Barnett Newman

Selected Bibliography

The Barnett Newman Foundation Archives, New York, houses the extensive collection of materials preserved by Annalee and Barnett Newman, including personal and business correspondence, manuscripts in preliminary and final drafts, interviews, photographs, exhibition records, official documents, audio and videotapes, as well as their own books and periodicals.

Archives of American Art, Smithsonian Institution, Washington, D.C. The Alan Solomon, Betty Parsons, Clement Greenberg, and Thomas Hess papers.

BY THE ARTIST
  • Review of Roger Fry exhibition, Brummer's Gallery, New York. The Lavender [City College of New York, newspaper]. March 1925.
  • "On the Need for Political Action by Men of Culture." Pamphlet. New York, 1933.
  • The Answer-America's Civil Service Magazine [edited and published by Barnett Newman], vol. 1, no. 1 (January 1936).
  • Foreword to Can We Draw? The Board of Examiners Says-No! A.C.A. Gallery, New York. November 28- December 11, 1938.
  • Foreword to American Modern Artists: First Annual Exhibition. Riverside Museum, New York. January 17-February 27, 1943.
  • Foreword to Adolph Gottlieb: Drawings. Wakefield gallery, New York. February 7-19, 1944.
  • Foreword to Pre-Columbian Stone Sculpture. Betty Parsons Gallery, New York. May 16-June 5, 1944.
  • "Escultura pre-Columbina en piedra." La Revista Belga, vol. 1, no. 6 (August 1944), pp. 51-59.
  • "Sobre el arte moderno: examen y ratificación." [Review of the 50th anniversary exhibition at the Museum of Modern Art, New York.] La Revista Belga, vol. 1 (November 1944), pp. 18-32.
  • "La pintura de Tamayo y Gottlieb." La Revista Belga, vol. 2, no. 4 (April 1945), pp. 16-25.
  • Foreword to Teresa Zarnower. Art of This Century, New York. April 23-May 11, 1946.
  • "Las formas artisticas del Pacifico." [Review of Art of the South Seas at the Museum of Modern Art, New York, 1946.] Ambos Mundos, vol. 1, no. 1 (June 1946), pp. 51-55. Reprinted in English as "Art of the South Seas." Studio International, vol. 179, no. 919 (February 1970), pp. 70-71.
  • Foreword to Northwest Coast Indian Painting. Betty Parsons Gallery, New York. September 30- October 19, 1946.
  • Foreword to The Ideographic Picture. Betty Parsons Gallery, New York. January 20-February 8, 1947.
  • Foreword to Stamos. Betty Parsons Gallery, New York. February 10-March 1, 1947.
  • "The First Man Was an Artist." The Tiger's Eye, no. 1 (October 1947), pp. 57-60.
  • "The Ides of Art: The Attitudes of 10 Artists on Their Art and Contemporaneousness." The Tiger's Eye, no. 2 (December 1947), p. 43.
  • Foreword to Herbert Ferber. Betty Parsons Gallery, New York. December 15, 1947-January 3, 1948.
  • "The Object and the Image." The Tiger's Eye, no. 3 (March 1948), p. 111.
  • "The Sublime Is Now." In "The Ides of Art: 6 Opinions on What Is Sublime in Art?" The Tiger's Eye, no. 6 (December 1948), pp. 51-53.
  • "To Be or Not: 6 Opinions on Dr. Trigant Burrow's The Neurosis of Man." The Tiger's Eye, no. 9 (October 1949), pp. 122-26.
  • Letter to the editor [reply to Peyton Boswell]. Art Digest, vol. 24, no. 12 (March 15, 1950), p. 5.
  • Letter to Roland L. Redmond. Statement partially published in "Metropolitan Hit by 7 Modernists." New York Times, June 30, 1952.
  • Letter to the editor. "Disclaimer." Art Digest, vol. 28, no. 10 (February 15, 1954), p. 3.
  • Letter to the editor. "Critic or Commissar?" The New Republic, vol. 137, no. 19 (October 28, 1957), p. 23.
  • Letter to the editor [reply to Hubert Crehan]. ARTnews, vol. 58, no. 2 (April 1959), p. 12.
  • Letter to the editor [reply to H. Rumbold]. ARTnews, vol. 58, no. 4 (Summer 1959), p. 6.
  • Letter to the editor [first reply to Erwin Panofsky]. ARTnews, vol. 60, no. 3 (May 1961), p. 6.
  • Letter to the editor [second reply to Erwin Panofsky]. ARTnews, vol. 60, no. 5 (September 1961), p. 6.
  • "Embattled Lamb." Review of Embattled Critic, by John Canaday. ARTnews, vol. 61, no. 5 (September 1962), pp. 35, 57-58.
  • Statement in Recent American Synagogue Architecture. New York: The Jewish Museum, 1963.
  • Foreword to Amlash Sculpture from Iran. Betty Parsons Gallery, New York. September 23-October 19, 1963.
  • Preface to 18 Cantos. West Islip, New York: Universal Limited Art Editions, 1964.
  • Statement in Exhibition of the United States of America: São Paulo Bienal VIII. São Paulo Bienal, September 4- November 28, 1965.
  • Letter to the editor [reply to Mrs. Clyfford Still]. ARTnews, vol. 64, no. 7 (November 1965), p. 6.
  • Statement in Barnett Newman: The Stations of the Cross; Lema Sabachthani. New York: The Solomon R. Guggenheim Foundation, 1966.
  • "The 14 Stations of the Cross, 1958-1966." ARTnews, vol. 65, no. 3 (May 1966), pp. 26-28, 57.
  • "Artists on Museums." Arts Yearbook 9 (1967), p. 90.
  • "Jackson Pollock: An Artists' Symposium, Part 1." ARTnews, vol. 66, no. 2 (April 1967), p. 29.
  • Letter to the editor [first reply to Robert Motherwell]. Art International, vol. 11, no. 7 (September 1967), p. 51.
  • Letter to the editor [second reply to Robert Motherwell]. Art International, vol. 11, no. 9 (November 1967), pp. 24, 27.
  • "The True Revolution Is Anarchist!" Foreword to Memoirs of a Revolutionist, by Peter Kropotkin. New York: Horizon Press, 1968.
  • Letter to the editor [third reply to Robert Motherwell]. Art International, vol. 12, no. 1 (January 1968), p. 41.
  • Letter to the editor. ARTnews, vol. 66, no. 10 (February 1968), p. 6.
  • Letter to the editor [reply to Andrew Hudson]. Artforum, vol. 6, no. 7 (March 1968), p. 4.
  • "Pour la critique passionnée." Preuves (Paris), no. 207 (May 1968), pp. 44-47.
  • "For Impassioned Criticism." ARTnews, vol. 67, no. 4 (Summer 1968), pp. 26-27, 58-59.
  • Letter to the editor. ARTnews, vol. 67, no. 4 (Summer 1968), p. 8.
  • Response to the Reverend Thomas F. Mathews. In Revolution, Place and Symbol (Journal of the First Congress on Religion, Architecture, and the Visual Arts), 1969, pp. 129-34.
  • "Chartres and Jericho." ARTnews, vol. 68, no. 2 (April 1969), pp. 28-29.
  • "In Front of the Real Thing." ARTnews, vol. 68, no. 9 (January 1970), p. 60.
  • Barnett Newman: Selected Writings and Interviews. Edited by John P. O'Neill. Text notes and commentary by Mollie McNickle. Introduction by Richard Shiff. New York: Alfred A. Knopf, 1990; 2nd ed., Berkeley: University of California Press, 1992.

PUBLISHED INTERVIEWS

  • Hudson, Andrew. "The Case for 'Exporting' Nation's Avant-Garde Art." Washington Post, March 27, 1966.
  • Levine, Neil A. "The New York School Question." ARTnews, vol. 64, no. 5 (September 1965), pp. 38-41, 55-56.
  • Schneider, Pierre. "Through the Louvre with Barnett Newman." ARTnews, vol. 68, no. 4 (Summer 1969), pp. 34-39, 70-72.
  • Seckler, Dorothy Gees. "Frontiers of Space." Art in America, vol. 50, no. 2 (Summer 1962), pp. 82-87.
  • Sylvester, David. "Newman, In Conversation with David Sylvester." [Interview taped in 1965.] The Listener, vol. 88, no. 2263 (August 10, 1972), pp. 169-70.

BOOKS/MONOGRAPHS
  • Anfam, David. Abstract Expressionism. London: Thames and Hudson, 1990.
  • Auping, Michael, ed. Abstract Expressionism: The Critical Developments. New York: Abrams in association with the Albright-Knox Art Gallery, 1987.
  • Barber, Bruce, Serge Guilbaut, and John O'Brian, eds. Voices of Fire: Art, Rage, Power, and the State. Toronto and London: University of Toronto Press, 1996.
  • Barnett Newman, Notes: 18 Etchings and Aquatints, 1968, and a Lecture by Franz Meyer. Amsterdam: Stedelijk Museum in association with the Chinati Foundation, 1993.
  • Battcock, Gregory, ed. Minimal Art: A Critical Anthology. New York: E. P. Dutton, 1968.
  • Cernuschi, Claude. "Not an illustration but the equivalent": A Cognitive Approach to Abstract Expressionism. Madison, New Jersey: Fairleigh Dickinson University Press; London: Associated University Presses, 1997.
  • Cox, Annette. Art-as-Politics: The Abstract Expressionist Avant-garde and Society. Ann Arbor, Michigan and London: UMI Research Press, 1982.
  • De Antonio, Emile, and Mitch Tuchman. Painters Painting: A Candid History of the Modern Art Scene, 1940-1970. New York: Abbeville Press, 1984.
  • Gibson, Ann Eden. Issues in Abstract Expressionism: The Artist-Run Periodicals. Ann Arbor, Michigan: UMI Research Press, 1990.
  • __________. Abstract Expressionism: Other Politics. New Haven and London: Yale University Press, 1997.
  • Golding, John. Paths to the Absolute: Mondrian, Malevich, Kandinsky, Pollock, Newman, Rothko, and Still. Princeton, New Jersey: Princeton University Press, 1997.
  • Greenberg, Clement. Clement Greenberg: The Collected Essays and Criticism. Edited by John O'Brian. 4 vols. Chicago and London: University of Chicago Press, 1986-93.
  • Guilbaut, Serge. How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War. Chicago: University of Chicago Press, 1983.
  • Hess, Thomas B. Barnett Newman. New York: Walker, 1969.
  • __________. Barnett Newman. New York: The Museum of Modern Art, 1971.
  • Imdahl, Max. Barnett Newman: Who's Afraid of Red, Yellow and Blue III. Stuttgart, Germany: Reclam, 1971.
  • Jachec, Nancy. The Philosophy and Politics of Abstract Expressionism, 1940-1960. Cambridge and New York: Cambridge University Press, 2000.
  • Leja, Michael. Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. New Haven and London: Yale University Press, 1993.
  • Lyotard, Jean-François. The Inhuman: Reflections on Time. Translated by Geoffrey Bennington and Rachel Bowlby. Stanford, California: Stanford University Press, 1991.
  • Mulas, Ugo, and Alan Solomon. New York: The New Art Scene. New York: Holt, Rinehart and Winston, 1967.
  • Polcari, Stephen. Abstract Expressionism and the Modern Experience. Cambridge and New York: Cambridge University Press, 1991.
  • Richardson, Brenda. Barnett Newman: The Complete Drawings, 1944-1969. Baltimore: The Baltimore Museum of Art, 1979.
  • Rosenberg, Harold. Barnett Newman: Broken Obelisk and Other Sculptures. Seattle and London: University of Washington Press for the Henry Art Gallery, 1971.
  • __________. Barnett Newman. New York: Abrams, 1978.
  • Ross, Clifford, ed. Abstract Expressionism: Creators and Critics; An Anthology. New York: Abrams, 1990.
  • Rushing, W. Jackson. Native American Art and the New York Avant-garde: A History of Cultural Primitivism. Austin, Texas: University of Texas Press, 1995.
  • Sandler, Irving. The Triumph of American Painting: A History of Abstract Expressionism. New York: Praeger, 1970.
  • __________. The New York School: The Painters and Sculptors of the Fifties. New York: Harper & Row, 1978.
  • Seitz, William C. Abstract Expressionist Painting in America. Cambridge, Massachusetts: Harvard University Press for the National Gallery of Art, 1983.
  • Shapiro, David, and Cecile Shapiro, eds. Abstract Expressionism: A Critical Record. Cambridge and New York: Cambridge University Press, 1989.
  • Zweite, Armin. Barnett Newman: Paintings, Sculptures, Works on Paper. Ostfíldern-Ruit, Germany: Hatje Cantz, 1999.
Philadelphia Museum of Art