen Nationalgalerie.” Berliner Morgenpost, 3 February 1982, p. unavailable.

Göpfert 1982b

Peter Hans Göpfert. “Gemalte Spendierhosen: Wie Berlin seinen Barnett Newman bekommt.” Die Welt, 3 February 1982, p. unavailable.

Gopnik 2002

Blake Gopnik. “Barnett Newman, Laying It All on the Line.” Washington Post, 28 April 2002, p. G1.

Gorvy 1993

Brett Gorvy. “Massacre of the Innocents.” Antique Collector [U.K.] 64, pt. 4 (April 1993), pp. 60–63.

Gosling 1972

Nigel Gosling. “Uptight Iconoclast.” The Observer Review, 9 July 1972, p. 31.

Gössmann 1997

E. Gössmann. “Wer hat Angst vor Rot, Gelb, Blau? Umfangreiche Werkschau des 1970 verstorbenen Farbfeld-Magiers Barnett Newman in Düsseldorf—Der Maler mit dem “Zip.” Die Rheinpfalz [Ludwigshafen], 25 July 1997, p. 8.

Gottlieb 1976

Carla Gottlieb. Beyond Modern Art. New York: E. P. Dutton & Co., [1976].

Goy 1985/86

Bernard Goy. “Questions des limites et structure déductive dans la peinture de Barnett Newman.” Master’s thesis, Université Paris 1 Sorbonne, Paris, 1985/86.

Granath 1979

Olle Granath. “Ad Reinhardt och Barnett Newman.” Artes [Stockholm], no. 3/1979, pp. 32–48.

Granath et al. 1983

Olle Granath et al. Moderna Museet 1958–1983. Stockholm: Moderna Museet, [1983].

Grant 2002

Lucille Grant. “Barnett Newman.” Jewish Renaissance, Summer 2002, p. 37.

Gray 1961

Cleve Gray. “The Art in America Show.” Art in America 49, no. 4 (1961), pp. 94–100.

Gray 1962

Cleve Gray. “Bold Words to the Timid: How to Marry Art and Furnishings.” House & Garden, March 1962, pp. 199–200, 230–32.

Gray 1965a

Cleve Gray. “The Portfolio Collector: Print Review.” Art in America 53, no. 3 (June 1965), pp. 92–95.

Gray 1965b

Cleve Gray. “Tatyana Grosman’s Workshop.” Art in America 53, no. 6 (December 1965–January 1966), pp. 83–85.

Greenberg 1962

Clement Greenberg. “After Abstract Expressionism.” Art International 6, no. 8 (25 October 1962), pp. 24–32. Reprinted in Clement Greenberg: The Collected Essays and Criticism, ed. John O’Brian, vol. 4, pp. 121–34. Chicago and London: The University of Chicago Press, 1993.

Greenberg 1964

Clement Greenberg. “A Famous Art Critic’s Collection.” Vogue, 15 January 1964, pp. 92–95. Reprinted, without illustrations, in Clement Greenberg: The Collected Essays and Criticism, ed. John O’Brian, vol. 4, pp. 182–83. Chicago and London: The University of Chicago Press, 1993.

Gross 1997

Roland Gross. “Zickzack zum Erhabenen.” Rheinische Post, 22 May 1997, p. 14.

Gruen 1969

John Gruen. “Art in New York: Love Affair.” New York Magazine, 7 April 1969, p. 58.

Güner 2002

Fisun Güner. “Out of the Shadows.” Metro, 20 September 2002, p. 22.

Haase 1992

Amine Haase. “Marats Badewanne.” Kunstforum International, no. 119 (1992), pp. 131–36.

Haase 1997

Amine Haase. “Der Maler als Philosoph: Barnett Newman, der Erfinder ‘sublimer’ Bilder, in Düsseldorf.” Kölner Stadt-Anzeiger, 21 May 1997, p. 8.

Hakanson 1969

Joy Hakanson. “Giant Sculptures Invade the City.” The Detroit News, 29 June 1969, p. 8A.

Hakone 1969

The Hakone Open-Air Museum, Hakone, Japan. The First International Exhibition of Modern Sculpture. 1 August–31 October 1969 (extended to 30 November). Catalogue with texts by Michiaki Kawakita et al.

Hamburg 1983

Kunsthalle, Hamburg. Luther und die Folgen für die Kunst. 11 November 1983–8 January 1984. Catalogue with texts by Werner Hofmann et al.

Hamburg 1994

Kunsthalle, Hamburg. Kline, Newman, Rauschenberg, Still. December 1994–January 1995.

Hamburg 1997

Deichtorhallen, Hamburg. The Birth of the Cool: Amerikanische Malerei von Georgia O’Keeffe bis Christopher Wool. 14 February–11 May 1997. Catalogue.

Hamilton 1970

George Heard Hamilton. 19th and 20th Century Art: Painting, Sculpture, Architecture. New York: Harry N. Abrams, Inc., [1970].

Handke 1976

Peter Handke. Die linkshändige Frau. Suhrkamp Taschenbuch 560. Frankfurt am Main: Suhrkamp, 1976.

Harris 1993

Jonathan Harris. “Modernism and Culture in the USA, 1930–1960.” In Paul Wood et al., Modernism in Dispute: Art Since the Forties, pp. 2–76. New Haven and London: Yale University Press, 1993.

Harrison 1973

Charles Harrison. “Abstract Expressionism II: No. 8, Barnett Newman.” Studio International 185, no. 952 (February 1973), pp. 54–55.

Harrison 1977

Helen A. Harrison. Catalogue entry 31. In Twentieth Century American Paintings from The Metropolitan Museum of Art, p. 37. Exh. cat. The Parrish Art Museum, Southampton, N.Y., 1977.

Harrison 1985

Charles Harrison. “Abstract Expressionism.” In Concepts of Modern Art, ed. Nikos Stangos, pp. 169–211. Revised and enlarged reprint of 1974 publication. London: Thames and Hudson, 1985.

Hartford 1962

Wadsworth Atheneum, Hartford, Connecticut. Continuity and Change: 45 American Abstract Painters and Sculptors. 11 April–27 May 1962. Catalogue by Samuel Wagstaff, Jr.

Hartford 1964

Wadsworth Atheneum, Hartford, Connecticut. Black, White, and Grey. 9 January–9 February 1964.

Hartford 1984

Wadsworth Atheneum, Hartford, Connecticut. The Tremaine Collection: 20th Century Masters: The Spirit of Modernism. 26 February–29 April, 1984. Catalogue with texts by Robert Rosenblum et al.

Hartt 1993

Frederick Hartt. Art: A History of Painting, Sculpture, Architecture. 4th ed. New York: Harry N. Abrams, Inc., 1993.

Haskell 1999

Barbara Haskell. “New American Abstraction.” In The American Century: Art and Culture 1900–1950, pp. 362–79. New York: Whitney Museum of American Art in association with W. W. Norton & Company, [1999].

Hauser 1997

Stephan E. Hauser. Kurt Seligmann, 1900–1962: Leben und Werk. Basel: Schwabe & Co., 1997.

Hayashi 2000

Sumi Hayashi. “Door IV: Stand Still.” In Art for Life’s Sake, pp. 197–207. Exh. cat. Kawamura Memorial Museum of Art, Sakura City, Japan, 2000.

Heiser 2002

Jörg Heiser. “Vor und nach dem Reißverschluss.” Süddeutsche Zeitung, 26 September 2002, p. 13.

Heller 1958

“Art and the Executive” [Benjamin Heller interviewed]. GQ 28, no. 1 (Spring 1958), pp. 66, 122–23.

Hempstead 1970

Emily Lowe Gallery, Hofstra University, Hempstead, N.Y. Graphics in Long Island Collections from the Studio of Universal Limited Art Editions. 21 September–22 October 1970. Catalogue with texts by Diane Kelder and Robert R. Littman.

Henric 1980

Jacques Henric. “Barnett Newman: Comme dieu au-dessus de la grammaire.” In Peinture américaine, pp. 47–60. Paris: Editions Galilée/Art Press, 1980.

Hensher 1999

Philip Hensher. “Blue Poles.” Modern Painters 12, no. 1 (Spring 1999), pp. 35–37.

Hensher 2002

Philip Hensher. “Lining Up Some True Beauties . . .” The Mail on Sunday, 22 September 2002, p. 77.

Hepp 1982

Nicolas Hepp. Das nicht-relationale Werk: Jackson Pollock, Barnett Newman: Ansätze zu einer Theorie handelnden Verstehens. Mülheim: v. Westarp, 1982. Originally a doctoral dissertation, Ruhr-Universität, Bochum.

Hermann 1982

Wolf Hermann. “Barnett Newmans Farben.” Frankfurter Allgemeine Zeitung, 26 May 1982, p. unavailable.

Herstatt 1992

Claudia Herstatt. “Collective Memory—Das kollektive Gedächtnis.” In Documenta IX, vol. 1, pp. 64–75. Exh. cat. Kassel: Edition Cantz, 1992.

Herwitz 1993

Daniel Herwitz. Making Theory/Constructing Art: On the Authority of the Avant-Garde. Chicago and London: The University of Chicago Press, [1993].

Hess 1950

T[homas] B. H[ess]. “Reviews and Previews: Barnett Newman.” Artnews 49, no. 1 (March 1950), p. 48.

Hess 1951

T[homas] B. H[ess]. “Reviews and Previews: Barnet Newmann” [sic]. Artnews 50, no. 4 (June–August 1951), p. 47. Reprinted in Abstract Expressionism: A Critical Record, ed. David and Cecile Shapiro, p. 329. Cambridge and New York: Cambridge University Press, 1990.

Hess 1959

Thomas B. Hess. “The Cultural-Gap Blues.” Artnews 57, no. 9 (January 1959), pp. 24, 25.

Hess 1967a

T[homas] B. H[ess]. Editorial [includes Ad Reinhardt obituary]. Artnews 66, no. 6 (October 1967), p. 23.

Hess 1967b

T[homas] B. H[ess]. “Editorial: New Man in Town.” Artnews 66, no. 7 (November 1967), p. 27.

Hess 1969a

Thomas B. Hess. Barnett Newman. New York: Walker and Company, 1969.

Hess 1969b

T[homas] B. H[ess]. “Historico-Iconographical Footnote” [concerning Newman’s essay “Chartres and Jericho” (Newman 1969a)]. Artnews 68, no. 2 (April 1969), p. 29.

Hess 1971a

Thomas B. Hess. Barnett Newman. New York: The Museum of Modern Art, 1971.

Hess 1971b

T[homas] B. H[ess]. “Editorial: Can Art Be Used?” [concerning the dedication of the Rothko Chapel and Newman’s Broken Obelisk]. Artnews 70, no. 2 (April 1971), p. 33.

Hess 1971c

Thomas B. Hess. Speech delivered at the ceremony of dedication for Broken Obelisk on the afternoon of 20 August 1971 at the University of Washington, Seattle. Three-page typescript. On deposit at the Barnett Newman Foundation.

Hess 1971d

Thomas B. Hess. “Barnett Newman: American Artist.” Vogue, 1 November 1971, pp. 122–29.

Hess 1972a

Thomas B. Hess. “Notes on Newman’s ‘Notes.’” The Print Collector’s Newsletter 2, no. 6 (January–February 1972), pp. 121–23.

Hess 1972b

Thomas B. Hess. “The Force of Barnett Newman.” Intellectual Digest, June 1972, pp. 41–45.

Hess 1972c

Thomas B. Hess. Two-page typescript concerning Barnett Newman’s Voice of Fire. On deposit at the Barnett Newman Foundation.

Hess 1978a

Thomas B. Hess. “Barnett Newman: The Stations of the Cross—Lema Sabachthani.” In American Art at Mid-Century: The Subjects of the Artist, pp. 184–213. Exh. cat. National Gallery of Art, Washington, D.C., 1978.

Heuman 1996

Joshua Heuman. Review of Voices of Fire: Art, Rage, Power, and the State, ed. Barber, Bruce, Serge Guilbaut, and John O’Brian. Toronto, Buffalo, and London: University of Toronto Press, [1996]. RACAR, Revue d’Art Canadienne/Canadian Art Review 23, nos. 1–2 (1996), pp. 104–10.

Heusinger von Waldegg 1998

Joachim Heusinger von Waldegg. “Autonome Farbe—Autonomer Betrachter.” In Kunst im Aufbruch: Abstraktion zwischen 1945 und 1959, ed. Richard W. Gassen, pp. 173–207. [Ostfildern-Ruit, Germany]: Verlag Gerd Hatje, [1998].

Heynen 1979

Julian Heynen. Barnett Newmans Texte zur Kunst. Studien zur Kunstgeschichte, 10. Hildesheim and New York: Olms, 1979.

Heyting 1986

Lien Heyting. “Vernield schilderij wordt zeker gerestaureerd: Ex-museumdirecteur De Wilde ziet “haken en ogen” bij herstel van zijn lievelingsdoek.” NRC-Handelsblad, 24 March 1986, p. unavailable.

Ho 2002

Melissa Ho. Chronology in Barnett Newman, pp. 318–35. Exh. cat. Philadelphia Museum of Art, 2002.

Hobbs 1975

Jack A. Hobbs. Art in Context. New York: Harcourt Brace Jovanovich, Inc., 1975.

Hobbs and Levin 1978

Robert Carleton Hobbs and Gail Levin. Abstract Expressionism: The Formative Years. Exh. cat. Herbert F. Johnson Museum of Art, Cornell University, Ithaca, N.Y., 1978.

Hochfield 1994

Sylvia Hochfield. “Who’s Afraid of Daniel Goldreyer?” Artnews 93 (February 1994), pp. 34, 36.

Hoffman 1981

Katherine Hoffman. “Cross by the Sea: A Reconsideration.” The Currier Art Gallery Bulletin [Manchester, New Hampshire], Fall 1981, pp. 2–11.

Hoffman 1991

Katherine Hoffman. Explorations in the Visual Arts Since 1945. New York: Icon Editions, [ca. 1991].

Hogan 1999

Erin Elizabeth Hogan. “Traveling with the Eye: The Sites and Spaces of Modern Art in New York, 1915–1950.” Ph.D. dissertation, The University of Chicago, 1999.

Hollenstein 1986

Roman Hollenstein. “‘Das Sublime ereignet sich jetzt:’ Barnett Newmans Druckgraphik in der Graphiksammlung der ETH.” Neue Zürcher Zeitung, 19 November 1986, p. 33.

Holmes 1969

Ann Holmes. “City May Be Given Celebrated Sculpture.” Houston Chronicle, 2 May 1969, p. unavailable.

Holmes 1971

Ann Holmes. “Rothko Chapel Opening.” Houston Chronicle, 21 February 1971, pp. 17, 19.

Holmes 1976

Ann Holmes. “The Rothko Chapel Six Years Later.” Artnews 75, no. 10 (December 1976), pp. 35–37. For S. W. Swan’s rejoinder, “The ‘Broken Obelisk,’” see Artnews 76, no. 4 (April 1977), p. 34.

Honisch 1981

Dieter Honisch. “Neuerwerbungen der Nationalgalerie 1981: Barnett Newman, Who’s Afraid of Red, Yellow, and Blue IV.” Jahrbuch Preussischer Kulturbesitz 18 (1981), pp. 219–28.

Honisch and Jensen 1976

Dieter Honisch and Jens Christian Jensen, eds. Amerikanische Kunst von 1945 bis heute: Kunst der USA in europäischen Sammlungen. Cologne: DuMont, 1976.

Honisch and Nemeczek 1981

Dieter Honisch and Alfred Nemeczek. “Pro und Contra: Ein Bild, drei Farben—2,500,000 Mark?” Art: Das Kunstmagazin, July 1981, pp. 16–19.

Honisch et al. 1982

Dieter Honisch et al. Hommage à Barnett Newman. Exh. cat. Nationalgalerie, Staatliche Museen, Preussischer Kulturbesitz, Berlin, 1982.

Honolulu 1968

Honolulu Academy of the Arts, Signals in the Sixties. 5 October–10 November 1968. Catalogue with introduction by James Johnson Sweeney.

Hooker 1995

Richard Hooker. “Sublimity as Process: Hegel, Newman and Shave.” Art & Design [London] 10, nos. 1–2 (January–February 1995), pp. 42–53.

Hopkins 2000

David Hopkins. Oxford History of Art: After Modern Art, 1945–2000. Oxford and New York: Oxford University Press, 2000.

Hopps 1965a

Walter Hopps. “Barnett Newman.” In VIII São Paulo Biennial: Estados Unidos da America/ United States of America pp. [7–22]. Exh. cat. The United States of America Pavilion, São Paulo, 1965. Reprinted in VIII São Paulo Biennial: United States of America pp. [7–22]. Exh. cat. Washington, D.C., National Collection of Fine Arts, Smithsonian Institution, 1966.

Hopps 1965b

Walter Hopps. “United States Exhibit, Sao Paulo Bienal.” Art in America 53, no. 5 (October–November 1965), p. 82.

Horowitz 1963

Leonard Horowitz. “Art: Black and White.” [Village Voice?], pp. 10, 13. Unidentified clipping on deposit at the Barnett Newman Foundation.

Houle 1992

Robert Houle. “The Spiritual Legacy of the Ancient Ones.” In Land, Spirit, Power: First Nations at the National Gallery of Canada, pp. 43–73. Exh. cat. National Gallery of Canada, Ottawa, 1992.

Houston 1974

The Museum of Fine Arts, Houston. The Great Decade of American Abstraction: Modernist Art 1960 to 1970. 15 January–10 March 1974. Catalogue by E. A. Carmean, including an introductory note by Philippe de Montebello.

Hs 1970

Hs [Richard Häsli]. “Barnett Newman gestorben” [obituary]. Neue Zürcher Zeitung, 9 July 1970 (Morgenausgabe no. 312), p. 25.

Hs 1972

Hs [Richard Häsli]. “Barnett Newman: Ausstellung in der Tate Gallery.” Neue Zürcher Zeitung, 10 July 1972 (Morgenausgabe, no. 316), p. 21.

Hs 1988

Hs [Richard Häsli]. “Später Ankauf: Ein Barnett Newman für das Kunsthaus.” Neue Zürcher Zeitung, 20 September 1988, p. 53.

Hubbard 2002

Sue Hubbard. “Place of Silence.” Royal Academy Magazine, Autumn 2002, p. 22.

Huber 1970

Carlo Huber. Barnett Newman: Das lithographische Werk. Exh. cat. Kammerkunsthalle, Bern, 1970.

Hubert-Rodier 1993

Christian Hubert-Rodier. “Barnett et les seconds couteaux.” UKIO [France], Spring 1993, pp. 5–7.

Hudson 1964

Andrew Hudson. “Canada’s Place in Abstract Art Today.” The Canadian Forum 44, no. 520 (May 1964), pp. 27–28.

Hudson 1966a

Andrew Hudson. “Newman Brings Grandeur to Town.” The Washington Post, 30 January 1966, p. G9.

Hudson 1966c

Andrew Hudson. “The Case for ‘Exporting’ Nation’s Avant-Garde Art” [interview with Barnett Newman]. The Washington Post, 27 March 1966, p. G10. Reprinted in Barnett Newman: Selected Writings and Interviews, ed. John P. O’Neill, pp. 268–73. New York: Alfred A. Knopf, 1990.

Hudson 1966d

Andrew Hudson. “Letter from Washington.” Art International 10, no. 6 (Summer 1966), pp. 130–32.

Hudson 1966e

Andrew Hudson. “‘Fabulous Loans’ Sparkle in Whitney U.S. Art Show.” The Washington Post, 28 September 1966, p. C10.

Hudson 1967a

Andrew Hudson. “Some Good Omens for Painting, If Not for American Sculpture.” The Washington Post, 29 January 1967, p. unavailable.

Hudson 1967b

Andrew Hudson. “Shows Are Rich in Comparison.” The Washington Post, 21 May 1967, p. unavailable.

Hudson 1967c

Andrew Hudson. “Scale as Content: Bladen, Newman, Smith at the Corcoran.” Artforum 6, no. 4 (December 1967), pp. 46–47. For Barnett Newman’s rejoinder, see Artforum 6, no. 7 (March 1968), p. 4.

Hudson 1968

Andrew Hudson. “On Jules Olitski’s Painting—and Some Changes of View.” Art International 12, no. 1 (January 1968), pp. 31–36.

Hughes 1971a

Robert Hughes. “Solid Man.” Time, 5 April 1971, p. 66.

Hughes 1971b

Robert Hughes. “Pursuit of the Sublime.” Time, 18 October 1971, pp. 66–69.

Hughes 1981

Robert Hughes. The Shock of the New. New York: Alfred A. Knopf, 1981.

Hughes 1997

Robert Hughes. American Visions: The Epic History of American Art. New York: Alfred A. Knopf, 1997.

Hultén et al. 1992

Pontus Hultén et al. The Great Collections, 1: The Museum of Modern Art, New York, from Cezanne to Pollock Exh. cat. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, 1992.

Hume 1990a

Christopher Hume. “Simple Painting a Mystery.” The Toronto Star, 15 April 1990, pp. C1, C6.

Humlebæk 1971

Louisiana Cultural Centre and Museum of Contemporary Art, Humlebæk, Denmark. American Art 1950–70. 11 September–24 October 1971. Catalogue published as special issue of magazine Louisiana Revy 12, no. 1 (September 1971).

Humlebæk 1994

Louisiana Museum of Modern Art, Humlebæk, Denmark. Fra van Gogh til Gerhard Richter. 22 July–23 October 1994. Catalogue with texts by Ute Eskildsen, Hubertus Froning, and Georg W. Költzsch.

Hummelen 1992

Ysbrand Hummelen. “‘Who’s Afraid of Red, Yellow and Blue III,’ Barnett Newman.” Zeitschrift für Kunsttechnologie und Konservierung 6, no. 2 (1992), pp. 215–22.

Hunter 1964

Sam Hunter. “Abstract Expressionism Then—and Now.” Canadian Art 21, no. 5, issue 93 (September–October 1964), pp. 266–69.

Hunter 1967

Sam Hunter. “Action Painting: La generazione eroica.” L’Arte Moderna 13, no. 110 [ca. 1967], pp. 41–80.

Hunter 1970

Sam Hunter. La pittura americana del dopoguerra. Mensili d’Arte. Milan: Fratelli Fabbri Editori, 1970.

Hunter 1972

Sam Hunter. American Art of the 20th Century. New York: Harry N. Abrams, Inc., [1972].

Hunter 1974

Sam Hunter. Introduction to Monumenta: A Biennial Exhibition of Outdoor Sculpture, pp. 5–8. Exh. cat. Newport, Rhode Island, 1974.

Hunter 1978

Sam Hunter. “Nordamerika.” In Propyläen Kunstgeschichte, sup. vol. 2. Munich: Propyläen Verlag, 1978.

Hunter 1985

Sam Hunter. Masters of the Fifties: American Abstract Painting from Pollock to Stella. Exh. cat. Marisa del Re Gallery, New York, 1985.

Hunter and Jacobus 1976

Sam Hunter and John Jacobus. Modern Art from Post-Impressionism to the Present: Painting, Sculpture, Architecture. New York: Harry N. Abrams, Inc., 1976.

Hunter et al. 1966

Sam Hunter et al. New Art Around the World: Painting and Sculpture. New York: Harry N. Abrams, Inc., [1966].

Huntington 1999

Heckscher Museum of Art, Huntington, N.Y. Shaping a Generation: The Art and Artists of Betty Parsons. 6 February–18 April 1999. Catalogue with texts by Anne Cohen DePietro et al.

Imdahl 1969

Max Imdahl. “‘Is It a Flag, Or Is It a Painting?’ Über mögliche Konsequenzen der konkreten Kunst.” Wallraf-Richartz-Jahrbuch 31 (1969), pp. 205–32. Reprinted in Max Imdahl, Bildautonomie und Wirklichkeit: Zur theoretischen Begründung moderner Malerei, pp. 69–96. Mittenwald: Mäander, [1981].

Imdahl 1971

Max Imdahl. Barnett Newman: Who’s Afraid of Red, Yellow and Blue III. Werkmonographien zur Bildenden Kunst, 147. Stuttgart: Philipp Reclam jun., 1971. Reprinted, without illustrations, in Das Erhabene: Zwischen Grenzerfahrung und Größenwahn, ed. Christine Pries, pp. 233–52. Weinheim: VCH Acta humaniora, 1989. Reprinted again in Max Imdahl, Zur Kunst der Moderne: Gesammelte Schriften, ed. Angeli Janhsen-Vukicevic, vol. 1, pp. 244–73. Frankfurt: Suhrkamp, 1996.

Imdahl 1982

Max Imdahl, ed. Arbeiter diskutieren moderne Kunst: Seminare im Bayerwerk Leverkusen. Edition Kunstbuch Berlin. Berlin: Rembrandt Verlag, 1982.

Imdahl 1983

Max Imdahl. “Moderne Kunst und Medien: Ein Vortrag.” Das Kunstwerk 36, no. 1 (February 1983), pp. 18–21.

Imdahl 1986a

Max Imdahl. “Moderne Kunst und visuelle Erfahrung.” Neue Zürcher Zeitung, 15–16 February 1986, p. 65.

Imdahl 1986b

Max Imdahl. “Zur Bild-Objekt-Problematik in europäischer und amerikanischer Nachkriegskunst.” In Europa/Amerika: Die Geschichte einer künstlerischen Faszination seit 1940, pp. 245–55. Exh. cat. Museum Ludwig, Cologne, 1986.

Imdahl 1996

Max Imdahl. “Bild—Totalität und Fragment.” In Die Unersetzbarkeit des Bildes: Zur Erinnerung an Max Imdahl, pp. 86–95. Exh. cat. Westfälischer Kunstverein, Münster, 1996.

Inboden 1992

Gudrun Inboden. “Barnett Newman.” In Meisterwerke der Kunst: 10 Jahre Museumsstiftung Baden-Württemberg, pp. 168–69. Exh. cat. Stuttgart, Staatsgalerie, 1992.

Indianapolis 1977

Indianapolis Museum of Art, Perceptions of the Spirit in Twentieth-Century American Art. 20 September–27 November 1977. Catalogue by Jane and John Dillenberger.

Industrial Design 1967

“Sculpture.” Industrial Design 14, no. 10 (December 1967), p. 10.

Irvine 1967

Art Gallery, University of California, Irvine. A Selection of Paintings and Sculptures from the Collections of Mr. and Mrs. Robert Rowan. 2–21 May 1967. Exhibition brochure with text by John Coplans.

Irvine 1968

Art Gallery, University of California, Irvine. Twentieth Century Works on Paper. 30 January–25 February 1968. Catalogue with introduction by James Monte.

Ithaca 1978

Herbert F. Johnson Museum of Art, Cornell University, Ithaca, N.Y. Abstract Expressionism: The Formative Years. 30 March–14 May 1978. Catalogue with essays by Robert Carleton Hobbs and Gail Levin.

J.A. 1997

J.A. “Kosmisches Streben.” Kölner Illustrierte, August 1997, p. 17.

Jablonka 1986

Rafael Jablonka. “Begegnungen: Eine Skizze.” In Europa/Amerika: Die Geschichte einer künstlerischen Faszination seit 1940, pp. 17–23. Exh. cat. Museum Ludwig, Cologne, 1986.

Jachec 1991

Nancy Jachec. “The Space Between Art and Political Action: Abstract Expressionism and Ethical Choice in Postwar America 1945–1950.” The Oxford Art Journal 14, no. 2 (1991), pp. 18–29.

Jachec 2000

Nancy Jachec. The Philosophy and Politics of Abstract Expressionism 1940–1960. Cambridge: Cambridge University Press, 2000.

Jackson 2002

Kevin Jackson. “Zip Code.” World of Interiors 22, no. 9 (September 2002), pp. 106–9.

Jacobs 1962

Rachel Jacobs. “L’idéologie de la peinture américaine.” Aujourd’hui: Art et Architecture 6, no. 37 (June 1962), pp. 6–19.

Janis Collection 1972

Three Generations of Twentieth-Century Art: The Sidney and Harriet Janis Collection of The Museum of Modern Art. With foreword by Alfred H. Barr, Jr., and introduction by William Rubin. New York: The Museum of Modern Art, 1972.

Jansen 1997

Bert Jansen. “Barnett Newman: Een gevoel van aanwezigheid.” Het Financieele Dagblad [Amsterdam], 7 July 1997, p. 10.

Janson 1968

Donald Janson. “Anti-Daley Art Put in Show in Chicago.” The New York Times, 24 October 1968, p. 40.

Janson 1995

H. W. Janson. History of Art. 5th ed., rev. and expanded by Anthony F. Janson. New York: Harry N. Abrams, Inc., 1995.

Januszczak 1985

Waldemar Januszczak. “La Grande Parade.” Studio International 198, no. 1009 (1985), pp. 36–39.

Januszczak 2002

Waldemar Januszczak. “Forget the Standard Line About Barnett Newman: The Stripes Are a Testament to His Spirituality.” The Sunday Times: Culture, 29 September 2002, pp. 10–11.

Jehle 1969

Werner Jehle. “Basler Kunstchronik.” Werk 56, no. 5 (May 1969), pp. 352–53.

Jochims 1988

Raimer Jochims. “Christliche Kunst im 20. Jahrhundert: Beispiele.” Das Münster 41, no. 1 (1988), pp. 19–30.

Johannes 1974

Christa Erika Johannes. “Relationships Between Some Abstract Expressionist Painting and Samuel Becketts’s Writing.” Ph.D. dissertation, University of Georgia, 1974. Ann Arbor: Xerox University Microfilms, 1978.

Johnson 1976

Ellen H. Johnson. Modern Art and the Object: A Century of Changing Attitudes. New York, Hagerstown, San Francisco, and London: Harper & Row, 1976.

Johnsrud 1983

Even Hebbe Johnsrud. “Barnett Newman: Den tragiske dimensjon i kunsten” [the tragic dimension in art]. Kunst og Kultur [Oslo] 66, no. 1 (1983), pp. 18–28.

Jones 1988

Ronald Jones. “Barnett Newman: His Historical Position Resembles Our Own.” Flash Art International, no. 141 (Summer 1988), pp. 154–55.

Jones 1996

Caroline A. Jones. Machine in the Studio: Constructing the Postwar American Artist. Chicago and London: The University of Chicago Press, [1996].

Jones 2002

Jonathan Jones. “Action Men.” The Guardian, 11 September 2002, pp. 12–13.

Jover 2002

Manuel Jover. “Barnett Newman: L’ouverture éclair.” Beaux Arts Magazine, no. 221 (October 2002), p. 32.

Judd 1964a

Donald Judd. “Black, White and Gray.” Arts Magazine 38, no. 6 (March 1964), pp. 36–38. Reprinted in Donald Judd, Complete Writings 1959–1975, pp. 117–19. Halifax and New York: The Press of the Nova Scotia College of Art and Design and New York University Press, 1975.

Judd 1964b

D[onald] J[udd]. “In the Galleries: Black and White.” Arts Magazine 38, no. 6 (March 1964), p. 65.

Judd 1970

Donald Judd. “Barnett Newman.” Studio International 179, no. 919 (February 1970), pp. 67–69. Reprinted in Donald Judd, Complete Writings 1959–1975, pp. 200–202. The Nova Scotia series. New York: New York University Press, 1975. Reprinted again in Modern Art and Modernism: A Critical Anthology, ed. Francis Frascina and Charles Harrison, pp. 129–32. New York: Harper & Row Publishers, [1982].

Judd 1972

Donald Judd. “Barnett Newman.” Art Press [Paris], no. 1 (December 1972–January 1973), pp. 11–12.

Judd 1983

Donald Judd. “Abstract Expressionism.” In Donald Judd: Complete Writings 1975–1986, pp. 37–48. Eindhoven: Van Abbemuseum, 1987. Originally written in 1983 for BBC Open University Course “Modern Art and Modernism.” Reprinted in Chinati Foundation Newsletter, no. 6 (2000), pp. 7–13 (in English and Spanish).

Jürgen-Fischer 1965

Klaus Jürgen-Fischer. “Neue Abstraktion.” Das Kunstwerk 18, nos. 10–12 (April–May 1965). Special issue devoted exclusively to the new abstraction.

Kaak 1993

Joachim K[aak]. “Barnett Newman: Zim Zum II.” In Soll und Haben: Dauerleihgaben und Neuerwerbungen 1990–93, pp. 42–43. Düsseldorf: Kunstsammlung Nordrhein-Westfalen, 1993.

Kaal 1972

Ron Kaal. “De grenzen van de betekenis.” Elsevier, 8 April 1972, p. 95.

Kahler 1968

Erich Kahler. The Disintegration of Form in the Arts. New York: George Braziller, [1968].

Kambartel 1970

Walter Kambartel. Jackson Pollock: Number 32, 1950. Werkmonographien zur Bildenden Kunst, 139. Stuttgart: Philipp Reclam jun., 1970.

Kambartel 1973

Walter Kambartel. “Jackson Pollocks Action Painting.” Giessener Beiträge zur Kunstgeschichte 2 (1973), pp. 263–79.

Kampf 1975

Avram Kampf. “Jewish Experience in the Art of the Twentieth Century.” In Jewish Experience in the Art of the Twentieth Century, pp. 7–52. Exh. cat. The Jewish Museum, New York, 1975.

Kampf 1990

Avram Kampf. Chagall to Kitaj: Jewish Experience in 20th Century Art. New York and Westport, Connecticut: Praeger in association with Barbican Art Gallery, 1990.

Kaprow 1963

Allan Kaprow. “Impurity.” Artnews 61, no. 9 (January 1963), pp. 30–33, 52–55. Reprinted in Essays on the Blurring of Art and Life, ed. Jeff Kelley, pp. 27–45. Berkeley and Los Angeles: University of California Press, [1993].

Karsh 1969

Portraits by Yousuf Karsh. Exh. cat. The Corcoran Gallery of Art, Washington, D.C., 1969.

Kassel 1959

Museum Fridericianum, Kassel, Germany. Documenta 2: Kunst nach 1945. 11 July–11 October 1959. Catalogue in three volumes with introduction by Werner Haftmann.

Kassel 1968

Museum Fridericianum, Kassel, Germany. Documenta 4. 27 June–6 October 1968. Catalogue in two volumes with text in German by Arnold Bode, Max Imdahl, and J. Leering.

Katonah 1976

The Katonah Gallery, Katonah, N.Y. American Painting 1900–1976: Part III/I, Abstract Expressionism and Later Movements. 17 January–14 March 1976. Catalogue with text by John I. H. Baur.

Katonah 1990

The Katonah Museum of Art, Katonah, N.Y. Watercolors from the Abstract Expressionist Era. 1 April–3 June 1990. Catalogue with essay by Jeffrey Wechsler.

Kelder 1999

D[iane] K[elder]. Catalogue entry 135. In New York Collects: Drawings and Watercolors 1900–1950, pp. 300–301. Exh. cat. The Pierpont Morgan Library, New York, 1999.

Kellein 1992

Thomas Kellein. “Jasper Johns, Donald Judd, Sol LeWitt, Barnett Newman, Frank Stella.” In Transform: BildObjektSkulptur im 20. Jahrhundert, pp. 127–35. Exh. cat. Kunstmuseum and Kunsthalle, Basel, 1992.

Keller 1977

Horst Keller. “Neuerwerbungen der Kunstmuseen in Nordrhein-Westfalen 1976: Köln, Wallraf-Richartz-Museum/Museum Ludwig.” Wallraf-Richartz-Jahrbuch 39 (1977), pp. 287–89.

Kelley 1984

Jeff Kelley. “Exhibit on Newman’s Studied Side.” Los Angeles Times, 16 May 1984, sec. IV, pp. 1, 8.

Kerber 1969

Bernhard Kerber. “Der Ausdruck des Sublimen in der amerikanischen Kunst.” Art International 13, no. 10 (December 1969), pp. 31–36.

Kerber 1970a

Bernhard Kerber. “Streifenbilder: Zur Unterscheidung ähnlicher Phänomene.” Wallraf-Richartz-Jahrbuch 32 (1970), pp. 235–56.

Kerber 1970b

Bernhard Kerber. “Zur Theorie der Non-relational Art: Robert Morris.” Giessener Beiträge zur Kunstgeschichte 1 (1970), pp. 189–204.

Kerber 1970c

Bernhard Kerber. “Wider die Rhetorik der Schönheit: Ethik statt Ästhetik: Zur Malerei Barnett Newmans.” Frankfurter Allgemeine Zeitung, 16 July 1970, p. 9.

Kerber 1971

Bernhard Kerber. Amerikanische Kunst seit 1945: Ihre theoretischen Grundlagen. Stuttgart: Reclam, [1971].

Kerber 1982

Bernhard Kerber. “Brief aus Berlin.” Art International 25, nos. 9–10 (November–December 1982), p. 55.

Kerber 1990

Bernhard Kerber. “Die ökomenische Kapelle in Houston.” In GegenwartEwigkeit: Spuren des Transzendenten in der Kunst unserer Zeit, pp. 65–70. Exh. cat. Martin-Gropius-Bau, Berlin, 1990.

Kerber 1992

Bernhard Kerber. Bestände Onnasch. Berlin and Bremen: Onnasch [Collection] in association with Neues Museum Weserburg, 1992.

Kimmelman 1988

Michael Kimmelman. “Newman’s Quest for a Vocabulary.” The New York Times, 15 April 1988, p. C20.

Kimmelman 2002

Michael Kimmelman. “Epiphany in a Vibrant Universe Depicting Nothing But Itself.” The New York Times, 12 April 2002, pp. E33, E35.

King 1998

Mike King. “Concerning the Spiritual in Twentieth-Century Art and Science.” Leonardo [U.K.] 31, no. 1 (1998), 21–31.

Kingsley 1988

April Kingsley. “New York: Baziotes, Newman, Motherwell, Dehner, Hare.” The Burlington Magazine 130, no. 1024 (July 1988), pp. 561–63.

Kingsley 1992

April Kingsley. The Turning Point: The Abstract Expressionists and the Transformation of American Art. New York: Simon & Schuster, [1992].

Kirili 1984

Alain Kirili. “‘Here One,’ a White Sculpture” [in French and English]. In Alain Kirili, pp. 10, 14, 18–19. Exh. cat. Musée St. Pierre, Art Contemporain, Lyons, 1984.

Kirili 1986

Alain Kirili. “Barnett Newman, sculpture blanche.” In Statuaire, pp. 129–33. Collection “L’infini.” Paris: Éditions Denoël, 1986.

Kirili and Lemaire 1984

Alain Kirili and Gérard-Georges Lemaire [interview]. “A propos de sculptures de Giacometti, de Newman et de quelques autres.” Opus International [France], no. 96 (Winter 1984), pp. 40–43.

Kitakyushu 1991

Kitakyushu Municipal Art Museum, Kitakyushu City, Japan. Art After World War II: From the Collection of the Kawamura Memorial Museum of Art. 3 May–9 June 1991.

Klaster 1992

Jan Bart Klaster. “Red Alert.” Artnews 91, no. 2 (February 1992), pp. 31–32.

Klemm 2000

Christian Klemm. “Material—Modell—Skulptur: Vom Aufheben der Dinge in die Vorstellung.” In Cy Twombly: Die Skulptur, pp. 152–81. Exh. cat. Kunstmuseum, Basel, and The Menil Collection, Houston, 2000.

Knight 2002

Christopher Knight. “Revisiting a Modernist Old Master.” Los Angeles Times, 27 March 2002, pp. F1, F6.

Knigin and Zimiles 1970

Michael Knigin and Murray Zimiles. The Technique of Fine Art Lithography. New York: Van Nostrand Reinhold Company, 1970.

Kosbab 1969

Frances Kosbab. “Gallery Reviews: Barnett Newman.” New York Nightsounds, May 1969, p. 11.

Koslow 1984

Francine Amy Koslow. Henry David Thoreau as a Source for Artistic Inspiration. Exh. cat. DeCordova and Dana Museum and Park, Lincoln, Massachusetts, 1984.

Kozloff 1964a

Max Kozloff. “The Many Colorations of Black and White.” Artforum 2, no.8 (February 1964), pp. 22–25.

Kozloff 1964b

Max Kozloff. “Art and the New York Avant-Garde.” Partisan Review 31, no. 4 (Fall 1964), pp. 535–54.

Kozloff 1965

Max Kozloff. “The Critical Reception of Abstract-Expressionism.” Arts Magazine 40, no. 2 (December 1965), pp. 27–33.

Kozloff 1966b

Max Kozloff. “Art” [concerning Barnett Newman exhibition at the Solomon R. Guggenheim Museum]. The Nation 202, no. 20 (16 May 1966), p. 598.

Kramer 1966

Hilton Kramer. “U.S. Art from São Paulo on View in Washington.” The New York Times, 29 January 1966, p. 22.

Kramer 1967a

Hilton Kramer. “Sculpture: 3 Big Ones.” The New York Times, 7 October 1967, sec. 2, p. 24.

Kramer 1967b

Hilton Kramer. “The Studio vs. the Street.” The New York Times, 15 October 1967, p. D23.

Kramer 1978

Hilton Kramer. “A New View of Abstraction.” The New York Times, 11 June 1978, p. D37.

Kramer 1989

Hilton Kramer. “Modern Art at the National Gallery.” The New Criterion, April 1989, pp. 1–4.

Krämer-Badoni 1987

Rudolf Krämer-Badoni. “Der Stein wurde ihm zum Instrument: Das Frankfurter Städel zeigt Barnett Newmans Litho-Zyklus der ‘Cantos.’” Die Welt, 16 June 1987, p. 31.

Krane 1991

Susan Krane. Lynda Benglis. Exh. cat. High Museum of Art, Atlanta, 1991.

Krauße et al. 1995

Anna-Carola Krauße et al. Geschichte der Malerei von der Renaissance bis heute. Cologne: Könemann, 1995.

Kroll 1961

Jack Kroll. “American Painting and the Convertible Spiral” [concerning group exhibition at the Solomon R. Guggenheim Museum]. Artnews 60, no. 7 (November 1961), pp. 34–37, 66–69.

Kronenberger 1969

Louis Kronenberger, ed. Quality: Its Image in the Arts. New York: Atheneum, 1969.

Krüger 1981

Werner Krüger. “Gesten des wilden Temperaments: Barnett Newman im Kölner Museum Ludwig.” Kölner Stadt-Anzeiger, 20 February 1981, p. unavailable.

Kudielka 1968

Robert Kudielka. “Documenta 4: A Critical Review.” Studio International 176, no. 903 (September 1968), pp. 76–78.

Kuh 1969

Katherine Kuh. “Denials, Affirmations, and Art.” Saturday Review 52 (31 May 1969), pp. 41–42.

Kunst, Kultur, Köln 1979

Kunst, Kultur, Köln. Vol. 2: Neuerwerbungen der Kölner Museen aus dreißig Jahren. Cologne: Greven Verlag, 1979.

Kunstforum 1997

“Barnett Newman in Düsseldorf.” Kunstforum International 138 (September–November 1997), pp. 260–62.

Kunstsammlung Nordrhein-Westfalen 1997a

Kurzführer: Barnett Newman: Bilder, Skulpturen, Graphik: 17. Mai–10. August 1997, Kunstsammlung Nordrhein-Westfalen Düsseldorf. Exh. brochure, bilingual. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1997.

Kunstwerk 1982

“Notizbuch der Redaktion: Auf das Gemälde von Barnett Newman (eingeschlagen).” Das Kunstwerk 35, no. 3 (June 1982), p. 90.

Kuratorium Museum Ludwig 1991

Kuratorium und Förderergesellschaft Wallraf-Richartz-Museum und Museum Ludwig e.V. Cologne: Kuratorium und Förderergesellschaft Wallraf-Richartz-Museum und Museum Ludwig e.V., 1991.

Kuspit 1974

Donald B. Kuspit. “A Phenomenological Approach to Artistic Intention.” Artforum 12, no. 5 (January 1974), pp. 46–53.

Kuspit 1987

Donald Kuspit. “Julian Schnabel: The Last Rarefied Romantic.” Artscribe [London], no. 66 (November–December 1987), pp. 42–46. Reprinted in Donald Kuspit, The New Subjectivism: Art in the 1980s, pp. 301–9. Ann Arbor and London: UMI Research Press, 1988.

Kuspit 1988

D[onald B] K[uspit]. “Barnett Newman: Pace Gallery.” Artforum 27, no. 1 (September 1988), pp. 136–37.

La Jolla 1980

La Jolla Museum of Contemporary Art. Seven Decades of Twentieth-Century Art: From the Sidney and Harriet Janis Collection of The Museum of Modern Art and the Sidney Janis Gallery Collection. 29 March–11 May 1980. Catalogue with introduction by William Rubin.

La Jolla 1982

La Jolla Museum of Contemporary Art. The Carolyn and Jack Farris Collection: Selected Contemporary Works. 12 June–25 July 1982. Catalogue with texts by Sebastian J. Adler et al.

LaCoste 1972

Michel Conil LaCoste. “Barnett Newman au Grand Palais: La peinture en lisières.” Le Monde [Paris], 12 October 1972, p. 17.

Lanes 1959

Jerrold Lanes. “Reflections on Post-Cubist Painting.” Arts Magazine 33, no. 8 (May 1959), pp. 24–29.

Lanes 1969

Jerrold Lanes. “New York” [Barnett Newman exhibition at M. Knoedler & Co., Inc.]. Artforum 7, no. 9 (May 1969), pp. 59–60.

Larson 1986

Kay Larson. “Love or Money.” New York Magazine, 23 June 1986, pp. 65–66.

Lasalle 1981

Hélène Lasalle. Art américain: Oeuvres des collections du Musée National d’Art Moderne. Paris: Centre Georges Pompidou, [1981].

Lascault 1980

Gilert Lascault. “Les dessins de Barnett Newman.” La Quintaine littéraire, 1–15 December 1980, pp. 17–18.

Laursen 1998

Steingrim Laursen. “Drawings and Prints.” Louisiana Revy [Humlebæk, Denmark] 38, no. 3 (June 1998), pp. 116–27.

Lauter 1996

Rolf Lauter. “Museums in Dialogue.” In Views from Abroad: European Perspectives on American Art 2, pp. 78–118. Exh. cat. Whitney Museum of American Art, New York, 1996.

Lebensztejn 1991

Jean-Claude Lebensztejn. “Homme nouveau, art radical” [review O’Neill 1990]. Critique: Revue Générale des Publications Françaises et Etrangères, no. 528 (May 1991), pp. 323–37.

Lebovici 1993

Élisabeth Lebovici. “Parallèles byzantins: L’effet Greenberg sur l’art contemporain.” Cahiers du Musée National d’Art Moderne, nos. 45–46 (Autumn–Winter 1993), pp. 185–94.

Leclerc 1999

Denise Leclerc. “From Studio to Factory.” In Robert Murray: The Factory as Studio, pp. 14–68. Exh. cat. National Gallery of Canada, Ottawa, 1999.

Lee 1997

P[amela] L[ee]. “Barnett Newman.” In Drawing Is Another Kind of Language: Recent American Drawings from a New York Private Collection, p. 148. Exh. cat. Arthur M. Sackler Museum, Harvard University Art Museums, Cambridge, Massachusetts, 1997.

Lehman 2001

David Lehman. “Poetry and the Abstract Revolution.” In The Stamp of Impulse: Abstract Expressionist Prints, pp. 27–39. Exh. cat. Worcester Art Museum, Worcester, Massachusetts, 2001.

Leider 1965a

Philip Leider. “The New York School in Los Angeles.” Artforum 4, no. 1 (September 1965), pp. 3–13.

Leider 1969

Philip Leider. “The Artist Is Unexplained.” The New York Times, 6 April 1969, pp. 25, 32.

Leja 1995

Michael Leja. “Barnett Newman’s Solo Tango.” Critical Inquiry 21, no. 3 (Spring 1995), pp. 556–80.

Leja 1998

Michael Leja. “The Monet Revival and New York School Abstraction.” In Monet in the 20th Century, pp. 98–108. Exh. cat. Museum of Fine Arts, Boston, 1998.

Les Muses 1973

Les Muses: Encyclopédie des Arts 11, no. 173 (February 1973), pp. 3450–51.

Levine 1965

Neil A. Levine. “The New York School Question” [interview with Barnett Newman]. Artnews 64, no. 5 (September 1965), pp. 38–41, 55–56.

Levinson 1992

Jerrold Levinson. “Pleasure and the Value of Works of Art.” British Journal of Aesthetics [U.K.] 32, no. 4 (October 1992), pp. 295–306.

Lewis 1996

Adrian Lewis. “Barnett Newman, Abstract Expressionism and American Cultural Conventions.” In Representing and Imagining America, ed. Philip John Davies, pp. 160–69. Keele, U. K.: Keele University Press, 1996.

Lewison 2002

Jeremy Lewison. Looking at Barnett Newman. London: August Media, 2002.

Lichtblau 1969

Charlotte Lichtblau. “Willem de Kooning and Barnett Newman: The Paintings of Two Friends in Antithesis But Not in Conflict.” Arts Magazine 43, no. 5 (March 1969), pp. 28–33.

Liesbrock 1996

Heinz Liesbrock. “Die Unersetzbarkeit des Bildes.” In Die Unersetzbarkeit des Bildes: Zur Erinnerung an Max Imdahl, pp. 8–18. Exh. cat. Westfälischer Kunstverein, Münster, 1996.

Lincoln 1984

DeCordova and Dana Museum and Park, Lincoln, Massachusetts. Henry David Thoreau as a Source for Artistic Inspiration. 6 June–9 September 1984. Catalogue by Francine Amy Koslow.

Link 1966

Link 63 [Swindon, Wiltshire], September–October 1966, unpaginated. Clipping. On deposit at the Barnett Newman Foundation.

Linker 1986

Kate Linker. “Abstraction: Form as Meaning.” In Individuals: A Selected History of Contemporary Art, 1945–1986, pp. 30–105. Exh. cat. The Museum of Contemporary Art, Los Angeles, 1986.

Lipman 1975

Jean Lipman. Provocative Parallels: Naïve Early Americans/International Sophisticates. New York: E. P. Dutton & Co., 1975.

Lippard 1966

Lucy Lippard. “New York Letter.” Art International 10, no. 6 (Summer 1966), pp. 108–15.

Lippard 1967a

Lucy Lippard. “The Silent Art.” Art in America 55, no. 1 (January–February 1967), pp. 58–63.

Lippard 1967b

Lucy R. Lippard. “Larry Poons: The Illusion of Disorder.” Art International, 20 April 1967, pp. 22–26.

Lippard 1967c

Lucy Lippard. “Beauty and the Bureaucracy.” The Hudson Review 20, no. 4 (Winter 1967–68), pp. 650–57.

Lippard 1968a

Lucy Lippard. “Escalation in Washington.” Art International 12, no. 1 (January 1968), pp. 42–46. Reprinted in Lucy Lippard, Changing: Essays in Art Criticism, pp. 237–54. New York: E. P. Dutton & Co., 1971.

Lippard 1968b

Lucy R. Lippard. “Notes on Dada and Surrealism at the Modern.” Art International 12, no. 5 (15 May 1968), pp. 34–37, 39. For Newman’s comment, see Barnett Newman: Selected Writings and Interviews, ed. John P. O’Neill, pp. 236–37. New York: Alfred A. Knopf, 1990.

Lipsey 1988

Roger Lipsey. An Art of Our Own: The Spiritual in Twentieth-Century Art. Boston and Shaftesbury, U.K.: Shambhala, 1988.

Liss 1985

Andrea Liss. “A Painter as Printmaker.” Artweek 16, no. 5 (2 February 1985), p. 5.

Littman 1991

Robert R. Littman. “El sueño de Egipto: Influencia del arte egipcio en el arte contemporáneo.” In El Sueño de Egipto: Influencia del arte egipcio en el arte contemporáneo, pp. 89–141. Exh. cat. Centro Cultural Arte Contemporáneo, Mexico City, 1991.

Location 1963

“Five Sculptors: Hague, Segal, Di Suvero, Smith, Newman.” Location 1, no. 1 (Spring 1963), pp. 81–89.

L’Oeil 1963

“Un appartement Pop.” L’Oeil 106 (October 1963), pp. 12–19.

London 1959

Tate Gallery, London. The New American Painting. 24 February–22 March 1959. Catalogue with text by Alfred H. Barr, Jr., and artists’ statements.

London 1964a

Tate Gallery, London. Painting and Sculpture of a Decade 54–64: Calouste Gulbenkian Foundation Exhibition. 22 April–28 June 1964. Catalogue by Fundação Calouste Gulbenkian.

London 1964b

Kasmin Ltd, London. 118 Show. July–August 1964.

London 1972

Tate Gallery, London. Barnett Newman. 28 June–6 August 1972. Catalogue with foreword by Norman Reid and introduction by Thomas B. Hess (revised version of exhibition catalogue New York 1971c).

London 1977

Tate Gallery, London. Series. 21 December 1977–31 January 1978. Exhibition brochure with text by Elizabeth Underhill.

London 1978

Hayward Gallery, London. Dada and Surrealism Reviewed. 11 January–27 March 1978. Catalogue by Dawn Ades, introduction by David Sylvester, and essay by Elizabeth Cowling.

London 1984

Tate Gallery, London. American Art: Minimal Expression. 1 July–30 August 1984. Catalogue by Jeremy Lewison.

London 1986a

Tate Gallery, London. Forty Years of Modern Art 1945–1985. 19 February–27 April 1986. Catalogue with foreword by Alan Bowness and introduction by Ronald Alley.

London 1986b

Whitechapel Art Gallery, London. In Tandem: The Painter-Sculptor in the Twentieth Century. 27 March–25 May 1986. Catalogue with essay by Lynne Cooke.

London 1993

Anthony d’Offay Gallery, London. Barnett Newman, Joseph Beuys, Cy Twombly, Yves Klein, Jasper Johns: From Chuang Tzu. 9 September–15 October 1993. Catalogue with texts from Chuang Tzu chosen by David Sylvester.

London 1995

Annely Juda Fine Art, London. 1945: The End of the War. 28 June–16 September 1995. Catalogue with text by Peter Ustinov et al.

London 1996

Tate Gallery, London. Brancusi to Beuys: Works from the Ted Power Collection. 19 November 1996–16 February 1997. Catalogue edited by Jennifer Mundy.

London 2002

Tate Modern, London. Looking at Modern Art: In Memory of David Sylvester. 17 January–24 March 2002. Catalogue with introduction by Nicholas Serota and text by David Sylvester.

Long 2002

Jim Long. “In Search of Uriel: Barnett Newman.” The Brooklyn Rail, Early Summer 2002, pp. 17–18.

Look 1951

“Anita Colby’s Recipe for Well-Dressed Beauty.” Look, 11 September 1951, pp. 70–73.

Los Angeles 1960a

Ferus Gallery, Los Angeles. Fourteen New York Artists. 18 January–13 February 1960.

Los Angeles 1960b

Everett Ellin Gallery, Los Angeles. Drawings by Fifteen Americans. 12 September–8 October 1960.

Los Angeles 1965a

Los Angeles County Museum of Art. New York School, The First Generation: Paintings of the 1940s and 1950s. 18 June–1 August 1965. Catalogue edited by Maurice Tuchman, with artists’ statements.

Los Angeles 1965b

Nicholas Wilder Gallery, Los Angeles. Barnett Newman: 18 Cantos. 19 July–14 August 1965.

Los Angeles 1978

Frederick S. Wight Art Gallery, University of California, Los Angeles. Words and Images: Universal Limited Art Editions. 14 March–7 May 1978. Catalogue with text by E. Maurice Bloch.

Los Angeles 1983

The Museum of Contemporary Art, Los Angeles. The First Show: Painting and Sculpture from Eight Collections 1940–1980. 20 November 1983–19 February 1984. Catalogue edited by Julia Brown and Bridget Johnson.

Los Angeles 1984

Margo Leavin Gallery, Los Angeles. Eccentric Images. 20 October–24 November 1984.

Los Angeles 1986a

Los Angeles County Museum of Art. The Spiritual in Art: Abstract Painting 1890–1985. 20 November 1986–8 March 1987. Catalogue with texts by Maurice Tuchman et al.

Los Angeles 1986b

The Museum of Contemporary Art, Los Angeles. Individuals: A Selected History of Contemporary Art 1945–1986. 6 December 1986–10 January 1988. Accompanied by a publication edited by Howard Singerman with essays by Kate Linker et al.

Los Angeles 1993

The Museum of Contemporary Art, Los Angeles. Rolywholyover: A Circus. 12 September–28 November 1993. Catalogue with text by John Cage.

Los Angeles 1999

The Museum of Contemporary Art, Los Angeles. In Memory of My Feelings: Frank O’Hara and American Art. 11 July–14 November 1999. Accompanied by publication of the same title with text by Russell Ferguson.

Louchheim 1951

Aline B. Louchheim. “Betty Parsons: Her Gallery, Her Influence.” Vogue, 1 October 1951, pp. 140–41, 194, 196–97.

Louw 1974

Roelof Louw. “Newman and the Issue of Subject Matter.” Studio International 187, no. 962 (January 1974), pp. 26–32.

Lucie-Smith 1969

Edward Lucie-Smith. Late Modern: The Visual Arts Since 1945. Praeger World of Art Series. New York and Washington, D.C.: Frederick A. Praeger, [1969].

Lucie-Smith 1977

Edward Lucie-Smith. Art Now: From Abstract Expressionism to Superrealism. New York: William Morrow and Company, Inc., 1977.

Lucie-Smith 1982

Edward Lucie-Smith. Chefs-d’oeuvre du Musée National d’Art Moderne. With foreword by Germain Viatte. Paris: Centre Georges Pompidou, 1982.

Lucie-Smith 1999

Edward Lucie-Smith. Lives of the Great 20th-Century Artists. [London]: Thames and Hudson, [1999].

Luxemburg 1995

Casino Luxembourg, Luxemburg. Main Stations. 11 November 1995–3 March 1996. Catalogue edited by Urs Raussmüller and Christel Sauer.

Lynton 1980

Norbert Lynton. The Story of Modern Art. Ithaca, N.Y.: Cornell University Press, 1980.

Lyotard 1984a

Jean-François Lyotard. “L’instant, Newman.” In L’art et le temps: Regards sur la quatrième dimension, ed. Michel Baudson, pp. 98–105. Brussels: Société des Expositions du Palais des Beaux-Arts, 1984. English translation published as “Newman: The Instant” in The Lyotard Reader, ed. Andrew Benjamin, pp. 240–49. Oxford and Cambridge, Mass.: Basil Blackwell, 1989. German translation published as “Der Augenblick: Newman” in Jean-François Lyotard, Das Inhumane: Plaudereien über die Zeit, pp. 141–57. Vienna: Edition Passagen, 1989.

Mackie 1989

Alwynne Mackie. Art/Talk: Theory and Practice in Abstract Expressionism. New York: Columbia University Press, 1989.

MacLeod 1990a

Ian MacLeod. “Creator of the ‘Voice.’” The Ottawa Citizen, 24 March 1990, pp. B1, B6.

MacLeod 1990b

Ian MacLeod. “Art World United in Praise of Work by Newman.” The Ottawa Citizen, 24 March 1990, p. B6.

MacLeod 1993

Glen MacLeod. Wallace Stevens and Modern Art: From the Armory Show to Abstract Expressionism. New Haven: Yale University Press, 1993.

Madrid 1958

Museo Nacional de Arte Contemporáneo, Madrid. La nueva pintura americana. 16 July–10 August 1958. Catalogue with texts by Alfred H. Barr, Jr., et al., including artists’ statements.

Madrid 1977

Fundación Juan March, Madrid. Arte USA. February–March 1977. Catalogue with text in Spanish by Harold Rosenberg.

Madrid 2001

Museo Nacional Centro de Arte Reina Sofia, Madrid. Minimalismos, un signo de los tiempos. 11 July–8 October 2001. Catalogue with texts by Javier Rodríguez Marcos et al.

Marandel 1971

Jean-Patrice Marandel. “Une chapelle oecuménique au Texas.” L’Oeil, no. 197 (May 1971), pp. 16–19.

Marfa 1993

The Chinati Foundation, Marfa, Texas. Barnett Newman: Notes. 8 October–15 November 1993. Catalogue with text by Franz Meyer.

Marfa 1999

The Chinati Foundation, Marfa, Texas. Donald Judd’s Plywood Boxes and Barnett Newman’ s Notes. October 1999.

Mark 1983

Lily Mark. “The Relevance of Title to Form and Content in the Mature Work of Barnett Newman.” 2 vols. Master’s thesis, University of the Witwatersrand, Johannesburg, 1983.

Marseilles 1986

Centre de la Vielle Charité, Marseilles. La planète affolée: Surréalisme, dispersion et influences, 1938–1947. 12 April–30 June 1986 (extended to 31 July). Catalogue with texts by Bernard Noël et al.

Masheck 1977

Joseph Masheck. “Cruciformality.” Artforum 15, no. 10 (Summer 1977), pp. 56–63.

Masheck 1978

Joseph Masheck. “Hard-Core Painting.” Artforum 16, no. 8 (April 1978), pp. 46–55.

Massu 1996

Claude Massu. L’École de New York. Actualité des arts, 95. [N.p.]: Collection actualité des arts plastiques, 1996.

Masterpieces Metropolitan Museum 1993

Masterpieces of The Metropolitan Museum of Art. Ed. Barbara Burn. New York: The Metropolitan Museum of Art, 1993.

Mathews 1967

Thomas F. Mathews. “The Problem of Religious Content in Contemporary Art.” In Revolution, Place, and Symbol: Journal of the First Congress on Religion, Architecture, and the Visual Arts, papers of a congress in New York and Montreal, 26 August–4 September 1967, pp. 117–29. Published 1969.

Matthes 1992

Hendrick Matthes. “Metaphysics of the Colour Field: The Conceptuality of Barnett Newman’s Art.” Kunst & Museumjournaal [The Netherlands] 3, no. 6 (1992), pp. 36–48.

Maur and Inboden 1982

Karin v. Maur and Gudrun Inboden. Malerei und Plastik des 20. Jahrhunderts. Stuttgart: Staatsgalerie Stuttgart, 1982. 2d ed., 1984.

Mautner Markhof 1997

Marietta Mautner Markhof. Catalogue entries 26 and 27. In Balthus bis Warhol: Österreichische Ludwigstiftung Erwerbungen für die Albertina, pp. 58–59. Exh. cat. Albertina, Vienna, 1997.

Mays 1961

John Bentley Mays. “Art World in Need of Healers: Vague Uplifters Need Not Apply.” The Globe and Mail [Toronto], 8 June 1961, p. C5.

McCaughey 1967

Patrick McCaughey. “Yanks, Go Home?” The Age [Melbourne], 20 June 1967, p. unavailable.

McDonagh 1969

Don McDonagh. “Darling or Devil.” Financial Times, 3 May 1969, p. unavailable.

McEvilley 1993

Thomas McEvilley. The Exile’s Return: Toward a Redefinition of Painting for the Post-Modern Era. Cambridge, G.B.: Cambridge University Press, 1993.

McEvilley 1995

Thomas McEvilley. Pat Steir. New York: Harry N. Abrams, Inc., 1995.

McEwen 2002

John McEwen. “Zippity Do Dah Zippity Day.” Telegraph, 22 September 2002, p. 7.

McLean 1972

John McLean. “Of Limited Means” [review of Barnett Newman exhibition at the Tate Gallery]. The Guardian, 28 June 1972, p. 12.

McNickle 1986a

Molly McNickle. “The American Response to Surrealism: Barnett Newman.” In The Interpretive Link: Abstract Surrealism into Abstract Expressionism, Works on Paper, 1938–1948, pp. 51–56. Exh. cat. Newport Harbor Art Museum, Newport Beach, California, 1986.

McNickle 1986b

Molly McNickle. “Barnett Newman, 1905–1970.” In The Interpretive Link: Abstract Surrealism into Abstract Expressionism, Works on Paper, 1938–1948, p. 136. Exh. cat. Newport Harbor Art Museum, Newport Beach, California, 1986.

McNickle 1996

Molly McNickle. “The Mind and Art of Barnett Newman.” Ph.D. dissertation, University of Pennsylvania, 1996.

McShine 1966

Kynaston McShine. “More Than Black: The Positive of Negative Art.” Arts Magazine 41, no. 3 (December 1966–January 1967), pp. 49–50.

McWhinnie 1986

Harold J. McWhinnie. “A Review of the Use of Symmetry, the Golden Section and Dynamic Symmetry in Contemporary Art.” Leonardo [U.K.] 19, no. 3 (1986), pp. 241–45.

Meadmore 1966

Clement Meadmore. “New York Scene II—Colour as an Idiom.” Art in Australia 3, no. 4 (March 1966), pp. 288–91.

Mechelen 1994

Marga van Mechelen. Review of Barnett Newman monograph by Renée van de Vall. Jong Holland 10, no. 2 (1994), pp. 64–67.

Meier 1963

Richard Meier. Introduction to Recent American Synagogue Architecture, pp. 7–10. Exh cat. The Jewish Museum, New York, 1963.

Meier and Stella 1993

“Richard Meier and Frank Stella: A Conversation Between Architect and Artist,” ed. Peter Slatin. In Richard Meier, Frank Stella: Arte e Architettura, pp. 224–40. Exh. cat. Palazzo delle Esposizioni, Rome, 1993.

Melbourne 1967

National Gallery of Victoria, Melbourne. Two Decades of American Painting. 6 June–9 July 1967. Catalogue with essays by Irving Sandler, Lucy R. Lippard, and G. R. Swenson.

Melbourne 1998

National Gallery of Victoria, Melbourne. Beyond Modern Art and the Religious Imagination. 24 April–26 July 1998. Catalogue with texts by Rosemary Crumlin et al.

Melville 1972

Robert Melville. “Birth of the Stripe.” The New Statesman [London],14 July 1972, pp. 66–67.

Mendelowitz 1970

Daniel M. Mendelowitz. A History of American Art. 2d ed. New York: Holt, Rinehart and Winston, Inc., [1970].

Menil 1971

Dominique de Menil. “The Rothko Chapel.” Art Journal 33, no. 3 (Spring 1971), pp. 249–51.

Menil 1980

Lois Pattison de Menil. “L’art américain depuis la guerre: À la recherche de l’oeuvre d’art.” In L’Amérique aux indépendents 1944–1980, pp. 35–39. Exh. cat. Galeries Nationales d’Exposition du Grand Palais, Paris, 1980.

Menil 1983

“Dominique de Menil, New York, December 1982” [interview]. In The First Show: Painting and Sculpture from Eight Collections 1940–1980, pp. 35–51. Exh. cat. The Museum of Contemporary Art, Los Angeles, 1983.

Menil 1984

Dominique de Menil. “Exposition de Menil: Visite privée.” Connaissance des Arts, no. 387 (May 1984), pp. 76–81.

Mèredieu 1994

Florence de Mèredieu. Histoire matérielle et immatérielle de l’art moderne. Paris: Bordas, 1994.

Messinger 1991

L[isa] M. M[essinger]. “Barnett Newman: Shimmer Bright.” The Metropolitan Museum of Art Bulletin 49, no. 2 (Fall 1991), pp. 70–71.

Messinger 1993a

Lisa Mintz Messinger. Abstract Expressionism: Works on Paper: Selections from The Metropolitan Museum of Art. Exh. cat. High Museum of Art, Atlanta, 1993.

Messinger 1993b

L[isa] M. M[essinger]. “[Recent Acquisitions:] Barnett Newman.” The Metropolitan Museum of Art Bulletin 51, no. 2 (Fall 1993), p. 75.

Metken 1972a

Günter Metken. “Erleuchtete Leinwand: Das Werk Barnett Newmans: Europäische Wanderausstellung” Stuttgarter Zeitung, 19 May 1972, p. unavailable.

Metken 1972b

G[ünter] Metken. “ Ausstellungen: Barnett Newman, Stedelijk Museum, Amsterdam.” Das Kunstwerk 25, no. 4 (July 1972), p. 38.

Metro 1964

Metro International Directory of Contemporary Art. Milan: Editoriale Metro, 1964.

Mexico City 1987

Centro Cultural Arte Contemporáneo, Mexico City. Leo Castelli y sus artistas: XXX años de promocion del arte contemporaneo. 26 June–18 October 1987. Catalogue with texts by Roberto Littman et al.

Mexico City 1996

Centro Cultural Arte Contemporáneo, A.C., Mexico City. Pintura estadounidense: Expresionismo abstracto. 11 October 1996–12 January 1997. Catalogue with texts in Spanish by Irving Sandler et al. English translation of Sandler’s essay published separately.

Meyer 1982

Franz Meyer. “Zur Gültigkeit des Christusbildes in der ungegenständlichen Kunst: Die Kreuzwegstationen Barnett Newmans.” Kirche und Kunst, no. 2, June 1982, pp. 60–66.

Meyer 1991

Franz Meyer. “Giacometti et Newman.” In Alberto Giacometti: Sculptures, peintures, dessins, pp. 59–65. Exh. cat. Musée d’Art Moderne de la Ville de Paris, 1991.

Meyer 1993b

Franz Meyer. Barnett Newman, Notes: 18 Etchings and Aquatints. Stedelijk Graphic Arts Documents, 1. Exh. cat. Stedelijk Museum, in association with The Chinati Foundation, Amsterdam and Marfa, Texas, 1993.

Meyer 2000

James Meyer, ed. Minimalism. London: Phaidon, 2000.

Meyer 2001

James Meyer. Minimalism: Art and Polemics in the Sixties. New Haven and London: Yale University Press, 2001.

Miami 1984

Center for the Fine Arts, Miami. In Quest of Excellence. 14 January–22 April 1984. Catalogue with texts by Jan van der Marck et al.

Miami Herald 1969

“Houston Art Unit Rejects Sculpture as King Tribute.” Miami Herald, 15 June 1969, p. unavailable.

Middletown 1975

Davison Art Center, Wesleyan University, Middletown, Connecticut. Recent American Etching. 10 October–23 November 1975. Catalogue with text by Richard S. Field.

Milan 1958

Galleria Civica d’Arte Moderna, Milan. La nuova pittura americana. 1–30 June 1958. Catalogue with texts by Franca Russoli, and Alfred H. Barr, Jr., and artists’ statements.

Milan 1960

Galleria dell’Ariete, Milan. Undici Americani. 27 April–May 1960. Catalogue with essay by Guido Ballo.

Milan 1975

Galleria dell’Ariete, Milan. American Drawings. Fall 1975.

Milan 1994

Castello di Rivoli, Milan. L’orrizonte: Da Chagall a Picasso, da Pollock a Cragg. 18 December 1994–23 April 1995. Catalogue by Rudi Fuchs and Ida Gianelli.

Milgrom 1990

Jo Milgrom. “Some Consequences of the Image Prohibition in Jewish Art.” In Religion and Law: Biblical-Judaic and Islamic Perspectives, ed. Edwin B. Firmage et al., pp. 263–99. Winona Lake, Arizona: Eisenbrauns, 1990.

Millet 1972

Catherine Millet. “Barnett Newman: Nous soulevons le problème du sujet.” Art Press [Paris], no. 1 (December 1972–January 1973), pp. 8–11, cover.

Millet 1979

Catherine Millet. “De Kooning, Newman, Rothko: Des bâtards.” Art Press International [Paris], n.s. 26 (March 1979), p. 24.

Millet 1994

Catherine Millet. “Ingres, Newman, le dessin a fait le vide.” Art Press [France], special edition, no. 15 (1994), pp. 29–32.

Millet 2002

Catherine Millet. “ Les Stations de la Croix de Barnett Newman.” Broadcast by Radio France, Culture 2, Clin d’oeil, 30 November 2002.

Milwaukee 1971

Milwaukee Art Center. Contemporary American Painting and Sculpture: Selections from the Collection of Mr. and Mrs. Eugene M. Schwartz. 22 January–28 February 1971. Catalogue with text by John Lloyd Taylor.

Minneapolis 1950

Walker Art Center, Minneapolis. Contemporary American Painting: 5th Biennial Purchase Exhibition. 15 October–10 December 1950. Catalogue with introduction by H. Harvard Arnason.

Minneapolis 1957

The Minneapolis Institute of Arts. American Painting 1945–1957: 146 Pictures Representing Outstanding Achievement or Promise by American Artists of the Post-War Era. 18 June–1 September 1957. Catalogue with introduction by Stanton L. Catlin.

Minneapolis 1968

Dayton’s Gallery 12, Minneapolis. Contemporary Graphics Published by Universal Limited Art Editions. 21 February–6 March 1968. Catalogue with introduction by Harmony Clover.

Minneapolis 1994

Walker Art Center, Minneapolis. The Sublime Is Now: The Early Work of Barnett Newman: Paintings and Drawings 1944–1949. 20 March–29 May 1994. Catalogue with essay by Jeremy Strick.

Minneapolis 1999

Walker Art Center, Minneapolis. Art in Our Time: 1950 to the Present. 5 September 1999–2 September 2001.

Miss 1984

Mary Miss. “On a Redefinition of Public Sculpture.” Perspecta 21 (1984), pp. 52–69.

Moderna Museet Collection 1976

Catalogue of the Modern Museum’s Collection of Swedish and International 20th Century Art. With texts in Swedish and English by Philip von Schantz and Ulf Linde. Stockholm: Moderna Museet, 1976.

Mönchengladbach 1986

Städtisches Museum Abteiberg, Mönchengladbach. Barnett Newman: Das druckgraphische Werk. 6 July–17 August 1986. Accompanied by exhibition catalogue Amherst 1983, translated into Swedish for the Stockholm showing.

Montclair 1972

The Montclair Art Museum, Montclair, New Jersey. Selections from the Betty Parsons Collection. 16 January–27 February 1972. Folder with checklist and foreword by Kathryn E. Gamble.

Monte 1964

J[ames] M[onte]. “San Francisco: Forty-Six Works from New York, Dilexi Gallery.” Artforum 2, no. 7 (January 1964), pp. 6–7, 9.

Montpelier 1999

Musée Fabre, Montpelier, France. De l’expressionisme abstrait à l’art minimal: Peintures abstraites aux États-Unis 1940–1960. 1 July–3 October 1999. Catalogue.

Montreal 1967

The United States of America Pavilion, Expo ‘67, Montreal. American Painting Now. 28 April–27 October 1967. Catalogue with introduction by Alan Solomon, published by the Institute of Contemporary Art, Boston.

Mook 1974

Jane Day Mook, comp. “Theologian’s Art.” A.D., April 1974, pp. 19–28.

Moore 1971

Trevor Wyatt Moore. “Worldaround: Rothko Memorial Chapel for Universal Celebration.” The Christian Century 88, no. 4 (7 April 1971), pp. 435–36.

Moritz 1969

Charles Moritz, ed. “Barnett Newman.” In Current Biography [The H. W. Wilson Company] 30, no. 8 (September 1969), pp. 28–30.

Moszynska 1990

Anna Moszynska. Abstract Art. London: Thames and Hudson, [1990].

Moszynska 1997

Anna Moszynska. “Purity and Belief: The Lure of Abstraction.” In Die Epoche der Modernen Kunst im 20. Jahrhundert/The Age of Modernism: Art in the 20th Century, ed. Christos M. Joachimides and Norman Rosenthal, pp. 201–18. Exh. cat. Martin-Gropius-Bau, Berlin, 1997.

Motherwell and Reinhardt 1952

Robert Motherwell and Ad Reinhardt, eds. Modern Artists in America. First series. New York: Wittenborn Schultz, Inc., [1952].

Motoe 1998

Kunio Motoe. “Barnett Newman: ‘Anna’s Light’” [in Japanese]. In Kankaku no Kyokugen, pp. 26–37. Tokyo: Heibonsha, 1998.

Mountainville 1987

Storm King Center, Mountainville, N.Y. 27 April 1987–May 1991.

Mundy 1984

Jennifer Mundy. “The Beginning.” In Creation: Modern Art and Nature, pp. 24–25. Exh. cat. Scottish National Gallery of Modern Art, Edinburgh, 1984.

Mundy 1996

Jennifer Mundy, ed. Brancusi to Beuys: Works from the Ted Power Collection. Exh. cat. Tate Gallery, London, 1996.

Munich 1981

Haus der Kunst, Munich. Amerikanische Malerei 1930–1980. 14 November 1981–31 January 1982. Catalogue with essays by Tom Armstrong and Bernd Growe.

Münster 1996

Westfälischer Kunstverein, Münster. Die Unersetzbarkeit des Bildes: Zur Erinnerung an Max Imdahl. 20 January–10 March 1996. Catalogue.

Murata 1994

H[iroshi] M[urata]. Catalogue entry 62. In Masterworks of Modern Art from The Art Institute of Chicago, pp. 178–79. Exh. cat. Niigata Prefectural Museum of Modern Art, Nagaoka, Japan, 1994.

Murray 1987

Robert Murray. “Reconstruction of Barnett Newman’s Here I.” Typescript, dated 29 May 1987. On deposit both at the Barnett Newman Foundation and at The Menil Collection, Houston, Texas.

Murray 1996

Robert Murray. “The Sculpture of Barnett Newman.” In Voices of Fire: Art, Rage, Power, and the State, ed. Bruce Barber, Serge Guilbaut, and John O’Brian, pp. 165–71. Toronto, Buffalo, and London: University of Toronto Press, [1996].

Musée National d’Art Moderne 1986

La collection du Musée National d’Art Moderne. With introduction by Dominique Bozo. Paris: Centre Georges Pompidou, 1986.

Museo Nacional Centro de Arte Reina Sofía 1992

Museo Nacional Centro de Arte Reina Sofía. Madrid: Ministerio de Cultura, 1992.

Museum of Modern Art 1984

The Museum of Modern Art, New York: The History and the Collection. Introduction by Sam Hunter and essays by William Rubin et al. New York: The Museum of Modern Art, 1984.

Nagaoka 1994

Niigata Prefectural Museum of Modern Art, Nagaoka, Japan. Masterworks of Modern Art from The Art Institute of Chicago. 20 April–29 May 1994. Catalogue with texts in Japanese and English by Charles F. Stuckey et al.

Nash 1987

Steven A. Nash. Catalogue entry 62. In A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection, pp. 178–79. Exh. cat. Dallas Museum of Art, 1987.

Nash 1993

Steven A. Nash. “An Interview with Raymond Nasher.” In A Century of Sculpture: The Nasher Collection, pp. 19–38. Exh. cat. Fine Arts Museum of San Francisco, California Palace of the Legion of Honor, San Francisco, 1993.

Nebraska Art Association Quarterly 1975

“New Acquisition.” Nebraska Art Association Quarterly 4, no. 4 (Spring 1975), pp. 1–3.

Neff 1978

John Hallmark Neff. “A Barnett Newman for Detroit.” Bulletin of the Detroit Institute of Arts 56, no. 3 (1978), pp. 159–67, cover.

Neff 1985

Terry Ann R. Neff, ed. In the Mind’s Eye: Dada and Surrealism. With contributions by Dawn Ades et al. New York: Abbeville Press, 1985.

Negri 1990

Patrick Negri. “Signs of Being: A Study of the Religious Significance of the Art of Barnett Newman, Jackson Pollock, and Mark Rothko.” Th.D. thesis, Graduate Theological Union, Berkeley, California, 1990. Typescript. On deposit at the Barnett Newman Foundation.

Negri 1998

Patrick Negri. “Touching the Metaphysical Pattern of Life.” In Beyond Modern Art and the Religious Imagination, p. 106. Exh. cat. National Gallery of Victoria, Melbourne, 1998.

Netter 1970

Maria Netter. “Zum Tode von Barnett Newman.” Basler Nachrichten, 8 July 1970, p. 5.

New Art Examiner 1992

“Barnett Newman Painting Restoration Investigated.” New Art Examiner 19, no. 5 (January 1992), p. 11.

New Brunswick 1995

Jane Vorhees Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey. Printmaking in America: Collaborative Prints and Presses, 1960–1990. 23 April–18 June 1995. Catalogue with text by Trudy Hansen, Barry Walker et al.

New Delhi 1967

Lalit Kala Academi, Rabindra Bhavan Galleries, New Delhi. Two Decades of American Painting. 28 March–16 April 1967. Catalogue with essays by Irving Sandler, Lucy R. Lippard, and G. R. Swenson; separate checklist.

New York 1938

A.C.A. Gallery, New York. Can We Draw? The Board of Examiners Says—No! 28 November–11 December 1938. Folded announcement with introduction and checklist.

New York 1940

Uptown Gallery, New York. Art Teachers Association: First Membership Exhibition. 11 March–4 April 1940. Checklist.

New York 1947

Betty Parsons Gallery, New York. The Ideographic Picture. 20 January–8 February 1947. Checklist with introduction by B[arnett] B. Newman.

New York 1949

Betty Parsons Gallery, New York. Group Show. 10–29 October 1949.

New York 1950a

Betty Parsons Gallery, New York. Barnett Newman. 23 January–11 February 1950. Announcement card.

New York 1950b

Betty Parsons Gallery, New York. Group Show 1949–50. 31 May–18 June 1950.

New York 1951

Betty Parsons Gallery, New York. Barnett Newman. 23 April–12 May 1951. Typed checklist. On deposit at The Barnett Newman Foundation.

New York 1955

Betty Parsons Gallery, New York. Ten Years. 9 December 1955–14 January 1956. Exhibition brochure with introduction by Clement Greenberg.

New York 1959a

French and Company, Inc., New York. Barnett Newman: A Selection, 1946–1952. 11 March–5 April 1959. Catalogue with introduction by Clement Greenberg and poem by Howard Nemerov (written originally for Bennington 1958).

New York 1959b

The Museum of Modern Art, New York. The New American Painting: As Shown in Eight European Countries, 1958–1959. 28 May–8 September 1959. Catalogue edited by Dorothy C. Miller (reprint of exhibition catalogue London 1959, with additions).

New York 1959c

French and Company, Inc., New York. Summer Gallery Exhibition: Paintings and Sculpture. Summer [1959]. Folded announcement card with checklist.

New York 1959d

Whitney Museum of American Art, New York. Annual Exhibition of Contemporary American Painting. 9 December 1959–31 January 1960. Catalogue.

New York 1961a

The Solomon R. Guggenheim Museum, New York. American Abstract Expressionists and Imagists. 13 October–31 December 1961. Catalogue with introduction by H. H[arvard] A[rnason].

New York 1961b

Decorative Arts Center, New York. The “Art in America” Show. 6–22 December 1961. Checklist as poster.

New York 1962

Allan Stone Gallery, New York. Newman—de Kooning. 23 October–17 November 1962. Unpaginated exhibition brochure with introduction by Allan Stone.

New York 1963a

American Federation of the Arts Gallery, New York. The Educational Alliance: Retrospective Art Exhibit. 29 April–18 May 1963. Catalogue with texts by John I. H. Baur et al.

New York 1963b

The Jewish Museum, New York. Recent American Synagogue Architecture. 6 October–8 December 1963. Catalogue, including introduction by Richard Meier and, among other statements, Barnett Newman’s concerning his concept for a synagogue.

New York 1963c

Sidney Janis Gallery, New York. Eleven Abstract Expressionist Painters. 7 October–2 November 1963. Catalogue.

New York 1963d

Whitney Museum of American Art, New York. 1963 Annual Exhibition of Contemporary American Painting. 11 December 1963–2 February 1964. Catalogue.

New York 1963e

The Jewish Museum, New York. Black and White. 12 December 1963–5 February 1964. Catalogue with introduction by Ben Heller.

New York 1964a

The Solomon R. Guggenheim Museum, New York. Guggenheim International Award 1964. January–March 1964. Catalogue with introduction by Lawrence Alloway.

New York 1964b

Whitney Museum of American Art, New York. Between the Fairs: Twenty-Five Years of American Art, 1939–1964. 24 June–23 September 1964. Catalogue with texts by John I. H. Baur and Lloyd Goodrich.

New York 1964c

The Museum of Modern Art, New York. Contemporary Painters and Sculptors as Printmakers. 15 September–24 October 1964. Catalogue in English, Portuguese, and Spanish with introduction by Elaine L. Johnson.

New York 1964d

The Solomon R. Guggenheim Museum, New York. American Drawings. 17 September–25 October 1964. Catalogue with introduction by Lawrence Alloway.

New York 1964e

Finch College Museum of Art, Contemporary Study Wing, New York. Artists Select. 15 October–15 December 1964. Catalogue with foreword by Elayne H. Varian.

New York 1964f

Sidney Janis Gallery, New York. A Selection of Twentieth Century Art of Three Generations. 24 November–26 December 1964. Catalogue.

New York 1965a

PVI Gallery, New York. 100-Man Show. 1 January–6 February 1965.

New York 1965b

New School Art Center, New York. Portraits from the American Art World. 2–27 February 1965. Catalogue with text by Paul Mocsanyi.

New York 1965c

Allan Stone Gallery, New York. Founding Fathers Exhibition: Willem de Kooning, Arshile Gorky, Jackson Pollock, Joseph Cornell and Barnett Newman. 26 October–13 November 1965.

New York 1965d

Whitney Museum of American Art, New York. 1965 Annual Exhibition of Contemporary American Painting. 8 December 1965–30 January 1966. Catalogue.

New York 1965e

Leo Castelli Gallery, New York. For Benefit of the Foundation for the Contemporary Performance Arts. 14 December 1965–5 January 1966.

New York 1966a

Seth Siegelaub Contemporary Art, New York. ‘25.’ March 1966.

New York 1966b

Solomon R. Guggenheim Museum, New York. Barnett Newman: The Stations of the Cross—Lema Sabachthani. 20 April–19 June 1966. Catalogue with statement by the artist and essay by Lawrence Alloway.

New York 1966c

André Emmerich Gallery, Inc., New York. Seven Decades, 1895–1965: Crosscurrents in Modern Art. 27 April–21 May 1966. Catalogue with text by Peter Selz.

New York 1966d

Whitney Museum of American Art, New York. Art of the United States: 1670–1966. 28 September–27 November 1966. Catalogue with text by Lloyd Goodrich.

New York 1966e

The Metropolitan Museum of Art, New York. 200 Years of Watercolor Painting in America: An Exhibition Commemorating the Centennial of the American Watercolor Society. 8 December 1966–29 January 1967. Catalogue by Stuart P. Feld.

New York 1966f

Whitney Museum of American Art, New York. 1966 Annual Exhibition of Sculpture and Prints. 16 December 1966–5 February 1967. Catalogue.

New York 1967a

Sidney Janis Gallery, New York. Two Generations: Picasso to Pollock. 3–27 January 1967. Catalogue.

New York 1967b

Noah Goldowsky Gallery, New York. Untitled group show including works by Barnett Newman, Franz Kline, Morris Louis, and Alfred Leslie. Spring 1967.

New York 1967c

New York University Art Collection at Marlborough-Gerson Gallery, New York. The New York Painter: A Century of Teaching: Morse to Hofmann. 26 September–14 October 1967. Catalogue with texts by Albert Ten Eyck Gardner and Milton W. Brown.

New York 1967d

New York City Parks, Recreation, and Cultural Affairs Administration. Sculpture in Environment. 1–31 October 1967. Catalogue with introduction by Irving Sandler.

New York 1967e

Whitney Museum of American Art, New York. 1967 Annual Exhibition of Contemporary American Painting. 13 December 1967–4 February 1968. Catalogue.

New York 1968a

The Museum of Modern Art, New York. The Sidney and Harriet Janis Collection: A Gift to The Museum of Modern Art. 17 January–4 March 1968. Catalogue with introduction by Alfred H. Barr, Jr.

New York 1968b

Finch College Museum of Art, New York. Betty Parsons’ Private Collection. 13 March–24 April 1968. Catalogue with texts by Elayne H. Varian and Eugene Goossen.

New York 1968c

The Museum of Modern Art, New York. Dada, Surrealism, and Their Heritage. 27 March–9 June 1968. Catalogue with text by William S. Rubin.

New York 1968d

The Museum of Modern Art, New York. The Art of the Real: USA 1948–1968. 3 July–8 September 1968. Catalogue with text by E. C. Goossen.

New York 1968e

The Museum of Modern Art, New York. In Honor of Dr. Martin Luther King. 31 October–3 November 1968. Checklist.

New York 1968f

Whitney Museum of American Art, New York. 1968 Annual Exhibition of Sculpture. 17 December 1968–9 February 1969. Catalogue.

New York 1969a

M. Knoedler & Co., Inc., New York. Barnett Newman. 25 March–19 April 1969. Accompanied by monograph Hess 1969a.

New York 1969b

James Graham and Sons, Inc., New York. The BIG Drawing. 8 April–3 May 1969. Folded announcement with introduction by Barbara Kulicke.

New York 1969c

The Museum of Modern Art, New York. The New American Painting and Sculpture: The First Generation. 16 June–5 October 1969. Checklist.

New York 1969d

M. Knoedler & Co., Inc., New York. Arshile Gorky, Willem de Kooning, Barnett Newman. 26 June–20 September 1969.

New York 1969e

The Metropolitan Museum of Art, New York. New York Painting and Sculpture, 1940–1970. 18 October 1969–8 February 1970. Catalogue with texts by Henry Geldzahler et al.

New York 1969f

The Metropolitan Museum of Art, New York. Prints by Four New York Painters: Helen Frankenthaler, Jasper Johns, Robert Motherwell, Barnett Newman. 15 December 1969–1 February 1970. Checklist.

New York 1969g

Whitney Museum of American Art, New York. 1969 Annual Exhibition of Contemporary American Painting. 16 December 1969–1 February 1970. Catalogue.

New York 1970a

M. Knoedler & Co., Inc., New York. Important Sculptures. 6–31 January 1970.

New York 1970b

The Museum of Modern Art, New York. Barnett Newman 1905–1970: Memorial Exhibition. 21 July–8 September 1970.

New York 1970c

The Metropolitan Museum of Art, New York. Masterpieces of Fifty Centuries. 10 November 1970–14 February 1971. Catalogue with introduction by Kenneth Clark.

New York 1971a

Whitney Museum of American Art, New York. The Structure of Color. 25 February–18 April 1971. Catalogue with text by Marcia Tucker.

New York 1971b

French and Company, Inc., New York. Contemporary American Drawings. 15 May–23 June 1971. Announcement card with list of artists.

New York 1971c

The Museum of Modern Art, New York. Barnett Newman. 21 October 1971–10 January 1972. Accompanied by monograph Hess 1971a.

New York 1972a

Sidney Janis Gallery, New York. Abstract Expressionism and Pop Art. 9 February–4 March 1972. Illustrated flyer.

New York 1972b

Sculpture Center, New York. Critics’ Choice. 26 September–21 October 1972. Catalogue.

New York 1974a

Marlborough Gallery, Inc., New York. Selected Works from the Collection of Carter Burden. 9 May–1 June 1974. Catalogue with introduction by Carter Burden.

New York 1974b

The Museum of Modern Art, New York. American Prints 1913–1963. 5 December 1974–3 March 1975. Catalogue by Riva Castleman.

New York 1975a

The Kennedy Galleries, New York. One Hundreth Anniversary Exhibition of Paintings and Sculptures by One Hundred Artists Associated with the Art Students League of New York. 6–29 March 1975. Catalogue with foreword by Lawrence Campbell and Theresa Pollak.

New York 1975b

Associated American Artists, New York. Art Students League Centennial Exhibition. April 1975. Catalogue with foreword by Judith Goldman.

New York 1975c

Whitney Museum of American Art, Downtown Branch, New York. Subjects of the Artists, New York Painting 1941–1947. 22 April–28 May 1975. Checklist with introduction by students in the museum’s Independent Study Program.

New York 1975d

The Museum of Modern Art, Circulating Exhibition, New York. American Art Since 1945 from the Collection of The Museum of Modern Art. October 1975–April 1977. Catalogue with text by Alicia Legg.

New York 1975e

The Jewish Museum, New York. Jewish Experience in the Art of the Twentieth Century. 16 October 1975–25 January 1976. Catalogue with essay by Avram Kampf.

New York 1975f

M. Knoedler and Co., Inc., New York. American Works on Paper 1945–1975. November–December 1975. Checklist.

New York 1976a

The Solomon R. Guggenheim Museum, New York. Twentieth Century American Drawing: Three Avant-Garde Generations. 23 January–21 March 1976. Catalogue with essay by Diane Waldman.

New York 1976b

Whitney Museum of American Art, New York. 200 Hundred Years of American Sculpture. 16 March–26 September 1976. Catalogue with text by Tom Armstrong.

New York 1976c

The Museum of Modern Art, New York. The Natural Paradise: Painting in America 1800–1950. 29 September–30 November 1976. Catalogue edited by Kynaston McShine, with essays by Barbara Novak, Robert Rosenblum, and John Wilmerding; separate checklist.

New York 1976d

Solomon R. Guggenheim Museum, New York. Acquisition Priorities: Aspects of Postwar Painting in America. 15 October 1976–16 January 1977. Catalogue with text by Thomas M. Messer.

New York 1977a

Xavier Fourcade, Inc., New York. Works on Paper, Small-Format Objects: Duchamp to Heizer. 15 February–19 March 1977. Checklist.

New York 1977b

Sidney Janis Gallery, New York. Less Is More. 7 April–7 May 1977. Catalogue with introduction by Sidney Janis.

New York 1977c

Whitney Museum of American Art, New York. 20th-Century American Art from Friends’ Collections. 27 July–27 September 1977. Catalogue with introduction by Tom Armstrong.

New York 1977d

John Weber Gallery, New York. Drawings for Outdoor Sculpture, 1946–1977. 29 October–23 November 1977. Checklist for the New York showing; catalogue, with essay by David Shapiro, for subsequent showings.

New York 1978

Grace Borgenicht Gallery, New York. Milton Avery and His Friends. 28 January–24 February 1978. Catalogue with text by David L. Shirey.

New York 1979a

The Metropolitan Museum of Art, New York. Summer Loan Exhibition. 17 July–30 September 1979. Checklist.

New York 1979b

M. Knoedler & Co., Inc., New York. Selections from the Collection of Mr. & Mrs. Eugene M. Schwartz. 31 October–28 November 1979. Catalogue with introduction by Lawrence Rubin.

New York 1982a

Dia Art Foundation, Wooster Street Branch, New York. Barnett Newman: Four Paintings, 1952–1968. 26 February 1982–March 1984. Checklist with introduction and artist’s statements.

New York 1982b

Solomon R. Guggenheim Museum, New York. The New York School: Four Decades, Museum Collection and Major Loans. 1 July–29 August 1982. Exhibition brochure.

New York 1984a

Dia Art Foundation, 77 Wooster Street branch, New York. Barnett Newman: Three Paintings. March 1984–March 1985. Checklist.

New York 1984b

Acquavella Contemporary Art, Inc., New York. XIX & XX Century Master Paintings. 7 November–8 December 1984. Catalogue.

New York 1985a

Solomon R. Guggenheim Museum, New York. Painterly Visions. 12 July–15 September 1985. Checklist.

New York 1985b

Marisa del Re Gallery, New York. Masters of the Fifties: American Abstract Painting from Pollock to Stella. October–December 1985. Catalogue with text by Sam Hunter.

New York 1985c

Solomon R. Guggenheim Museum, New York. Guggenheim International VII: Transformations in Sculpture: Four Decades of American and European Art. 22 November 1985–16 February 1986. Catalogue by Diane Waldman.

New York 1986a

Queens Museum, New York. After Matisse. 30 March–25 May 1986. Catalogue with essays by Tiffany Bell et al.

New York 1986b

Charles Cowles Gallery, New York. The Heroic Sublime. 30 May–11 July 1986. Checklist.

New York 1986c

Associated American Artists, New York. Abstract Expressionist Prints. 28 November–31 December 1986. Catalogue with text by Stephen Long.

New York 1987a

Stephen Mazoh & Co., Inc., New York. Eighteenth, Nineteenth and Twentieth Century Works of Art. Spring 1987. Catalogue.

New York 1987b

Washburn Gallery, New York. Anne Ryan & Circle. 4–30 May 1987. Catalogue with text by Anne Ryan.

New York 1987c

Acquavella Galleries, Inc., New York. Art Against Aids. June 1987. Catalogue with texts by Elizabeth Taylor et al.

New York 1988a

Simon/Neuman Gallery, New York. Group show. February 1988. Announcement card.

New York 1988b

Jack Tilton Gallery, New York. The Circle of Betty Parsons. 2–28 February 1988. Checklist.

New York 1988c

CDS Gallery, New York. The Irascibles. 4–27 February 1988. Catalogue brochure with essay by Irving Sandler.

New York 1988d

The Pace Gallery, New York. Barnett Newman: Paintings. 8 April–7 May 1988. Catalogue with essay by Yve-Alain Bois.

New York 1988e

Janie C. Lee Master Drawings, New York. Abstract Expressionist Drawings 1941–1955. 5 November–30 December 1988. Catalogue with text by Robert McDaniel.

New York 1988f

Solomon R. Guggenheim Museum, New York. Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans. 9 December 1988–22 January 1989. Exhibition brochure with essay by Lisa Dennison.

New York 1989a

The Pace Gallery, New York. Sculpture by Painters. 23 June–1 September 1989.

New York 1989b

Janie C. Lee Master Drawings, New York. Master Drawings 1859–1989. October–December 1989. Catalogue.

New York 1990

The Pace Gallery, New York. Painting and Sculpture. 16 July–24 August 1990.

New York 1990a

Lorence Monk Gallery, New York. The Etchings and Lithographs of Barnett Newman. May 1990.

New York 1990b

Gagosian Gallery, New York. Important Abstract Expressionist and Pop Paintings. Summer 1990.

New York 1990d

Sidney Janis Gallery, New York. Classic Modernism: Six Generations. 15 November–29 December 1990.

New York 1991

The Museum of Modern Art, New York. Art of the Forties. 24 February–30 April 1991. Accompanied by publication of the same title edited by Riva Castleman.

New York 1992a

The Pace Gallery, New York. Group Show: de Kooning, Kline, Nevelson, Newman, Pollock, Reinhardt, Rothko, Smith, Still. 10 January–8 February 1992. Checklist.

New York 1992b

Gagosian Gallery, Wooster Street Branch, New York. Barnett Newman: Zim Zum II. 29 January–14 March 1992. Catalogue with artist’s statement concerning his concept for a synagogue, originally published in exhibition catalogue New York 1963, and text by Robert Pincus-Witten and Ealan Wingate.

New York 1992c

Vivian Horan Fine Art, New York. Pitched Black. 5 November–19 December 1992.

New York 1994

C & M Arts, New York. Newman, Rothko, Still: Search for the Sublime. 6 April–28 May 1994. Catalogue.

New York 1996a

Solomon R. Guggenheim Museum, New York. Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline. 9 February–12 May 1996. Catalogue by Mark Rosenthal.

New York 1996b

Blumarts Inc., New York. In Quest of the Absolute. 6 April–6 June 1996. Catalogue with text by Erich Franz.

New York 1996c

Whitney Museum of American Art, New York. Views from Abroad: European Perspectives on American Art 2. 18 October 1996–5 January 1997. Catalogue in English and German with texts by Jean-Christophe Ammann et al.

New York 1997a

The Museum of Modern Art, New York. A Decade of Collecting: Selected Recent Acquisitions in Modern Drawing. 5 June–9 September 1997. Illustrated checklist with introduction by Margit Rowell.

New York 1997b

C & M Arts, New York. American Works 1945–1975. 8 October–6 December 1997. Catalogue.

New York 1998a

Gagosian Gallery, New York. The New York School. 17 March–25 April 1998. Catalogue.

New York 1998b

The Museum of Modern Art, New York. The New York School: Drawings from the Museum’s Collection. 17 September 1998–12 January 1999. Exhibition brochure with illustrated essay by Magdalena Dabrowski.

New York 1999a

Whitney Museum of American Art, New York. The American Century: Art & Culture 1900–1949. 23 April–22 August 1999. Accompanied by publication of virtually the same title with texts by Barbara Haskell et al.

New York 1999b

Drawing Center, New York. Drawn from Artists’ Collections. 24 April–12 June 1999. Catalogue by Ann Philbin and Jack Shear with essay by Robert Storr.

New York 1999c

The Pierpont Morgan Library, New York. New York Collects: Drawings and Watercolors 1900–1950. 20 May–29 August 1999. Catalogue with texts by Jack Flam et al.

New York 1999d

Whitney Museum of American Art, New York. The American Century: Art & Culture 1950–2000. 26 September 1999–13 February 2000. Catalogue by Lisa Phillips.

New York 1999e

The Museum of Modern Art, New York. Modern Starts. 17 October 1999–4 March 2000. Accompanied by publication Modern Starts: People, Places, Things, ed. John Elderfield et al. New York: The Museum of Modern Art, 2000.

New York 1999f

Brooke Alexander, New York. Barnett Newman, The Complete Editions/Jasper Johns, References to Barnett Newman. 18 November 1999–15 January 2000. Catalogue with text by Barbara Rose.

New York 2000a

The Museum of Modern Art, New York. Making Choices: A Cycle of Twenty-Four Exhibitions: How Simple Can You Get? 26 April–26 September 2000. Accompanied by publication Making Choices by Peter Galassi, Robert Storr, and Anne Umland. New York: The Museum of Modern Art, 2000.

New York 2000b

The Museum of Modern Art, New York. Open Ends: 11 Exhibitions of Contemporary Art from 1960 to Now: White Spectrum. 5 November 2000–30 January 2001.

New York 2001a

Acquavella Galleries, New York. XIX and XXth Century Master Paintings. 16 April–19 May 2001.

New York 2001b

Frick Collection, New York. Master Drawings from the Smith College Museum of Art. 19 June–12 August 2001. Checklist.

New York 2001c

Brooke Alexander Editions, New York. Letters, Signs and Symbols: Paintings, Sculpture and Works on Paper. 10 November 2001–25 January 2002.

New York 2002a

Gagosian Gallery, New York. Physical World: An Exhibition of Painting and Sculpture. 9 May–29 June 2002. Checklist.

New York 2002b

Whitney Museum of American Art, New York. An American Legacy, a Gift to New York. 24 October 2002–26 January 2003. Catalogue.

New York Daily News 1967

“That’s the Whole Point.” New York Daily News, 28 September 1967, p. 54.

New York Post 1967

“Sculpture Festival” [concerning Broken Obelisk in Seagram Building plaza]. New York Post, 27 September 1967, p. 5.

Newman 1966a

Barnett Newman. Statement in Barnett Newman: The Stations of the Cross—Lema Sabachthani, p. 9. Exh. cat. New York: Solomon R. Guggenheim Museum, 1966. See also O’Neill 1990, pp. 187–88.

Newman 1966b

Barnett Newman. “The 14 Stations of the Cross, 1958–1966.” Artnews 65, no. 3 (May 1966), pp. 26–28, 57. Reprinted in The Art World: A Seventy-Five-Year Treasury of Art News, ed. by Barbaralee Diamonstein, pp. 357–58. New York: Artnews Books, 1977. See also Spencer Rydell, letter to the editor, Artnews 65, no. 5 (September 1966), p. 6. See also O’Neill 1990, pp. 189–90.

Newman 1968b

Barnett Newman. Letter to the editor concerning Broken Obelisk. Artforum 6, no. 7 (March 1968), p. 4.

Newman 1969a

Barnett Newman. “Chartres and Jericho.” Artnews 68, no. 2 (April 1969), pp. 28–29; see also p. 5 and cover. Includes explanatory note Hess 1969b. Reprinted in Studio International 179, no. 919 (February 1970), pp. 64–65. See O’Neill 1990, pp. 193–94.

Newman 1969b

Barnett Newman. Statement concerning Who’s Afraid of Red, Yellow, and Blue I. Art Now: New York 1, no. 3 (March 1969), unpaginated. See also O’Neill 1990, p. 192.

Newport 1974

Open-air exhibition, Newport, Rhode Island. Monumenta: A Biennial Exhibition of Outdoor Sculpture. 17 August–13 October 1974. Catalogue with texts by Sam Hunter et al.

Newport 1975

Cushing Gallery/The Art Association of Newport, Newport, Rhode Island. The Tenth Harrison S. Morris Memorial Exhibition: American Drawings 1900–1975. 3 August–3 September 1975. Exhibition brochure with checklist.

Newport Beach 1986

Newport Harbor Art Museum, Newport Beach, California. The Interpretive Link, Abstract Surrealism into Abstract Expressionism: Works on Paper 1938–1948. 16 July–14 September 1986. Catalogue with essays by Paul Schimmel et al. In addition, abbreviated version (containing checklist and Schimmel essay) for the New York showing.

News Line 2002

“Barnett Newman at the Tate Modern.” The News Line, 25 September 2002, p. 7.

Newsweek 1963

“Religion: Where Jews Worship.” Newsweek, 4 November 1963, p. 92.

Newsweek 1966

“Unanswerable Question” [Barnett Newman exhibition at the Solomon R. Guggenheim Museum]. Newsweek, 9 May 1966, p. 100.

Newsweek 1968

“Artists vs. Mayor Daley.” Newsweek, 4 November 1968, p. 117.

Newsweek 1971

“Art and Faith in Houston.” Newsweek, 15 March 1971, p. 63.

Nodelman 1967

Sheldon Nodelman. “Sixties Art: Some Philosophical Perspectives.” Perspecta [Yale Architectural Journal] 11 [1967], pp. 72–89.

Nodelman 1997

Sheldon Nodelman. The Rothko Chapel Paintings: Origins, Structure, Meaning. Austin: University of Texas Press, 1997.

Nordland 1960

Gerald Nordland. “The New Yorkers Are Coming!” Frontier, November 1960, pp. 22–24.

Nowald 1991a

Karlheinz Nowald. “Rezeptions-Zeit-Reflexions-Zeit.” In Perspektiven der Kunstphilosophie: Texte und Diskussionen, ed. Franz Koppe, pp. 258–69. Frankfurt am Main: Suhrkamp, 1991.

Nowald 1991b

Karlheinz Nowald. “Wahrnehmungsprozesse: Barnett Newman und Joseph Beuys.” Neue Zürcher Zeitung, 21 June 1991, p. unavailable.

O’Doherty 1973

Brian O’Doherty. American Masters: The Voice and the Myth in Modern Art. New York: Random House, 1973.

O’Neill 1990

John P. O’Neill, ed. Barnett Newman: Selected Writings and Interviews. Text notes and commentary by Mollie McNickle, introduction by Richard Shiff. New York: Alfred A. Knopf, 1990. Published in paperback by University of California Press, Berkeley, 1992. Published also in German as Barnett Newman: Schriften und Interviews 1925–1970. Trans. Tarcisius Schelbert. Bern and Berlin: Gachnang & Springer, 1996.

Oberlin 1980

Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio. From Reinhardt to Christo: Works Acquired Through the Benefaction of the Late Ruth C. Roush. 20 February–19 March 1980. Catalogue with texts by Ellen H. Johnson and William Olander.

Ooij 1991

Dieuwke van Ooij. “Annalee Newman: Ik kon de gedachte van dat vernielde schilderij niet verdragen.” Trouw, 19 December 1991, sec. Kunst, p. 1.

Ortmayer 1982

Roger Ortmayer. “Die Rothko-Newman-Kapelle in Houston.” Kunst und Kirche [Linz, Austria], no. 2, 1982, pp. 188–89.

Orton 1994

Fred Orton. “Figuring Jasper Johns.” In Art Has No History! The Making and Unmaking of Modern Art, ed. John Roberts, pp. 111–32. London and New York: Verso, 1994.

Osaka 1995

The National Museum of Modern Art, Osaka, Japan. Invitation to Abstract Art. 1995. Catalogue.

Osis 1963

K[arlis] Osis. Interview with Barnett Newman in his studio, 2 August 1963. On deposit in typescript at the Barnett Newman Foundation.

Ottawa 1975

The National Gallery of Canada, Ottawa. Donald Judd. 24 May–6 July 1975.

Oxford 1973

Ashmolean Museum, Oxford. Untitled 25.10.73. October–December 1973.

Packer 2002

William Packer. “Confronted by Simple Doubts.” The Financial Times, 29 October 2002, p. 17.

Pacquement 1972

A[lfred] Pacquement. “Barnett Newman: Qui a peur du rouge, du jaune et du bleu?” Le Petit Journal des Grandes Expositions, 11 October–11 December 1972, unpaginated [special issue].

Pacquement 1978

Alfred Pacquement. “Barnett Newman: Pour une peinture passionnée.” Insert, for distribution in France, of monograph Rosenberg 1978.

Pacquement 1980

Alfred Pacquement. “Le parcours des dessins.” In Barnett Newman: Les dessins, 1944–1969, pp. 7–10. Exh. cat. Musée National d’Art Moderne, Centre Georges Pompidou, Paris, 1980.

Panofsky and Newman 1976

“La correspondance Panofsky/Newman.” Macula, no. 2, pp. 147–49.

Paris [J.] 1965

Jeanne Paris. Review of group exhibition [New York 1965b]. Long Island Press, 7 February 1965, p. unavailable.

Paris 1959

Musée National d’Art Moderne, Paris. Jackson Pollock et la nouvelle peinture américaine. 16 January–15 February 1959. Catalogue texts by Jean Cassou and Sam Hunter.

Paris 1960

Galerie Neufville, Paris. Group show. 23 February–22 March 1960.

Paris 1965

Musée Rodin, Paris. Modern Sculpture USA/États-Unis sculptures du XXe siècle. 22 June–10 October 1965. Catalogue with introduction in French by René d’Harnoncourt.

Paris 1967

M. Knoedler & Cie, Paris. Six peintres américains: Arshile Gorky, Franz Kline, Willem de Kooning, Barnett Newman, Jackson Pollock, Mark Rothko. 18 October–25 November 1967. Catalogue with texts in French and English by André Breton and Elaine de Kooning and statements by the artists.

Paris 1968

Grand Palais, Paris. The Art of the Real: An Aspect of American Painting and Sculpture, 1948–1968. 14 November–23 December 1968. Catalogue for the London showing, with text by E. C. Goossen.

Paris 1972

Grand Palais, Galeries Nationales, Paris. Barnett Newman. 10 October–11 December 1972. Catalogue with text by Thomas B. Hess and foreword by Blaise Gautier, both in French (revised version of exhibition catalogue New York 1971c).

Paris 1980a

Galeries Nationales d’Exposition du Grand Palais, Paris. L’Amérique aux indépendents 1944–1980. 13 March–13 April 1980. Catalogue with texts by Loïs Pattison de Menil et al.

Paris 1980b

Musée National d’Art Moderne, Centre Georges Pompidou, Paris. Barnett Newman: Les dessins 1944–1969. 14 November 1980–4 January 1981. Catalogue with texts in French by Pontus Hultén, Alfred Pacquement, and Barbara Rose.

Paris 1984

Galeries Nationales du Grand Palais, Paris. La rime et la raison: Les collections Ménil (Houston-New York). 17 April–30 July 1984. Catalogue with texts by Dominique de Menil et al.

Paris 1985

École Nationale Supérieure des Beaux-Arts, Paris. Cinquante ans de dessins américains, 1930–1980. 3 May–13 July 1985. Catalogue with introduction by Walter Hopps.

Paris 1996

Musée National d’Art Moderne, Centre National d’Art et de Culture Georges Pompidou, Paris. Face à l’ histoire: L’artiste moderne devant l’événement historique. 19 December 1996–7 April 1997. Catalogue with texts by Jean-Paul Ameline et al.

Pasadena 1969

Pasadena Art Museum. Painting in New York, 1944 to 1969. 24 November 1969–11 January 1970. Catalogue with essay by Alan Solomon.

Pasadena 1970

Pasadena Art Museum. Barnett Newman, January 29, 1905–July 4, 1970. 31 July–30 August 1970. Checklist.

Paskus 1974

Benjamin Garrison Paskus. “The Theory, Art, and Critical Reception of Barnett Newman.” Ph.D. dissertation, The University of North Carolina at Chapel Hill, 1974.

Payot 1993

Daniel Payot. “Tout uniment: Barnett Newman.” Paper presented at a symposium, Strasbourg, 18 and 19 May 1990. In L’art moderne et la question du sacré, ed. Jean-Jacques Nillès, pp. 163–89. Paris: Editions du Cerf, 1993.

Pellegrini 1966

Aldo Pellegrini. New Tendencies in Art. Trans. Robin Carson. New York: Crown Publishers, 1966.

Perl 1991

Jed Perl. “New Man, New City” [review of O’Neill 1990]. The New Republic, 4 March 1991, pp. 34–38.

Perreault 1969

John Perreault. “Back Indoors.” The Village Voice, 3 April 1969, p. 17.

Perreault 1971a

John Perreault. The Village Voice, 4 March 1971, p. 13.

Perreault 1971b

John Perreault. “The Earth and the Sky and the Heavens Are Joined.” The Village Voice, 28 October 1971, pp. 33–34.

Perreault 2002

John Perreault. “The Barney Newman Story.” NYArts, May 2002, pp. 22–23.

Peters 1979

U[rsula] P[eters]. Catalogue entry “Barnett Newman.” In Handbuch Museum Ludwig: Kunst des 20. Jahrhunderts, ed. Karl Ruhrberg, pp. 566–67. Cologne: Museum Ludwig, 1979. 2nd ed., 1983.

Peters 1998

Louis Peters. “Wenn Künstler fremde Kunst entstellen.” Atelier [Germany], no. 2 (March–April 1998), pp. 25–29.

Philadelphia 1965

Institute of Contemporary Art, University of Pennsylvania, Philadelphia. The Decisive Years, 1943–1953. 14 January–1 March 1965. Catalogue with introduction by Samuel Adams Green.

Philadelphia 1968

Philadelphia Museum of Art, The Pure and Clear: American Innovations. 13 November 1968–21 January 1969. Catalogue with foreword by Evan H. Turner.

Philadelphia 1987

Institute of Contemporary Art, University of Pennsylvania, Philadelphia. 1967: At the Crossroads. 13 March–26 April 1987. Catalogue with texts by Janet Kardon et al.

Philadelphia 2002

Philadelphia Museum of Art. Barnett Newman. 24 March–7 July 2002. Catalogue edited by Ann Temkin with essays by Richard Shiff and Ann Temkin and contributions by Suzanne Penn and Melissa Ho.

Phillips 1999

Lisa Phillips. The American Century: Art & Culture 1950–2000. Exh. cat. Whitney Museum of American Art, New York, 1999.

Picard and Dienst 1967

Lil Picard and Rolf-Gunter Dienst. “Ausstellungen in New York.” Das Kunstwerk 7–8, no. 20 (April–May 1967), pp. 23–45.

Pickshaus 1988

Peter Moritz Pickshaus. “III. Die ehrliche Haut: Barnett Newmans ‘Who’s Afraid of Red, Yellow and Blue IV,’ Berlin, 13.4.1982.” In Kunstzerstörer: Fallstudien: Tatmotive und Psychogramme, pp. 65–123. Kulturen und Ideen. Reinbek bei Hamburg: Rowohlt, [1988].

Pictures on Exhibit 1970

“Gallery Previews in New York.” Pictures on Exhibit, January 1970, pp. 12–22.

Piene 1969

Nan R. Piene. “Museums and Galleries: New York Exhibition Notes.” Art in America 57, no. 1 (January–February 1969), pp. 102–7.

Pinciss et al. 1985

G. M. Pinciss et al. Explorations in the Arts: An Introduction to the Humanities. New York: Holt, Rinehart and Winston, 1985.

Pincus-Witten and Wingate 1992

Robert Pincus-Witten and Ealan Wingate. Barnett Newman: Zim Zum II. Exh. cat. Gagosian Gallery, New York, 1992.

Pittsburgh 1958

Carnegie Institute, Department of Fine Arts, Pittsburgh. The 1958 Pittsburgh Bicentennial International Exhibition of Contemporary Painting and Sculpture. 5 December 1958–8 February 1959. Catalogue with introduction by Gordon Bailey Washburn.

Plagens 1971

Peter Plagens. “Zip: Another Magazine Article on Barnett Newman.” Art in America 59, no. 6 (November–December 1971), pp. 62–67.

Plagens 2002

Peter Plagens. “A Radical’s Work Grows Old—Not So Gracefully.” Newsweek, 22 April 2002, pp. 66–67.

Plante 1986

Michael Plante. “The Fifties’ Legacy: Toward a New Aesthetic.” In Definitive Statements: American Art 1964–1966, pp. 3–15. Exh. cat. Department of Art, Brown University, Providence, Rhode Island, 1986.

Plattard 2002

Hélène Plattard. “La pensée de Barnett Newman: Here I, Here II et Here III.“ Master’s thesis, Université Lumière, Lyons, France, 2002. Typescript. On deposit at the Barnett Newman Foundation.

Polcari 1991

Stephen Polcari.”Barnett Newman: New Beginnings.” In Abstract Expressionism and the Modern Experience, pp. 187–211. Cambridge and New York: Cambridge University Press, [1991].

Polcari 1994

Stephen Polcari.”Barnett Newman’s Broken Obelisk.” Art Journal 53, no. 4 (Winter 1994), pp. 48–55.

Pomeroy 1967a

Ralph Pomeroy. “New York: No One’s Looking (So I’ll Talk to Myself).” Art and Artists [London] 2, no. 5 (August 1967), pp. 28–29.

Pomeroy 1967b

Ralph Pomeroy. “New York: Flash! Sculpture Still Leads.” Art and Artists [London] 2, no. 8 (November 1967), pp. 30–33.

Pomeroy 1969

Ralph Pomeroy. “Barnett Newman: Painting Seen in Its Idea.” Art and Artists [London] 4, no. 4 (July 1969), pp. 50–52.

Pompidou 1981

Musée National d’Art Moderne: 100 oeuvres nouvelles 1977–1981. Paris: Centre National d’Art et de Culture Georges Pompidou, 1981.

Pompidou 1991

Centre Georges Pompidou. Paris—New York 1908–1968. Éditions du Centre Pompidou, no. 20. Paris: Gallimard, [1991].

Poschardt 2000

Ulf Poschardt. “Das Erhabene ist jetzt.” Kunstforum International, no. 150 (April–June 2000), pp. 290–97.

Potts 1985

V[ictoria] P[otts]. Catalogue entries 36–39. In Flying Tigers: Painting and Sculpture in New York 1939–1946, pp. 77–80. Exh. cat. Bell Gallery, Brown University, Providence, Rhode Island, 1985.

Potts 2000

Alexander Potts. The Sculptural Imagination: Figurative, Modernist, Minimalist. New Haven and London: Yale University Press, 2000.

Prak 1970

Niels Luning Prak. “Persistent Schemes: The Quest for a Neutral Form.” Art International 14, no. 7 (September 1970), pp. 74–78.

Prange 1998

Regine Prange. “Ein Zeitgenosse wider Willen: Panofskys Witz und die Ikonologie der Moderne.” In Zeitenspiegelung: Zur Bedeutung von Traditionen in Kunst und Kunstwissenschaft: Festschrift für Konrad Hoffmann zum 60. Geburtstag am 8. Oktober 1998, ed. Peter K. Klein and Regine Prange, pp. 331–45. Berlin: Reimer, 1998.

Preble 1985

Duane and Sarah Preble. Artforms: An Introduction to the Visual Arts. 3rd ed. New York: Harper & Row, [1985].

Preston 1950

Stuart Preston. “Chiefly Modern.” The New York Times, 4 June 1950, p. 6X.

Print Collector’s Newsletter 1995

“Pace Wildenstein.” The Print Collector’s Newsletter 25, no. 6 (January–February 1995), p. 231.

Providence 1973

Museum of Art, Rhode Island School of Design, Providence, Rhode Island. Selection III: Graphics from the Museum’s Collection. 5 April–6 May 1973. Catalogue.

Providence 1985

Bell Gallery, Brown University, Providence, Rhode Island. Flying Tigers: Painting and Sculpture in New York 1939–1946. 27 April–27 May 1985. Catalogue with texts by Kermit S. Champa et al.

Provincetown 1950

Provincetown Art Association, Hawthorne Memorial Gallery, Provincetown, Massachusetts. Post-Abstract Painting 1950: France and America. 6 August–4 September 1950. Checklist; also flyer listing the 35 participating artists.

Prown and Rose 1977

Jules David Prown and Barbara Rose. American Painting: From the Colonial Period to the Present. New York: Rizzoli International Publications, Inc., 1977.

Qizilbash 1998

Mozaffar Qizilbash. “Impurity, Authenticity, and Humanity.” Angelaki, Journal of the Theoretical Humanities [Oxford, U.K.] 3, no. 1 (April 1998), pp. 1–7.

Quick 1978

David M[arvin] Quick. “Meaning in the Art of Barnett Newman and Three of His Contemporaries: A Study of Content in Abstract Expressionism.” Ph.D. dissertation, The University of Iowa, 1978.

Rainer 1997

Wolfgang Rainer. “Selbstherrliche Farbe: Das Werk Barnett Newmans in Düsseldorf.” Stuttgarter Zeitung, 10 July 1997, p. 23.

Rancière 1996

Jacques Rancière. “Sens et figures de l’histoire.” In Face à l’ histoire: L’artiste moderne devant l’événement historique, pp. 20–27. Exh. cat. Centre National d’Art et de Culture Georges Pompidou, Paris, 1996.

Ratcliff 1971

Carter Ratcliff. “New York Letter.” Art International 15, no. 10 (20 December 1971), pp. 52–61.

Ratcliff 1991

Carter Ratcliff. “Barnett Newman: Citizen of the Infinitely Large Small Republic.” Art in America 79, no. 9 (September 1991), pp. 92–97, 146–47. For a discussion, see Art in America 79, no. 11 (November 1991), p. 37.

Ratcliff 1996

Carter Ratcliff. The Fate of a Gesture: Jackson Pollock and Postwar American Art. New York: Farrar Straus Giroux, 1996.

Ratcliff 2002

Carter Ratcliff. “Newman’s Perennial Now.” Art in America 90, no. 9 (September 2002), pp. 96–103, 147.

Read and Stangos 1994

Herbert Read and Nikos Stangos, eds. The Thames and Hudson Dictionary of Art and Artists. Revised, expanded, and updated edition. London: Thames and Hudson Ltd., 1994.

Reed 1989

David Reed. “Memories of Rome.” New Observations 68 (June 1989), pp. 20–23.

Reed and Nilsson 1978

Gervais Reed and Jo Nilsson. Art in Seattle’s Public Places: Five Urban Walking Tours, no. 4. Seattle: Seattle Public Library, 1978.

Rees 1972

Jeremy Rees. “Public Sculpture.” Studio International 184, no. 946 (July–August 1972), pp. 9–15.

Regina 1973

Norman Mackenzie Art Gallery, Regina, Saskatchewan. Emma Lake Workshops 1955–1973. 21 September–21 October 1973. Catalogue with introduction by Nancy E. Dillow.

Reif 1985

Rita Reif. “Barnett Newman’s ‘Ulysses’ Sold at Sotheby’s Auction.” The New York Times, 3 May 1985, p. C24.

Reinke 1986

Klaus U. Reinke. “Die Kunst als Lebensmittel: Barnett Newman: Das druckgraphische Werk im Museum Mönchengladbach.” Handelsblatt, 1–2 August 1986, p. S5.

Reise 1970

Barbara M. Reise. “The Stance of Barnett Newman.” Studio International 179, no. 919 (February 1970), pp. 49–63. For correction, see Studio International 179, no. 920 (March 1970), p. 90.

Reithmann 1984

Max Reithmann. “Newman et Mondrian.” Artistes [Paris], special issue no. 1 (June 1984), pp. 50–67.

Reno 1979

Sierra Nevada Museum of Art, Reno, Nevada. The New York School, 1940–1960: The First Generation of Abstract Expressionism. 3 February–4 March 1979. Catalogue.

Response 1963

“The Art of Today.” Response, pp. 16–20. Preface published on the occasion of Princeton University’s “Response” weekend 1963.

Restany 1973

Pierre Restany. “Barnett Newman: A Value of Civilisation/Une valeur de civilisation.” Domus [Milan], no. 519 (February 1973), pp. 47–48.

Rhode 1982a

Werner Rhode. “Keine Angst vor Barnett Newman: Die Finanzakrobatik der Berliner Nationalgalerie.” Süddeutsche Zeitung, 12 February 1982, p. 33.

Rhode 1982b

Werner Rhode.”Für Barnett Newman: Ein Bild und viele Mäzene.” Frankfurter Rundschau, 16 February 1982, p. 9.

Rhydderch 2002

Richard Rhydderch. “Taking a Line on Modern Art.” Methodist Recorder, 26 September 2002, p. 16.

Richard 1967

Paul Richard. “Bladen’s X Is an X Is an X Is an X.” The Washington Post, 8 October 1967, p. K7.

Richard 1969

Paul Richard. “Woe Follows the Obelisk.” The Washington Post, 25 August 1969, pp. B1, B5.

Richard 1973

Paul Richard. “A Symbolic Exhibition.” The Washington Post, 26 October 1973, p. B3.

Richard 1979

Paul Richard. “Sketchy Barnett Newman: A Pioneer Painter’s Curious Caution.” The Washington Post, 20 May 1979, pp. N1, N12.

Richard 1986

Paul Richard. “14 Abstracts by Newman Sold to NGA.” The Washington Post, 25 October 1986, pp. G1, G5.

Richardson 1966

John Richardson. “At the New Whitney: American Art from 1676 [sic] to the Present Day.” New York Review of Books, 3 November 1966, pp. 30–31.

Richardson 1979

Brenda Richardson. Barnett Newman: The Complete Drawings, 1944–1969. Exh. cat. The Baltimore Museum of Art, 1979.

Ridgefield 1968

The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Cool Art—1967. 7 January–17 March 1968. Catalogue with introduction by Larry Aldrich.

Ridgefield 1979

The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. The Minimal Tradition. 29 April–2 September 1979. Catalogue with introduction by Dorothy Mayhall.

Riehen 2000

Fondation Beyeler, Riehen, Switzerland. Farbe zu Licht. 16 April–30 July 2000. Catalogue with texts by Markus Brüderlin et al.

Riehen 2001

Fondation Beyeler, Riehen, Switzerland. Ornament and Abstraction: The Dialogue Between Non-Western, Modern, and Contemporary Art. 10 June–23 September 2001. Catalogue edited by Markus Brüderlin; also flyer and exhibition brochure.

Riehen 2002

Fondation Beyeler, Riehen, Switzerland. Monet . . . up to Digital Impressionism. 28 March–4 August 2002. Catalogue with texts by Reinhold Hohl et al.

Riese 2002

Hans-Peter Riese. “Die Wände sind die Bilder.” Frankfurter Allgemeine Zeitung, 16 May 2002, p. 45.

Riley 1947

Maude Kemper [Riley]. “Coming to Terms with Modern Painting.” MKR’s Art Outlook 1, no. 29 (27 January 1947), pp. 2–3.

Riley 1995

Charles A. Riley II. “Barnett Newman: Color and the Sublime.” In Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music, and Psychology, pp. 174–80. Hanover, New Hampshire, and London: University Press of New England, 1995.

Riley 1998

Charles A. Riley II. “Pilgrimage to the Sublime: Barnett Newman.” In The Saints of Modern Art: The Ascetic Ideal in Contemporary Painting, Sculpture, Architecture, Music, Dance, Literature, and Philosophy, pp. 53–60. Hanover, New Hampshire, and London: University Press of New England, 1998.

Rinuy 1996

Paul-Louis Rinuy. “Les impossibles retours à l’antiquité dans l’art contemporain.” In Antiquités imaginaires: La référence antique dans l’art moderne de la Renaissance à nos jours: Actes de la table ronde du 29 avril 1994: École normale supérieure, centre d’études anciennes, pp. 243–60. Paris: Presses de l’École Normale Supérieure, 1996.

Ripley 1990

Deborah Ripley. “Prints and Multiples.” Artscribe [London], no. 83 (September–October 1990), pp. 19–20.

Robertson 1972

Bryan Robertson. “New York, Reviews and Previews: Mondrian and Newman.” Art in America 60, no. 1 (January–February 1972), pp. 29, 31.

Robinson 1990

Jeremy Robinson. Glorification: Religious Abstraction in Renaissance and 20th Century Painting. Kidderminster: Crescent Moon, 1990.

Rodman 1960

Selden Rodman. The Insiders: Rejection and Rediscovery of Man in the Arts of Our Time. [Baton Rouge]: Louisiana State University Press, [1960].

Rome 1959

Rome-New York Art Foundation, Rome. Moments of Vision. July–November 1959. Catalogue with introduction by Herbert Read.

Rome 1976

Galleria Nazionale d’Arte Moderna, Valle Giulia, Rome. 200 anni di pittura americana. 1–26 October 1976. Catalogue with texts by Joshua Taylor et al.

Rose 1964a

Barbara Rose. “New York Letter” [group exhibition at the Sidney Janis Gallery]. Art International 8, no. 1 (15 February 1964), pp. 40–41.

Rose 1964b

Barbara Rose. “The Primacy of Color.” Art International 8, no. 4 (May 1964), pp. 22–26.

Rose 1967a

Barbara Rose. American Art Since 1900: A Critical History. Praeger World of Art Series. New York and Washington: Frederick A. Praeger, 1967.

Rose 1968a

Barbara Rose. Readings in American Art Since 1900: A Documentary Survey. Praeger World of Art Series. New York and Washington: Frederick A. Praeger, 1968.

Rose 1968b

Barbara Rose. “Blowup—The Problem of Scale in Sculpture.” Art in America 56, no. 4 (July–August 1968), pp. 80–91.

Rose 1970b

Barbara Rose. “Culture Collision.” Vogue, 1 October 1970, p. 98.

Rose 1971a

Barbara Rose. “Who’s Afraid of Red, Yellow, and Blue? ‘The Structure of Colour’ Show at the Whitney Museum.” Vogue, 15 April 1971, p. 128.

Rose 1971b

Barbara Rose. “The Passing and Resurgence of Barney Newman.” New York Magazine, 8 November 1971, pp. 80–84.

Rose 1971c

Barbara Rose. “Mondrian in New York.” Artforum 10, no. 4 (December 1971), pp. 54–63.

Rose 1981

Barbara Rose. “Barnett Newman: Die Arbeiten auf Papier.” In Newman: Das zeichnerische Werk, pp. 5–28. Exh. cat. Kunstmuseum, Basel, 1981. For the French version, see “Barnett Newman: Les œuvres sur papier,” pp. 12–29. In Barnett Newman: Les dessins 1944–1969. Exh. cat. Paris, Musée National d’Art Moderne, Centre Georges Pompidou, 1980.

Rose 1982

Barbara Rose. “Miró in America.” In Miró in America, pp. 5–45. Exh. cat. The Museum of Fine Arts, Houston, 1982.

Rose 1999

Barbara Rose. “Johns and Newman: An Encounter in Art.” In Barnett Newman, The Complete Editions/Jasper Johns, References to Barnett Newman, pp. 2–6. Exh. cat. Brooke Alexander, New York, 1999.

Rosenberg 1962

Harold Rosenberg. “Action Painting: A Decade of Distortion.” Artnews 61, no. 8 (December 1962), pp. 42–44, 62–63.

Rosenberg 1963

Harold Rosenberg. “Barnett Newman: A Man of Controversy and Spiritual Grandeur.” Vogue, 15 February 1963, pp. 134–35, 163, 166. Reprinted, as “Barnett Newman: The Living Rectangle,” in Harold Rosenberg, The Anxious Object: Art Today and Its Audience, pp. 169–74. New York: Horizon Press, 1964.

Rosenberg 1964a

Harold Rosenberg. “Barnett Newman: The Living Rectangle.” In The Anxious Object: Art Today and Its Audience, pp. 169–74. New York: Horizon Press, 1964. Reprinted, with illustrations, in Harold Rosenberg, The Anxious Object: Art Today and Its Audience, pp. 134–39. New York and Toronto: The New American Library, [1966].

Rosenberg 1964b

Harold Rosenberg. “After Next What?” Art in America, no. 2 (1964), pp. 64–73.

Rosenberg 1966

Harold Rosenberg. “Using a New Medium” [introduction in sales brochure for multiple]. In Four on Plexiglas. New York: Multiples, Inc., 1966, unpaginated.

Rosenberg 1969a

Harold Rosenberg. “Icon Maker.” The New Yorker, 19 April 1969, pp. 136–42. Reprinted, as “Icon Maker, Barnett Newman,” in Harold Rosenberg, The De-definition of Art, pp. 91–99. New York: Horizon Press, 1972.

Rosenberg 1969b

Harold Rosenberg. “The Art World: Moma’s Napas.” The New Yorker, 27 September 1969, pp. 102–12.

Rosenberg 1971

Harold Rosenberg. Barnett Newman: “Broken Obelisk” and Other Sculptures. Index of Art in the Pacific Northwest, 2. Seattle and London: University of Washington Press, [1971].

Rosenberg 1972a

Harold Rosenberg. “Meaning in Abstract Art (Continued).” The New Yorker, 1 January 1972, pp. 43–46. Reprinted, with illustrations, as “Barnett Newman and Meaning in Abstract Art,” in Art International 16, no. 3 (March 1972), pp. 64–65, 72. Reprinted, with illustrations, as “Newman: Meaning in Abstract Art II,” in Harold Rosenberg, Art on the Edge: Creators and Situations, pp. 50–59. New York: Macmillan, 1975. Reprinted in Abstract Expressionism: A Critical Record, ed. David and Cecile Shapiro, pp. 344–50. Cambridge and New York: Cambridge University Press, 1990.

Rosenberg 1972b

Harold Rosenberg. “Icon Maker, Barnett Newman.” In The De-definition of Art, pp. 91–99. New York: Horizon Press, 1972. Originally published, without illustrations, in The New Yorker, 19 April 1969, pp. 136–42.

Rosenberg 1975

Harold Rosenberg. “The Art World.” The New Yorker, 22 December 1975, pp. 64–68. Reprinted, as “Jews in Art,” in Harold Rosenberg, Art and Other Serious Matters, pp. 258–69. Chicago and London: The University of Chicago Press, [1985].

Rosenberg 1978

Harold Rosenberg. Barnett Newman. Contemporary artists series. New York: Harry N. Abrams, Inc., [1978]. Reprinted, with updated material, 1994. The first edition was distributed in France by Éditions du Chêne with insert “Barnett Newman: Pour une peinture passionnée” by Alfred Pacquement.

Rosenberg 1980

Harold Rosenberg. “La sculpture de Barnett Newman.” Art Press [Paris], no. 35 (March 1980), p. 12.

Rosenblum 1961

Robert Rosenblum. “The Abstract Sublime.” Artnews 59, no. 10 (February 1961), pp. 38–41, 56–58. Reprinted in Henry Geldzahler, New York Painting and Sculpture, 1940–1970, pp. 350–59. Exh. cat. The Metropolitan Museum of Art, New York, 1969. For discussion, replies, and rejoinders concerning the misprinted title Vir Heroicus Sublimus [sic], see Artnews 60, no. 2 (April 1961), p. 6; no. 3 (May 1961), p. 6; no. 7 (September 1961), p. 6.

Rosenblum 1975

Robert Rosenblum. Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko. London: Thames and Hudson, [1975].

Rosenblum 1976

Robert Rosenblum. “The Primal American Scene.” In The Natural Paradise: Painting in America 1800–1950, pp. 13–37. Exh. cat. The Museum of Modern Art, New York, 1976.

Rosenblum 1987

Robert Rosenblum. “Between Apocalypses: Art After 1945.” In A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection, pp. 99–132. Exh. cat. Dallas Museum of Art, 1987.

Rosenblum 1997

Robert Rosenblum. “Name in Lights.” Artforum 36, no. 7 (March 1997), pp. 11–12.

Rosenblum et al. 1984

Robert Rosenblum et al. The Tremaine Collection, 20th Century Masters: The Spirit of Modernism. Exh. cat. Wadsworth Atheneum, Hartford, Connecticut, 1984.

Rosenthal 1987

Nan Rosenthal. “Sculpture in the Constructivist Tradition.” In A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection, pp. 73–98. Exh. cat. Dallas Museum of Art, 1987.

Rosenthal 1990

Mark Rosenthal . “ Dancers on a Plane and Other Strategems for Inclusion in the Work of Jasper Johns.” In Dancers of a Plane: Cage, Cunningham, Johns, pp. 115–35. Exh. cat. London, Anthony d’Offay Gallery, 1989.

Rosenthal 1991

Nan Rosenthal. Catalogue entries on Barnett Newman. In Art for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art, pp. 366–67, 376–79, 380–81, 398–99. Exh. cat. National Gallery of Art, Washington, D.C., 1991.

Rosenthal 1996a

Mark Rosenthal. Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline. Exh. cat. Solomon R. Guggenheim Museum, New York, 1996.

Rosenthal 1996b

Mark Rosenthal. Catalogue entry “Barnett Newman.” In The Robert and Jane Meyerhoff Collection 1945–1995, pp. 142–51. Exh. cat. National Gallery of Art, Washington, D.C., 1996.

Roslyn 1992

Nassau County Museum of Art. Semipermanent installation, Roslyn, N.Y. From May 1992, ongoing. Exhibition brochure.

Rubin 1968a

William S. Rubin. Dada, Surrealism, and Their Heritage. Exh. cat. The Museum of Modern Art, New York, 1968.

Rubin 1979

David S. Rubin. “Black and White Painting: An Historical Perspective.” In Black and White Are Colors: Paintings in the 1950s–1970s, pp. 5–28. Exh. cat. Montgomery Art Gallery, Pomona College, Claremont, California, 1979.

Rubinstein 1996

Raphael Rubinstein. “Versions of Rapture.” Art in America 84, no. 9 (September 1996), pp. 70–75.

Ruhrberg 1985

Karl Ruhrberg. “‘Ich arbeite mit dem gesamten Raum’—Anmerkungen zu Barnett Newman.” In Raum, Zeit, Stille, pp. 51–65. Exh. cat. Kölnischer Kunstverein, Cologne, 1985. Originally published, with fewer illustrations, in Hommage à Cladders, 14. September 1984, pp. 81–92. Mönchengladbach: Museumsverein, [1984].

Ruhrberg 1986

Karl Ruhrberg. Twentieth-Century Art: Painting and Sculpture in the Ludwig Museum. London: Academy Editions, 1986.

Ruhrberg 1991

Karl Ruhrberg. “Vom Schweigen der Bilder: Anmerkungen zum malerischen Werk Barnett Newmans.” Kölner Museums-Bulletin, no. 2/1991, pp. 4–17.

Ruhrberg 1992

Karl Ruhrberg. “Dem Grenzenlosen gegenüber.” In Barnett Newman, pp. 3–11. Künstler: Kritisches Lexikon der Gegenwartskunst, 19. Munich: WB Verlag, [1992].

Ruhrberg 1995

Karl Ruhrberg. “Über die Autonomie der Farbe.” In In medias res: Festschrift zum siebzigsten Geburtstag von Peter Ludwig, ed. Rainer Jacobs, Marc Scheps, and Frank Günter Zehnder, pp. 176–96. Cologne: Dumont, 1995.

Ruhrberg 1998

Karl Ruhrberg et al. Art of the 20th Century. Ed. Ingo F. Walther. 2 vols. Cologne: Taschen, 1998.

Rushing 1986

W. Jackson Rushing. “Ritual and Myth: Native American Culture and Abstract Expressionism.” In The Spiritual in Art: Abstract Painting 1890–1985, pp. 273–95. Exh. cat. Los Angeles County Museum of Art, 1986.

Rushing 1988

W. Jackson Rushing. “The Impact of Nietzsche and Northwest Coast Indian Art on Barnett Newman’s Idea of Redemption in the Abstract Sublime.” Art Journal 47, no. 3 (Fall 1988), pp. 187–95. See also “Letters: An Exchange: Annalee Newman and W. Jackson Rushing,” Art Journal 48, no. 3 (Fall 1989), pp. 268–71.

Rushing 1995a

W. Jackson Rushing. Native American Art and the New York Avant-Garde. Austin: University of Texas Press, 1995.

Rushing 1995b

W. Jackson Rushing. “Decade of Decision.” Art Journal 54 (Spring 1995), pp. 88–91.

Russell 1970

John Russell. “Search for ‘Onement’.” The Sunday Times [London], 19 July 1970, p. 21.

Russell 1972

John Russell. “Oneness is All.” The Sunday Times [London], 2 July 1972, p. 38.

Russell 1975

John Russell. The Meanings of Modern Art. Vols. 10 and 11. New York: The Museum of Modern Art, 1975.

Russell 1979b

John Russell. “Newman’s Mastery of the Pen and Crayon.” The New York Times, 27 May 1979, pp. D25, D37.

Russell 1986

John Russell. “‘Heroic Sublime,’ or the Use of the Stripe.” The New York Times, 13 June 1986, p. C32.

Saint Louis 1969

Washington University Gallery of Art, Steinberg Hall, Saint Louis, Missouri. The Development of Modernist Painting: Jackson Pollock to the Present. 1–30 April 1969. Catalogue with introduction by Robert T. Buck, Jr.

Sakura City 1999

Kawamura Memorial Museum of Art, Sakura City, Japan. Your Own Private Stage. 4 September–5 December 1999.

Sakura City 2000

Kawamura Memorial Museum of Art, Sakura City, Japan. Art for Life’s Sake. 25 March–4 June 2000. Catalogue with texts by Nobuyuki Hiromoto et al.

Saltz 2001

Jerry Saltz. “Stop Making Sense.” The Village Voice, 3 January 2001, p. 64.

San Francisco 1963

Dilexi Gallery, San Francisco. Forty-Six Works from New York. 12 November–7 December 1963. Illustrated checklist.

San Francisco 1965

San Francisco Museum of Art, Art: An Environment for Faith. 15 November–15 December 1965. Catalogue with introduction by Mildred Constantine.

San Francisco 1996

Fine Arts Museum of San Francisco, California Palace of the Legion of Honor, San Francisco. A Century of Sculpture: The Nasher Collection. October 1996–January 1997. Catalogue with texts by Carmen Giménez et al.

San Sebastian 1995

Sala de Exposiciones del Koldo Mitxelena, Diputación Foral de Gipuz, San Sebastian, Spain. Hace 30 años: Pintura y escultura de una decada. 3 February–2 April 1995. Catalogue with texts in Basque and Spanish by Nadine Coleno et al.

Sandler 1961

Irving Sandler. “In the Art Galleries.” New York Post, 29 October 1961, magazine p. 12.

Sandler 1962

Irving Sandler. “In the Art Galleries” [concerning simultaneous exhibitions by Barnett Newman and Willem de Kooning at the Allan Stone Gallery]. New York Post, 4 November 1962, magazine p. 12.

Sandler 1970

Irving Sandler. “Barnett Newman (1905–1970).” In The Triumph of American Painting: A History of Abstract Expressionism, pp. 185–92. New York and Washington, D.C.: Praeger Publishers, 1970.

Sandler 1994

Irving Sandler. “Newman, Rothko, Still: Search for the Sublime.” In Newman, Rothko, Still: Search for the Sublime, pp. [2–12]. Exh. cat. C & M Arts, New York, 1994.

Sandler 1996

Irving Sandler. Pintura estadounidense: Expresionismo abstracto [in Spanish, accompanied by English translation]. Exh. cat. Centro Cultural Arte Contemporáneo, A.C., Mexico City, 1996.

Sandquist 1983

Tom Sandquist. “Kandinsky, Jorma Hautala, Carolus Enckell, Barnett Newman och Duns Scotus.” Paletten [Sweden], no. 1/1983, pp. 24–27.

Sandquist 1986

Tom Sandquist. “Från kånsla till yta.” Paletten [Sweden], no. 2/1986, pp. 14–26.

São Paulo 1965

The United States of America Pavilion, São Paulo. VIII Bienal do Museu de Arte Moderna. 4 September–28 November 1965. Catalogue with introduction in English and Spanish by Walter Hopps. Additional catalogues in Portuguese only as well as English only, the latter for the U.S. showing in 1966.

Sarasota 1974

John and Mable Ringling Museum of Art, Sarasota, Florida. Contemporary Religious Imagery in American Art. 1–31 March 1974. Catalogue with texts by Leslie Judd Ahlander and Richard S. Carroll.

Saskatoon 1989

Mendel Art Gallery, Saskatoon, Saskatchewan. The Flat Side of the Landscape: The Emma Lake Artists’ Workshop. 5 October–19 November 1989. Catalogue edited by John O’Brian.

Sawin 1959

Martica Sawin. “New York Letter” [Barnett Newman exhibition at French and Company, Inc.]. Art International 3, nos. 5–6 (May–June 1959), pp. 48–50.

Saxon 1992

Erik Saxon. “Steel Cosmogony.” Art in America 80, no. 7 (July 1992), pp. 98–99, 101.

Schade 1990

Sigrid Schade. “Inszenierte Präsenz: Der Riß im Zeitkontinuum (Monet, Cézanne, Newman).” In Zeit-Zeichen: Aufschübe und Interferenzen zwischen Endzeit und Echtzeit, ed. Georg Christoph Tholen, pp. 211–29. Weinheim: VCH, 1990.

Schenk 1983

R. Schenk. “Een woord bij het beeld: De funktie van de titel in het werk van Barnett Newman.” Metropolis 11 (1983), pp. 5–9.

Schenker 1995

Christoph Schenker. “Barnett Newman.” In Main Stations, pp. 50–53. Exh. cat. Casino Luxembourg (publisher Neue Kunst Bücher, Schaffhausen, Switzerland), 1995.

Scheugl 1998

Hans Scheugl. Das Absolute: Eine Ideengeschichte der Moderne. Vienna and New York: Springer, 1998.

Schimmel 1986

Paul Schimmel. “Images of Metamorphosis.” In The Interpretive Link: Abstract Surrealism into Abstract Expressionism: Works on Paper 1938–1948, pp. 17–28. Exh. cat. Newport Harbor Art Museum, Newport Beach, California, 1986.

Schjeldahl 1969

Peter Schjeldahl. “New York Letter” [Barnett Newman exhibition at M. Knoedler & Co., Inc.]. Art International 13, no. 6 (Summer 1969), pp. 64–69.

Schjeldahl 1970a

Peter Schjeldahl. “After Nothing Less Than Emotional Profundity.” The New York Times, 8 February 1970, p. D23

Schjeldahl 1970b

Peter Schjeldahl. “Barnett Newman: ‘Aspiration Toward the Sublime.’” The New York Times, 6 September 1970, sec. 2, p. 21.

Schjeldahl 1980

Peter Schjeldahl. “Anxieties of Eminence” [includes review of Barnett Newman monograph by Brenda Richardson]. Art in America 68, no. 7 (September 1980), pp. 106–15.

Schjeldahl 2002

Peter Schjeldahl. “Lord Barney: Barnett Newman’s Majestic Abstractions.” The New Yorker, 15 April 2002, pp. 82–84.

Schmidt 1997

Konrad Schmidt. “Newman: Wahnsinns-Farben!” Ruhr-Nachrichten [Dortmund], 29 May 1997, p. 7.

Schmied 1984

Wieland Schmied. “Spiritualität in der Kunst des 20. Jahrhunderts.” In Die Kunst und die Kirchen: Der Streit um die Bilder heute, ed. Rainer Beck et al., pp. 112–135. Munich: Bruckmann, [1984].

Schmied 1985

Wieland Schmied. Introduction to Franz Joseph van der Grinten and Friedhelm Mennekes, Mythos und Bibel: Auseinandersetzung mit einem Thema der Gegenwartskunst, pp. 13–16. Stuttgart: Verlag Katholisches Bibelwerk, [1985].

Schmied 1990

Wieland Schmied. “GegenwartEwigkeit: Gedanken zu Konzept, Sinn und Problematik dieser Ausstellung.” In GegenwartEwigkeit: Spuren des Transzendenten in der Kunst unserer Zeit, pp. 11–26. Exh. cat. Martin-Gropius-Bau, Berlin, 1990.

Schmied 1996

Wieland Schmied. “Zur Frage einer genuin jüdischen Kunst im 20. Jahrhundert: Von Marc Chagall bis Barnett Newman.” Kunst und Kirche [Germany], no. 4, 1996, pp. 231–36.

Schmitz 1996

Rudolf Schmitz. “The White Whale, the Vir Heroicus Sublimis, and the Electric Cowboy/ Der weisse Wal, der Vir Heroicus Sublimis und der elektrische Cowboy.” Daidalos, no. 61 (September 1996), pp. 68–73.

Schnabel 1987

Julian Schnabel. “November 21, 1985.” In CVJ: Nicknames of Maitre d’s & Other Excerpts from Life, pp. 39–41. New York: Random House, [1987].

Schneemann 1998

Peter [Johannes] Schneemann. Who’s Afraid of the Word: Die Strategie der Texte bei Barnett Newman und seinen Zeitgenossen. Quellen zur Kunst, 6. Ed. Norberto Grammaccini. Freiburg i. B.: Rombach, [1998].

Schneider 2001

Pierre Schneider. “Déclarer l’espace: Barnett Newman” and “Traverse 5: Kant commentateur de Newman.” In Petite Histoire de l’Infini en Peinture, pp. 292–313, 314–19, 493–94. Paris: Hazan, 2001.

Schodek 1993

Daniel L. Schodek. Structure in Sculpture. Cambridge, Massachusetts, and London: The MIT Press, 1993.

Schoenfeld 1994

Ann Schoenfeld. “Barnett Newman ‘27: The Sensibility of the Modern Artist.” Alumnus: The City College of New York, Spring 1994, pp. 8–9.

Schor 1996a

Gabriele Schor. The Prints of Barnett Newman, 1961–1969. Exh. cat. Staatsgalerie Stuttgart, 1996.

Schor 1996b

Gabriele Schor. “Freie Farbe, lebendige Form.” Berner Kunstmitteilungen, no. 307 (November/December 1996), pp. 3–5.

Schor 1997b

Gabriele Schor. “Who’s Afraid of Red, Yellow and Blue: Barnett Newman in der Kunstsammlung Nordrhein-Westfalen.” Neue Zürcher Zeitung [international ed.], 4 June 1997, p. 33.

Schor 1998

Gabriele Schor. “Im Zeichen der Unendlichkeit: Eine grundlegende Monographie über Barnett Newman.” Neue Zürcher Zeitung [international edition], 7–8 March 1998, pp. 51–52.

Schor 1999

Gabriele Schor. “Lapislazuli: Das Schwarz der Abstrakten Expressionisten.” In Die Farben Schwarz, pp. 97–120. Exh. cat. Landesmuseum Joanneum, Graz, 1999.

Schor 2002

Ramin Schor. “Abkürzung auf dem Weg zum Unerreichbaren: Barnett Newman und das ‘schwierigste Werk des 20. Jahrhunderts’ in London.” Neue Zürcher Zeitung, 19–20 October 2002, p. 49.

Schug 1990

Albert Schug, ed. Die 100 schönsten Gemälde der Welt. Cologne: Naumann & Göbel, 1990.

Schug 1993

Albert Schug. Die Kunst unseres Jahrhunderts. Cologne: Naumann & Göbel, 1993.

Schulz 1997

Bernhard Schulz. “Das tragische Leben.” Der Tagesspiegel [Berlin], 9 November 1997, p. 25.

Schulz-Hoffmann 1987

Carla Schulz-Hoffmann. “Die Malerei will die ganze Welt umfassen: Gedanken zu einigen zentralen Bildmotiven im Werk von Enzo Cucchi.” In Enzo Cucchi: Guida al disegno—Beuys, Fontana, van Gogh, Hugo, Newman, Pasolini, pp. 92–114. Exh. cat. Kunsthalle, Bielefeld, Germany, 1987.

Schütt and Stuffmann 1996

Jutta Schütt and Margret Stuffmann. Introductory text in Konzeptionelle Druckgraphik: Dan Flavin, Donald Judd, Richard Serra, Barnett Newman, Josef Albers, unpaginated. Exh. cat. Städtische Galerie im Städelschen Kunstinstitut, Frankfurt am Main, 1996.

Schwartz 1998

Gary Schwartz. “Attacking Art.” Art in America 86, no. 7 (July 1998), pp. 29, 31.

Schwarze 1981

Dirk Schwarze. “Weg zur Strenge: Barnett Newman.” Rheinische Post [Düsseldorf], 13 March 1981, p. unavailable.

Schwebel 1981

Horst Schwebel. “Gibt es ein abstraktes Christusbild?” Kunst und Kirche [Linz, Austria], no. 1/1981, pp. 23–26.

Searle 2002

Adrian Searle. “Read Between the Lines.” Guardian, 17 September 2002, pp. 7–8.

Seattle 1962

Fine Arts Pavilion, World’s Fair, Seattle. Art Since 1950. 21 April–21 October 1962. Catalogue with introduction by Sam Hunter.

Seattle 1965

Seattle, [venue not known]. Drawings from the Collection of Betty Parsons. 1965. Folded exhibition brochure with text by Joseph S. Trovato and checklist.

Seattle 1969

Seattle Art Museum Pavilion, The Virginia and Bagley Wright Collection: Artists of the Sixties. 23 May–29 June 1969. Catalogue with introduction by Virginia and Bagley Wright.

Seattle 1973

Seattle Art Museum Pavilion. American Art: Third Quarter Century. 22 August–14 October 1973. Catalogue with text by Jan van der Marck.

Seattle 1999

Seattle Art Museum, The Virginia and Bagley Wright Collection of Modern Art. 4 March–9 May 1999. Catalogue with texts by Trevor Fairbrother and Bagley Wright.

Seckler 1962

Dorothy Gees Seckler. “Frontiers of Space.” Art in America 50, no. 2 (Summer 1962), pp. 82–87.

Secrest 1969

Meryle Secrest. “An Era Ends: Corcoran Gallery Obelisk Removed by Creator.” The Washington Post, 11 July 1969, p. B1.

Seel 2000

Martin Seel. Ästhetik des Erscheinens. Munich and Vienna: Carl Hanser, 2000.

Seitz 1961

William C. Seitz. Introduction to The Collection of Mr. and Mrs. Ben Heller, unpaginated. Exh. cat. The Museum of Modern Art, New York, 1961.

Semff 1993

Michael Semff. “Säule—Figur—Symbol: Anmerkungen zu einem Thema der Skulptur 1945–1960.” Marburger Jahrbuch für Kunstwissenschaft, no. 23 (1993), pp. 85–103.

Serra and Bickers 1992

Richard Serra and Patricia E. Bickers. “Serra: Interview.” Art Monthly [U.K.], no. 161 (November 1992), pp. 3–6.

Seuphor 1951

M[ichel] S[euphor]. “La peinture abstraite aux U.S.A.” Art d’Aujourd’hui 2, no. 6 (June 1951), pp. 16–23.

Sewell 2002

Brian Sewell. “The Truth About This Emperor’s Old Clothes.” Evening Standard, 4 October 2002, p. 40.

Shapiro 1977

David Shapiro. “Drawings for Outdoor Sculpture, 1946–1977.” In Drawings for Outdoor Sculpture 1946–1977, pp. [4], [7]. Exh. cat. John Weber Gallery, New York, 1977.

Shiff 1987

Richard Shiff. “Performing an Appearance: On the Surface of Abstract Expressionism.” In Abstract Expressionism: The Critical Developments, pp. 94–123. Exh. cat. Albright-Knox Art Gallery, Buffalo, N.Y., 1987.

Shiff 1990

Richard Shiff. Introduction to Barnett Newman: Selected Writings and Interviews, ed. John P. O’Neill, pp. xiii–xxviii. New York: Alfred A. Knopf, 1990.

Shiff 1991

Richard Shiff. “Break Dancing.” Arts Magazine 65, no. 8 (April 1991), pp. 25–26, 29, 31, 35.

Shiff 1996

Richard Shiff. “Negotiating Rapture: The Power of Art to Transform Lives.” Artforum 35, no. 2 (October 1996), pp. 112–13.

Shiff 2000

Richard Shiff. “Donald Judd: Fast Thinking.” In Donald Judd: Late Work, pp. 4–23. Exh. cat. PaceWildenstein, New York, 2000.

Shiff 2002

Richard Shiff. “Whiteout: The Not-Influence Newman Effect.” In Barnett Newman, pp. 76–111. Exh. cat. Philadelphia Museum of Art, 2002.

Shiga 1984

The Museum of Modern Art Shiga, Shiga, Japan. Development of Sculpture in the Twentieth Century: From Rodin to Christo. 26 August–7 October 1984. Catalogue with texts in Japanese or English by Albert Elsen, Yoshiaki Inui, and Masaharu Ono.

Shiga 1989

The Museum of Modern Art Shiga, Shiga, Japan. American Painting in the 1950s and 1960s. 22 July–17 September 1989. Catalogue.

Shirey 1969

David L. Shirey. “Barney” [Barnett Newman exhibition at M. Knoedler & Co., Inc.]. Newsweek, 14 April 1969, pp. 93–94.

Shizuoka City 1989

Shizuoka Prefectural Museum of Art, Shizuoka City, Japan. Blank in Modern Painting: An Approach to Modern Art from Cézanne to Conceptual Art. 10 February–12 March 1989. Catalogue with texts by Kei Suzuki et al.

Siegel 1971

Jeanne Siegel. “Around Barnett Newman.” Artnews 70, no. 6 (October 1971), pp. 42–47, 59–62, 65–66. Reprinted, with fewer illustrations, in Jeanne Siegel, Artwords: Discourse on the 60s and 70s, pp. 42–62. Studies in the Fine Arts: The Avant-Garde, 47. Ann Arbor, Michigan: UMI Research Press, 1985.

Sievers et al. 2001

Ann H. Sievers et al. Master Drawings from the Smith College Museum of Art. New York: Hudson Hills Press in association with the Smith College Museum of Art, 2001.

Simmen 1982

Jeannot Simmen. “Die Angst vor Rot Gelb Blau.” Du, no. 6/1982, p. 84. Reprinted, as “Berlin: Ein teuer erworbenes Bild misshandelt,” in Tagesanzeiger [Zürich], 20 April 1982, p. unavailable.

Sims 1985

Patterson Sims. Whitney Museum of American Art: Selected Works from the Permanent Collection. New York: Whitney Museum of American Art, [1985].

Sirkis 1990

Nurit [Nora] Sirkis. “The Tallith and the Cross: Conflict and Reconciliation in Barnett Newman’s ‘14 Stations of the Cross, Lema Sabachthani.’” In Proceedings of the Tenth World Congress of Jewish Studies, pp. 85–92. Jerusalem: World Union of Jewish Studies, 1990.

Smedley 2002

Bunny Smedley. “Art: Fumbling with His Zip.” ERO: Politics, Art & Literature, 19 September 2002. http://www.electricreview.com.

Smith 1990a

Brydon Smith. Voice of Fire: Barnett Newman, 1905–1970. Factsheet. National Gallery of Canada, Ottawa, 1990.

Smith 1990b

Walter Smith. “Ad Reinhardt’s Oriental Aesthetic.” Smithsonian Studies in American Art 4, nos. 3–4 (Summer/Fall 1990), pp. 23–46.

Smith 1994

Roberta Smith. “Newman’s Early Steps on the Path to Maturity.” The New York Times, 4 November 1994, p. C26.

Smith 2002

Roberta Smith. “A Show Explores Donald Judd’s Early Years.” The New York Times, 8 July 2002, pp. B1, B4.

Smithson 1966

Robert Smithson. “The Pathetic Fallacy in Esthetics (1966–67).” In Robert Smithson: The Collected Writings, ed. Jack Flam, pp. 337–38. The Documents of Twentieth Century Art. Berkeley: University of California Press, 1996.

Soeting 2001

Margreeth Soeting. “A Close Look at Cathedra.” In Barnett Newman: Cathedra, pp. 19–52. SMA Cahiers, 24. Amsterdam: Stedelijk Museum, 2001.

Solomon 1991

Deborah Solomon. “Barnett Newman’s Big Ideas” [review of O’Neill 1990]. The New Criterion 9, no. 7 (March 1991), pp. 17–21.

Sommer 2002

Tim Sommer. “Auf der Suche nach dem Absoluten.” Art: Das Kunstmagazin, November 2002, pp. 32–39.

Sondag 1993

Gérard Sondag. “Le rôle de la couleur dans la peinture de Barnett Newman.” In Recueil: La couleur, pp. 245–52. Brussels: Editions Ousia, 1993.

Southampton 1972

The Parrish Art Museum, Southampton, N.Y. Betty Parsons—Private Collection. 12 August–10 September 1972. Exhibition brochure with checklist.

Southampton 1973

The Parrish Art Museum, Southampton, N.Y. Art from Southampton Collections. 4 August–2 September 1973.

Southampton 1977

The Parrish Art Museum, Southampton, N.Y. Twentieth Century American Paintings from The Metropolitan Museum of Art. 25 September–31 December 1977. Catalogue by Helen A. Harrison with introduction by Henry Geldzahler.

Sozanski 2002

Edward J. Sozanski. “The Eloquence of Restraint.” The Philadelphia Inquirer, 24 March 2002, pp. H1, H10.

Spagnesi 2002

Licia Spagnesi. “Astratto: E il sublime secondo Newman.” Arte [Italy], no. 349, September 2002, pp. 40–41.

Sparks 1989

Esther Sparks. “Barnett Newman.” In Universal Limited Art Editions: A History and Catalogue: The First Twenty-Five Years, pp. 194–211, 418–29. New York: The Art Institute of Chicago and Harry N. Abrams, Inc., 1989.

Spies 1972

Werner Spies. “Auf dem Weg zur Offenbarung: Abstraktion und ‘religiöse’ Botschaft: Die Bilder Barnett Newmans in Amsterdam.” Frankfurter Allgemeine Zeitung, 17 May 1972, p. 11.

Spokane 1977

Cheney Cowles Memorial State Museum, Spokane, Washington. Works on Paper: American Art 1945–1975. 9 September–2 October 1977. Catalogue with text by Rosalind Krauss.

St. Gallen 1959

Kunstmuseum, St. Gallen, Switzerland. Neue amerikanische Malerei. 14 March–26 April 1959. Catalogue with text by E. Naegeli, Hans Thelen, and R. Hanhart.

St. Gallen 1988

Kunstmuseum, St. Gallen, Switzerland. Rot, Gelb, Blau: Die Primärfarben in der Kunst des 20. Jahrhunderts. 19 March–21 May 1988. Catalogue with essay “Who’s Afraid of Red, Yellow and Blue” by Bernhard Bürgi.

Staatliche Kunstsammlungen 1985

“Barnett Newman.” Jahrbuch der Staatlichen Kunstsammlungen in Baden-Württemberg 22 (1985), pp. 195–96.

Stachelhaus 1982

Heiner Stachelhaus. “Triumph für die Nationalgalerie, Berlin?” Das Kunstwerk 35, no. 1 (1982), p. 81.

Stachelhaus 1997

Heiner Stachelhaus. “Mystik, Made in USA: Zur Barnett-Newman-Schau in der Kunstsammlung NRW.” Neue Ruhr Zeitung Essen, 17 May 1997, p. 4.

Stamford 1988

Whitney Museum of American Art at Fairfield, Stamford, Connecticut. American Print Renaissance 1958–1988. 5 February–6 April 1988. Exhibition brochure with introduction by Ronnie Feinstein.

Stanford 1987

Stanford University Museum of Art, Stanford, California. The Anderson Collection: Two Decades of American Graphics, 1967–1987. 29 September 1987–3 January 1988. Catalogue with essay by Betsy G. Fryberger.

Stecker 1990

Raimund Stecker. “Kunst ist die geistige Umwertung der Materie.” Das Kunstwerk 43, no. 4 (December 1990), pp. 3–62.

Stecker 1993

Raimund Stecker. “ The Stations of the Cross: Lema Sabachthani von Barnett Newman: Untersuchung über die Aufhebung der Widersprüchlichkeit von Form und Inhalt.” Doctoral dissertation, Ruhr-Universität Bochum, 1993.

Stella 1986

Frank Stella. Working Space. The Charles Eliot Norton Lectures, 1983–84. Cambridge and London: Harvard University Press, 1986.

Stella 1989

Frank Stella. “How Velázquez Seizes the Truth That Is Art.” The New York Times, 1 October 1989, sec. 2, pp. 1, 39.

Stemmrich 1990

Gregor Stemmrich. “Christliche Tradition und avantgardistische Kunst.” In GegenwartEwigkeit: Spuren des Transzendenten in der Kunst unserer Zeit, pp. 89–96. Exh. cat. Martin-Gropius-Bau, Berlin, 1990.

Stephan 1983

Gary Stephan. “Escher or Newman: Who Puts the Ghost in the Machine?” Artforum 21, no. 6 (February 1983), pp. 64–67.

Stevens 1979

Elisabeth Stevens. “Abstract Expressionist: Newman’s Drawings Record His Explorations of Subject Matter.” The Sun [Baltimore], 8 June 1979, p. B7.

Stiftel 1997

Ralf Stiftel. “Kunst aus dem Gleichgewicht: Die Düsseldorfer Kunstsammlung NRW zeigt eine Retrospektive auf Barnett Newman.” Westfälischer Anzeiger, 17 May 1997, p. unavailable.

Stockholm 1963

Moderna Museet, Stockholm. Önskemuseet/The Museum of Our Wishes. 26 December 1963–16 February 1964. Catalogue with texts in Swedish by Gerard Bonnier and K. G. H[ultén].

Stockholm 1965

Moderna Museet, Stockholm. Den inre och den yttre rymden/The Inner and the Outer Space. 26 December 1965–13 February 1966. Catalogue with texts in Swedish by Joost Baljeu, K. G. Hultén, Györgi Ligeti, and Ulf Linde.

Stoll 1995

Robert Th. Stoll. “Red.” In Wer hat Angst vor Rot. . .? pp. 17–26. Exh. cat. Galerie Beyeler, Basel, 1995.

Storm-Rusche 1997

Angelika Storm-Rusche. “Stahl wie Samt—Leinwand wie Seide: Der Amerikaner Barnett Newman in der Kunstsammlung Nordrhein-Westfalen Düsseldorf.” Berliner Zeitung, 23 May 1997, p. 19.

Storr 1998

Robert Storr. Tony Smith: Architect, Painter, Sculptor. With essays by John Keenen and Joan Pachner. Exh. cat. The Museum of Modern Art, New York, 1998.

Stoullig 1973

Claire Stoullig. “Expositions: Barnett Newman.” Peinture: Cahiers Théoriques [Paris], nos. 6/7 (April 1973), pp. 127–39.

Strick 1988

Jeremy Strick. Twentieth-Century Art: Selections for the Tenth Anniversary of the East Building. Exh. cat. National Gallery of Art, Washington, D.C., 1988.

Strick 1994

Jeremy Strick. “Enacting Origins.” In The Sublime Is Now: The Early Work of Barnett Newman, Paintings and Drawings 1944–1949, pp. 7–31. Exh. cat. PaceWildenstein, New York, [1994].

Struycken 1992

Peter Struycken. “Struycken over Newman” [Struycken on Newman]. Jong Holland [The Netherlands] 8, no. 1 (1992), p. 45.

Stuckey 1988

Charles Stuckey. “A Stroll Through the 20th Century.” Chicago Tribune, 6 November 1988, pp. 20–22.

Studio International 1968

“On Exhibition.” Studio International 178, no. 902 (July–August 1968), pp. 40–45.

Stuttgart 1992

Staatsgalerie Stuttgart, Meisterwerke der Kunst: 10 Jahre Museumsstiftung Baden-Württemberg. 22 February–26 April 1992. Catalogue edited by Elsbeth Wiemann.

Stuttgart 1996

Staatsgalerie Stuttgart, Barnett Newman: Die Druckgraphik. 29 June–8 September 1996. Catalogue, including catalogue raisonné of the prints, by Gabriele Schor.

Sunday Times 1967

“Barnett Newman” [his influence on abstract art]. Sunday Times [London], 4 June 1967, p. unavailable. Clipping on deposit at the Barnett Newman Foundation.

Sweet 1977

David Sweet. “Art and Social Constraints.” Artscribe [London], no. 9 (November 1977), pp. 13–18.

Sylvester 1965

David Sylvester. “Concerning Barnett Newman: Interview.” The Listener, 10 August 1972, pp. 169–72. Originally recorded in April 1965. Reprinted in Barnett Newman: Selected Writings and Interviews, ed. John P. O’Neill, pp. 254–59. New York: Alfred A. Knopf, 1990. Reedited version published in David Sylvester: Interviews with American Artists, pp. 35–42. London: Chatto & Windus, 2001.

Sylvester 1987

David Sylvester. “The Ugly Duckling” and “Interview” [with Barnett Newman]. In Abstract Expressionism: The Critical Developments, pp. 137–45. Exh. cat. Albright-Knox Art Gallery, Buffalo, N.Y., 1987. Revised version published in David Sylvester, About Modern Art: Critical Essays 1948–1997, pp. 321–31. New York: Henry Holt and Company, 1997.

Sylvester 1994

David Sylvester. “Barnett Newman: Untitled, 1961.” Artforum 32, no. 3 (November 1994), pp. 62–63. Reprinted in David Sylvester, About Modern Art: Critical Essays 1948–1997, pp. 396–98. New York: Henry Holt and Company, 1997.

Takashina 1964

Shuji Takashina. “Barnett Newman” [in Japanese]. Asahi Graph: The Asahi Picture News 6, no. 26 (1964), pp. 32–33.

Taki 1994

Koji Taki. Barnett Newman: The Artist in the World Without Myth [in Japanese]. Tokyo: Iwanami Shoten, 1994.

Tallman 1992

Susan Tallman. “Tempest over Slashed Newman.” Art in America 80, no. 2 (February 1992), p. 27.

Tallman 1996

Susan Tallman. The Contemporary Print: From Pre-Pop to Postmodern. London and New York: Thames and Hudson, [1996].

Talmey 1966

Allene Talmey. Interview with Barnett Newman [concerning The Stations of the Cross]. Typescript, not dated [1966]. On deposit at the Barnett Newman Foundation, New York.

Tate Gallery 1989

“Barnett Newman (1905–1970): ‘Moment’ (1946).” Tate Gallery [monthly newsletter], February 1989, unpaginated.

Tate Gallery Illustrated Catalogue 1984

The Tate Gallery 1980–82 Illustrated Catalogue of Acquisitions. London: The Tate Gallery, 1984.

Taylor 1992

Mark C. Taylor. Disfiguring: Art, Architecture, Religion. Religion and Postmodernism. Chicago and London: The University of Chicago Press, [1992].

Taylor 1998

Mark C. Taylor. “Realizing Nothing.” In Beyond Modern Art and the Religious Imagination, pp. 16–20. Exh. cat. National Gallery of Victoria, Melbourne: 1998.

Tegenbosch 1972

Lambert Tegenbosch. “Newman, mislukking van allure.” De Volkskrant, 13 May 1972, p. unavailable.

Temkin 2002a

Ann Temkin. “A Giant Zip for Mankind.” Artnews 101, no. 3 (March 2002), pp. 82, 84.

Temkin 2002b

Ann Temkin. “Barnett Newman on Exhibition.” In Barnett Newman, pp. 18–75. Exh. cat. Philadelphia Museum of Art, 2002.

Temkin et al. 2002

Ann Temkin et al., eds. Barnett Newman. Exh. cat. Philadelphia Museum of Art, 2002.

Terbell 1970

Melinda Terbell. “Los Angeles.” Arts Magazine 45, no. 1 (September–October 1970), pp. 53–54.

Terrell 1979

Richard Terrell. “Art and Theology at the National Gallery.” Christianity Today 23 (February 1979), pp. 28–29.

Thaw 1986

Eugene Victor Thaw. “The Abstract Expressionists.” The Metropolitan Museum of Art Bulletin 44, no. 3 (Winter 1986–87), pp. 3–56.

The New Yorker 1994

“Barnett Newman/Kiki Smith.” The New Yorker, 14 November 1994, p. 29.

Thiede 1997

Veit-Mario Thiede. “Große Wirkung, wenige Mittel.” Neue Westfälische [Bielefeld], 27 May 1997, p. 12.

Thorson 1979

Victoria Thorson, ed. Great Drawings of All Time: The Twentieth Century. Vol. 2. New York: Shorewood Fine Art Books, 1979.

Tiger’s Eye 1948a

The Tiger’s Eye 1, no. 3 (15 March 1948).

Tiger’s Eye 1948b

The Tiger’s Eye 1, no. 6 (15 December 1948).

Tiger’s Eye 1949

The Tiger’s Eye 1, no. 9 (15 October 1949).

Tillim 1962

Sidney Tillim. “Month in Review” [concerning simultaneous exhibitions by Barnett Newman and Willem de Kooning at the Allan Stone Gallery]. Arts Magazine 37, no. 3 (December 1962), pp. 38–40.

Tillim 1964

Sidney Tillim. “The Alloway International.” Arts Magazine 38, no. 6 (March 1964), pp. 54–59.

Tilman 2002

Christina Tilman. “Der Zip-Code.” Der Tagesspiegel, 12 November 2002, p. unavailable.

Time 1961

“Arts and Letters: Day in, Day Out.” Time [Canadian edition], 20 October 1961, p. 20.

Time 1963

“The Lively Answer” [review of group exhibition at Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada]. Time, 20 September 1963, p. 74.

Time 1966

“Painting of a Different Stripe” [Barnett Newman exhibition at the Solomon R. Guggenheim Museum]. Time, 29 April 1966, p. 82.

Time 1967

“Sculpture: Master of the Monumentalists” [concerning group exhibition at the Corcoran Gallery of Art]. Time, 13 October 1967, pp. 80–86.

Time 1968

“The Politics of Feeling.” Time, 1 November 1968, p. 76.

Time 1969a

“Barnett Newman” [exhibition at M. Knoedler & Co., Inc.]. Time, 11 April 1969, p. NY1.

Time 1969b

“From the Brink, Something Grand.” Time, 24 October 1969, pp. 78–81.

Time 1992

[Wibb van der Linde]. “Art Restoration: Murder of a Masterpiece?” Time, 6 January 1992, p. 64. See also Daniel Wise. “Libel Trial Ordered Over Article on Painting.” New York Law Journal, 3 December 1993, pp. 1, 3.

Times 1970

“Barnett Newman: American Painter Who Was a Master of Scale.” The Times [London], 10 July 1970, p. 10.

Tinterow 1976

Gary Tinterow. “Post World War II Synagogue Architecture.” In Two Hundred Years of American Synagogue Architecture, pp. 30–35. Exh. cat. Rose Art Museum, Brandeis University, Waltham, Massachusetts, 1976.

Tokyo 1959

Kimura Gallery, Tokyo. Six American Abstract Painters: Motherwell, Newman, Okada, Rothko, Tobey, and Youngerman. 4–30 April 1959. Catalogue.

Tokyo 1966

National Museum of Modern Art, Tokyo. Two Decades of American Painting. 15 October–27 November 1966. Catalogue with essays in Japanese by Irving Sandler, Lucy R. Lippard, and G. R. Swenson.

Tokyo 1976

The Seibu Museum of Art, Tokyo. Three Decades of American Art Selected by the Whitney Museum. 18 June–20 July 1976. Catalogue with texts by Barbara Haskell et al.

Tokyo 1978

The Seibu Museum of Art, Tokyo. Abstract Expressionism: The Formative Years. 17 June–12 July 1978. Catalogue with essays by Robert Carleton Hobbs and Gail Levin.

Tokyo 1993

Royal Ueno Museum, Tokyo. Masterworks from The Museum of Modern Art, New York. 6 February–9 May 1993. Catalogue with texts by Shuji Takashina et al.

Tokyo 1995a

National Museum of Modern Art, Tokyo. Abstract Expressionism: Masterpieces from Japanese Collections. 11 March–4 June 1995. Catalogue with essay in Japanese and English by Koji Takahashi.

Tokyo 1995b

National Museum of Modern Art, Tokyo. Abstract Expressionism: Works on Paper: Selections from The Metropolitan Museum of Art. 11 March–4 June 1995. Catalogue with texts in Japanese by Lisa M. Messinger.

Tokyo 1996

Sezon Museum of Art, Tokyo. Abstract Expressionism. 6 June–14 July 1996. Catalogue with texts by Hitoshi Dehara et al.

Tokyo 1997

Museum of Contemporary Art, Tokyo. Founders and Heirs of the New York School. 25 January–16 March 1997. Catalogue in Japanese and English with essay by Dore Ashton.

Toledo Museum 1990

The Toledo Museum of Art 1989–90 Annual Report. Toledo, Ohio: The Toledo Museum of Art, 1990.

Tono 1966

Yoshiaki Tono. “Two Decades of American Painting: Birth and Death of Abstract Expressionism (1)” [in Japanese]. Mizue [Tokyo], no. 741 (October 1966), pp. 10–30.

Toronto 1961

The Art Gallery of Toronto, American Paintings Selected by Ben Heller. 13–22 October 1961. Checklist.

Toronto 1979

Art Gallery of Ontario, Toronto. Contemporary American Prints from Universal Limited Art Editions/The Rapp Collection. 20 January–4 March 1979. Catalogue with texts by Peter Gale and Tony Towle.

Towle 1979

Tony Towle. “The Rapp Collection at the Art Gallery of Ontario.” In Contemporary American Prints from Universal Limited Art Editions/The Rapp Collection, pp. 8–15. Exh. cat. Art Gallery of Ontario, Toronto, 1979.

Towle 1997

Tony Towle. “A Few Selected Memories of Tanya Grosman and ULAE.” In Proof Positive: Forty Years of Contemporary Printmaking at ULAE 1957–1997, pp. 13–29. Exh. cat. The Corcoran Gallery of Art, Washington, D.C., 1997.

Toyota 1998

Toyota Municipal Museum of Art, Toyota City, Japan. Is This Art? 21 July–23 September 1998. Catalogue for Mito only.

Trainor 2002

James Trainor. “Who’s Afraid of Barnett Newman?” Border Crossings [Canada] 21, no. 3, issue 83 (2002), pp. 34–40.

Trouw 1991

“Beeren: Schilderij Newman moet als geliefde invalide in ons hospital blijven.” Trouw, 19 December 1991, sec. Kunst, p. 7.

Trucchi 1971

Lorenza Trucchi. “La cappella di Rothko.” Qui: Arte Contemporanea, no. 7 (December 1971), pp. 34–35.

Tuchman 1986

Maurice Tuchman. “Hidden Meanings in Abstract Art.” In The Spiritual in Art: Abstract Painting 1890–1985, pp. 17–61. Exh. cat. Los Angeles County Museum of Art, 1986.

Tully 2002

Judd Tully. “Barnett Newman: A Radical Classic.” Art and Auction 24, no. 5 (May 2002), p. 116.

Tuma 2001

Kathryn A. Tuma. Entries 80, 81, and 83. In Century of Drawing, pp. 180–83, 186–87. Exh. cat. National Gallery of Art, Washington, D.C., 2001.

Turin 1992

Lingotto, Turin. Arte Americana 1930–1970. 8 January–31 March 1992. Catalogue with texts by Attilio Codognato et al.

Turin 1997

Castello di Rivoli, Museo d’Arte Contemporanea, Turin. American Art from the Whitney Museum: Multiple Identity. 20 October 1997–18 January 1998. Catalogue with texts by Johanna Drucker et al.

Türr 1987

Karina Türr. “Grenzen der Malerei.” Weltkunst 57, no. 11 (1 June 1987), pp. 1529–35.

Twentieth-Century Art 1996

The Twentieth-Century Art Book. London: Phaidon Press Ltd., 1996.

Tyler 1976

Tyler Museum of Art, Tyler, Texas. Abstract Expressionism (Blaffer Foundation Collection). 6 November–12 December 1976.

University Park 1996

Palmer Museum of Art, Pennsylvania State University, University Park, Pennsylvania. Abstraction to Figuration: Selections of Contemporary Art from the Pincus Collection. 2 July–15 December 1996.

U.S.I.S. 1961

United States Information Service, Vanguard American Painting. 1961. Catalogue with introduction by H. H[arvard] Arnason.

Vaizey 1972b

Maria [sic] Vaizey. “Barnett Newman” [exhibition at the Tate Gallery]. Connoisseur 181, no. 727 (September 1972), pp. 74–75.

Van Buuren 1996

Maarten van Buuren. “De schoonheid von verval.” Jong Holland [The Netherlands] 12, no. 2 (1996), pp. 37–43.

Van de Vall 1991

Renée van de Vall. “Een streep door het midden en klaar.” Trouw, 29 November 1991, pp. 15–16.

Van de Vall 1994

Renée van de Vall. Een subliem gevoel van plaats: Een filosofische interpretatie van het werk van Barnett Newman. Groningen: Historische Uitgeverij, 1994.

Van de Vall 1995

Renée van de Vall. “Silent Visions: Lyotard on the Sublime.” Art & Design [London] 10, nos. 1–2 (January–February 1995), pp. 68–75 (“Profile”).

Van den Berghe 1988

Roland van den Berghe. “Piet Mondrian und Barnett Newman.” In Die Wirklichkeit des Geistigen in der abstrakten Kunst, ed. Jelle van der Meulen, pp. 59–75. Stuttgart: Verlag Freies Geistesleben, 1988.

Van der Marck 1973

Jan van der Marck. American Art: Third Quarter Century. Exh. cat. Seattle Art Museum Pavilion, 1973.

Van Winkel 1992

Camiel van Winkel. “Red, Yellow and Blue: A Quest for the Real Thing.” Parkett [Switzerland], no. 31 (March 1992), pp. 134–36.

Vancouver 1969

Vancouver Art Gallery. New York 13. 21 January–16 February 1969. Catalogue with essay by Lucy R. Lippard and introduction by Doris Shadbolt.

Vanel 2001

Hervé Vanel. Review of Barnett Newman monograph by Armin Zweite. Cahiers du Musée National d’Art Moderne, no. 75 (Spring 2001), pp. 120–22.

Varnedoe 1984

Kirk Varnedoe. “Abstract Expressionism.” In William Rubin, ed. “Primitivism” in 20th Century Art: Affinity of the Tribal and the Modern, vol. 2, pp. 615–59. New York: The Museum of Modern Art, 1984.

Veelen 1992

Ijsbrand van Veelen. “Who’s Afraid of Restoration?” Flash Art 25, no. 163 (March–April 1992), pp. 129, 152.

Velhagen 1994

Rudolf Velhagen. Jasper Johns: Neue Graphik-Geschenke und Barnett Newman: 18 Cantos. Exh. brochure. Kunstmuseum, Basel, 1994.

Venice 2002

Centro Culturale Candiani, Mestre, Venice. The “ Irascibles” and the New York School. 23 March–30 June 2002. Catalogue with essays by Sam Hunter et al.

Viatte 1979

Germain Viatte. “Barnett Newman: L’illumination de Shining Forth.” Cahiers du Musée National d’Art Moderne, no. 1 (July–September 1979), pp. 108–22.

Vienna 1990

Galerie nächst St. Stephan, Vienna. Kulturen—Verwandtschaften in Geist und Form. 31 March–26 May 1990. Catalogue, published retrospectively, with essays by Rosemarie Schwarzwälder et al.

Vienna 1995

Galerie nächst St. Stephan, Vienna. Donald Judd and Artist Friends. 21 September–18 October 1995. Checklist.

Vienna 1997

Albertina, Vienna. Balthus bis Warhol: Österreichische Ludwigstiftung Erwerbungen für die Albertina. 27 February–20 April 1997. Catalogue with text by Marietta Mautner Markhof.

Vignold 1997

Michael Vignold. “Barnett Newman.” In Die Maler und ihre Skulpturen: Von Edgar Degas bis Gerhard Richter, pp. 236–38. Exh. cat. Museum Folkwang Essen, Germany, 1997.

Vogel 1997a

Carol Vogel. “Dutch Vandal Slashes Museum’s Confidence.” The New York Times, 27 November 1997, pp. E1, E12.

Vogel 2002

Carol Vogel. “Restored, But Still Blue.” The New York Times, 4 January 2002, p. E40.

Vogel 2003

Carol Vogel. “Contemporary-Art Market Strong for a Second Night.” The New York Times, 14 November 2003, p. B7.

Vogels 1980

Hans Vogels. “Overzicht van Newmans experimenten: Vechten tegen de catalogus.” Volkskrant, 23 September 1980, unpaginated.

Vogt 1978

Paul Vogt. “Neuerwerbungen der Kunstmuseen in Nordrhein-Westfalen: Essen, Museum Folkwang.” Wallraf-Richartz-Jahrbuch 40 (1978), pp. 172–79.

Vogue 1959

“Eight New York Painters.” Vogue, 15 October 1959, pp. 90–91.

Vogue 1966

“People Are Talking About . . . : Barnett Newman.” Vogue, 15 April 1966, pp. 110–11.

Vogue 1969

“Barnett Newman, Revolutionary Genius into American Classic.” Vogue, 15 March 1969, pp. 114–15.

Vogue 1971

“Celebration of Genius at the Rothko Chapel.” Vogue, 1 March 1971, p. 109.

Volboudt 1973

P. Volboudt. “La ruée vers l’espace.” XXe Siècle, n.s. 40 (June 1973), p. 77.

Volpi 1967

Marisa Volpi. “Vision and Colour in New York.” Arte Contemporanea, no. 3 (March 1967), pp. 35–38.

Volpi Orlandini 1967

Marisa Volpi Orlandini. “La forma viviente de Barnett Newman.” Marcatré [Genoa], nos. 34–36 (December 1967), pp. 33–37.

Volpi Orlandini 1969

Marisa Volpi Orlandini. Arte dopo il 1945: USA. [s.l.]: Cappelli, [1969].

Voorthuis 1992

Jacob Voorthuis. “Who’s Afraid of Daniel Goldreyer?” The Art Newspaper, no. 15, February 1992, p. 2

Waldman 1977

Diane Waldman. “Kenneth Noland.” In Kenneth Noland, pp. 9–36. Exh. cat. The Solomon R. Guggenheim Museum, New York, 1977.

Waldman 1978

Diane Waldman. Mark Rothko, 1903–1970: A Retrospective. Exh. cat. Solomon R. Guggenheim Museum, New York, 1978.

Waldman 1985

Diane Waldman. “Transformations in Sculpture.” In Guggenheim International VII: Transformations in Sculpture: Four Decades of American and European Art, pp. 12–57. Exh. cat. The Solomon R. Guggenheim Museum, New York, 1985.

Waldman 1988

Diane Waldman. Willem de Kooning. New York: Harry N. Abrams, Inc., 1988.

Waldron 1971

Martin Waldron. “Fourteen Rothko Works Adorn New Chapel in Houston.” The New York Times, 1 March 1971, p. 23.

Walker 1978

John A. Walker. Art Since Pop. Woodbury, N.Y.: Barron’s, 1978.

Walker 1995

Barry Walker. “Printmaking 1960 to 1990.” In Printmaking in America: Collaborative Prints and Presses, 1960–1990, pp. 70–95. Exh. cat. Jane Vorhees Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey, 1995.

Wall Street Journal 1991

“For That Price, Why Not Have the Whole Museum Repainted?” The Wall Street Journal, 24 December 1991, p. unavailable.

Wallach 1994

Amei Wallach. “The Art of Living, Dying, Transcending.” New York Newsday, 4 November 1994, p. B22.

Walsh 1999

Meeka Walsh. “Dances with Steel.” Border Crossings [Canada] 18, no. 2, issue 70 (Spring 1999), pp. 30–43.

Waltham 1963

Rose Art Museum, Brandeis University, Waltham, Massachusetts. New Directions in American Painting. 4 October–10 November 1963. Catalogue with introduction by Sam Hunter.

Waltham 1976

Rose Art Museum, Brandeis University, Waltham, Massachusetts. Two Hundred Years of American Synagogue Architecture. 30 March–2 May 1976. Catalogue with texts by Gerald Bernstein et al.

Ward 2002

Ossian Ward. “Perfection Unzipped.” Art Review [U.K.] 53 (September 2002), p. 40.

Washington, D.C. 1963

National Gallery of Art, Smithsonian Institution, Washington, D.C. Paintings from the Museum of Modern Art, New York. 16 December 1963–22 March 1964. Catalogue with preface by John Walker, foreword by René d’Harnoncourt, and introduction by Alfred H. Barr, Jr.

Washington, D.C. 1965

Washington Gallery of Modern Art, Washington, D.C. 20th Century Painting and Sculpture: An Exhibition Selected from Private Collections in Connecticut. 17 September–24 October 1965. Catalogue with foreword by Gerald Nordland.

Washington, D.C. 1966

National Collection of Fine Arts, Smithsonian Institution, Washington, D.C. VIII São Paulo Biennial: United States of America. 27 January–6 March 1966. Catalogue with introduction by Walter Hopps.

Washington, D.C. 1967a

Washington Gallery of Modern Art, Washington, D.C. Art for Embassies Selected from the Woodward Foundation Collection. 30 September–5 November 1967. Catalogue with foreword by Charles W. Millard and introduction by Henry Geldzahler.

Washington, D.C. 1967b

The Corcoran Gallery of Art, Washington, D.C. Scale as Content: Ronald Bladen, Barnett Newman, Tony Smith. 7 October 1967–7 January 1968. Catalogue with introduction by Eleanor Green.

Washington, D.C. 1973

National Gallery of Art, Washington, D.C. American Art at Mid-Century, I. 28 October 1973–6 January 1974. Catalogue with introduction by William C. Seitz.

Washington, D.C. 1976

National Collection of Fine Arts, Smithsonian Institution, Washington, D.C. America as Art. 30 April–7 November 1976. Catalogue by Joshua C. Taylor with a contribution by John D. Cawelti.

Washington, D.C. 1978

National Gallery of Art, Washington, D.C. American Art at Mid-Century: The Subjects of the Artist. 1 June 1978–14 January 1979. Catalogue with essays by E. A. Carmean, Jr., Eliza E. Rathbone, and Thomas B. Hess.

Washington, D.C. 1980

Joseph H. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. The Fifties: Aspects of Painting in New York. 22 May–21 September 1980. Catalogue with text by Phyllis Rosenzweig.

Washington, D.C. 1988

National Gallery of Art, Washington, D.C. Twentieth-Century Art: Selections for the Tenth Anniversary of the East Building. 13 December 1988–31 December 1990. Catalogue by Jeremy Strick, also illustrated exhibition brochure.

Washington, D.C. 1991

National Gallery of Art, Washington, D.C. Art for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art. 17 March–16 June 1991. Catalogue with foreword by J. Carter Brown and entries by Nan Rosenthal et al.

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