Collection of selected writings and interview by Barnett Newman, edited by John P. O'Neill. Introduction by Richard Shiff, with commentary by Mollie McNickle. Contents include the following essays, statements, correspondence, remarks and interviews: "On the Need for Political Action by Men of Culture" (1933); "From The Answer--America's Civil Service Magazine" (1936); "Civil Service--The American Way Out" (1936); "Interview with Thomas Hart Benton" (1938); "Can We Draw? The Board of Examiners Says--No!" (1938); "What About Isolationist Art?" (1942); "American Modern Artists" (1943); "New York" (1943 or 1944); "Drafts of a Protest Against Recent Art Criticism and of a Letter to the Editor, The New York Times" (1950); "Open Letter to Roland L. Redmond, President of the Metropolitan Museum of Art" (1952); "Open Letter to William A.M. Burden, President of the Museum of Modern Art" (1953); "Letter to the Editor, The New York Times Magazine" (1954); Letter to John C. Warner, President of the Carnegie Institute" (1961); "Letter to C.C. Cunningham, Director of the Art Institute of Chicago" (1968); "The True Revolution Is Anarchist! : Foreword to Memoirs of a Revolutionist" by Peter Kropotkin (1968); "Critic Turned Artist" (1925); "Concerning Objective Criticism" (1926); "Letter to Adolph and Esther Gottlieb" (1943 or 1944); "Pre-Columbian Stone Sculpture" (1944); "On Modern Art: Inquiry and Confirmation" (1944); "The Painting of Tamayo and Gottlieb" (1945); "Milton Avery" (1945); "The Problem of Subject Matter" (1945-45); "The Anglo-Saxon Tradition in Art Criticism" (c. 1944-45); "Painting and Prose / Frankenstein" (1945); "Surrealism and the War" (1945); "Memorial Letter for Howard Putzel" (1945); "Art of the South Seas" (1946); "Peggy Guggenheim" (1946); "Teresa Zarnower" (1946); "Northwest Coast indian Painting" (1946); "The Ideographic Picture" (1947); "Stamos" (1947); "Ferber" (1947-48); "Arshile Gorky: Poet and Immolator" (1948); "To Be or Not"--From 6 Opinions on Dr. Trigant Burrow's The Neuroses of Man (1949); Review of "Abstract Painting: Background and American Phase" by Thomas B. Hess (1951); "Embattled Lamb": Review of Embattled Critic by John Canaday (1962); "Amlash Sculpture from Iran" (1963); "For Impassioned Criticism" (1968); "The Plasmic Image" (1945); "The First Man Was an Artist" (1947); From "The Ides of Art: The Attitudes of Ten Artists on Their Art and Contemporaneousness" (1947); "Response to Clement Greenberg" (1947); "The New Sense of Fate" (1947-48); "The Object and the Image" (1948); "The Sublime is Now" (1948); "Ohio, 1949" (1949); "Statement" (1950); "Statement" (1951); From "The New American Painting" (1957-58); From "Recent American Synagogue Architecture" (1963); Preface to "18 Cantos" (1963-64); "On Emma Lake" (1964); From "Exhibition of the United States of America" (1965); From "Barnett Newman: The Stations of the Cross, Lema Sabachthani" (1966); "The Fourteen Stations of the Cross, 1958-1966" (1966); From "Jackson Pollock: An Artist's Symposium, Part I" (1967); From "Art Now: New York" (1969); "Chartes and Jericho" (1969); "In Front of the Real thing" (1970); "Letter to Alfonso Ossorio" (1953); "Letter to the Editor ARTnews" (1955); "Letter to Sidney Janis" (1955); "Letter to Clement Greenberg" (1955); "Letter to John I.H. Baur, Director of the Whitney Museum of American Art" (1955); "Letter to Betty Parsons" (1955); "Letter to John I.H. Baur, Director of the Whitney Museum of American Art" (1957); "Letter to the Editor, The New Republic" (1957); "Letter to Howard Nemerov" (1958); "Letter to W. McNeil Lowry, Director of the Ford Foundation" (1958); "Letter to the Editor, ARTnews" (1959); "Letters to the Editor (Replies to Erwin Panofsky), ARTnews" (1961); "Letter to John Gordon, Curator, The Whitney Museum of AmericaN Art" (1962); "Letter to Harold Rosenberg" (1963); "Letter to the Editor, ARTnews" (1965); "Letters to the Editor (Replies to Robert Motherwell), Art International" (1967-68); "Letter to the Editor ARTnews" (1968); "Letters to William S. Rubin, Curator, The Museum of Modern Art" (1968); "Remarks at Artist's Sessions at Studio 35" (1950); "Remarks at the Fourth Annual Woodstock Art Conference" (1952); "Frontiers of Space" Interview with Dorothy Gees Seckler" (1962); "Interview with Lane Slate" (1963); "Interview with David Sylvester" (165); "The New York School Question" Interview with Neil A. Levine" (1965); "The Case for 'Exporting' Nation's Avant-Garde Art" Interview with Andrew Hudson (1966); "A Conversation: Barnett Newman and Thomas B. Hess" (1966); "Response to the Reverend Thomas F. Mathews" (1967); "Through the Lourve with Barnett Newman," by Pierre Schneider (1969); "Interview with Emile de Antonio" (1970). Includes chronology. Printed in black-and-white. "Like his art, Barnett Newman's writings (including his wide-ranging correspondence, both private and public) were rigorously logical, precisely crafted, and uncompromisingly present; moreover, art and writing were equally charged with the passion and energy of their maker, To understand Newman's unique place in the culture of the twentieth century, we must know both his paintings and his words - a knowledge made possible for the first time by this book." -- from interior flap.