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Art and Design in 1960s New York explores the mutual influence between fine art and graphic design in New York City during the long decade of the 1960s. Beginning with advertising's "creative revolution" and its relationship to pop artists, the book traces design and art's developing interest in responses to civic problems such as the proliferation of billboards, navigation through the city's streets and subways, and issues of deteriorating infrastructure. The strategies exploited by these artists and designers resulted in similar approaches to visual imagery and shared techniques for thinking about and responding to the city in which they lived.
A groundbreaking history of pioneering alternative art venues in New York where artists experimented, exhibited, and performed outside the white cube and the commercial mainstream. This groundbreaking book—part exhibition catalogue, part cultural history—chronicles alternative art spaces in New York City since the 1960s. Developed from an exhibition of the same name at Exit Art, Alternative Histories documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites—including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others—that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated. Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context. Contributors Jacki Apple, Papo Colo, Jeanette Ingberman, Melissa Rachleff, Lauren Rosati, Mary Anne Staniszewski, Herb Tam Interviewees Steve Cannon, Rhys Chatham, Peter Cramer and Jack Waters, Carol Goodden, Alanna Heiss, Bob Lee, Joe Lewis, Inverna Lockpez, Ann Philbin, Anne Sherwood Pundyk and Karen Yama, Irving Sandler, Adam Simon, Martha Wilson
A sweeping history of the New York art scene during the 1960s, 1970s, and 1980s reveals a powerful "alternative" art culture that profoundly influenced the mainstream. Simultaneous. (Fine Arts)
The extraordinary story of the artists who propelled themselves to international fame in 1960s Los Angeles Los Angeles, 1960: There was no modern art museum and there were few galleries, which is exactly what a number of daring young artists liked about it, among them Ed Ruscha, David Hockney, Robert Irwin, Bruce Nauman, Judy Chicago and John Baldessari. Freedom from an established way of seeing, making, and marketing art fueled their creativity, which in turn inspired the city. Today Los Angeles has four museums dedicated to contemporary art, around one hundred galleries, and thousands of artists. Here, at last, is the book that tells the saga of how the scene came into being, why a prevailing Los Angeles permissiveness, 1960s-style, spawned countless innovations, including Andy Warhol's first exhibition, Marcel Duchamp's first retrospective, Frank Gehry's mind-bending architecture, Rudi Gernreich's topless bathing suit, Dennis Hopper's Easy Rider, even the Beach Boys, the Byrds, the Doors, and other purveyors of a California style. In the 1960s, Los Angeles was the epicenter of cool.
"Sandler covers the art, artists and movements of the sixties--Painterly and Post Painterly Painting, Pop Art, New Perceptual Realism, Op Art and Kinetic Sculpture, Minimal Sculpture, Construction Sculpture, Eccentric and Process Art, Earthworks, Conceptual and Performance Art and so on. He discusses the aesthetics of art as well as the social and political context of art, the art market, the art world and the culture heroes of the sixties." -- Provided by publisher
Innovative artists in 1960s Japan who made art in the “wilderness”—away from Tokyo, outside traditional norms, and with little institutional support—with global resonances. 1960s Japan was one of the world's major frontiers of vanguard art. As Japanese artists developed diverse practices parallel to, and sometimes antecedent to, their Western counterparts, they found themselves in a new reality of “international contemporaneity” (kokusaiteki dōjisei). In this book Reiko Tomii examines three key figures in Japanese art of the 1960s who made radical and inventive art in the “wilderness”—away from Tokyo, outside traditional norms, and with little institutional support. These practitioners are the conceptualist Matsuzawa Yutaka, known for the principle of “vanishing of matter” and the practice of “meditative visualization” (kannen); The Play, a collective of “Happeners”; and the local collective GUN (Group Ultra Niigata). The innovative work of these artists included a visionary exhibition in Central Japan of “formless emissions” organized by Matsuzwa; the launching of a huge fiberglass egg—“an image of liberation”—from the southernmost tip of Japan's main island by The Play; and gorgeous color field abstractions painted by GUN on accumulating snow on the riverbeds of the Shinano River. Pioneers in conceptualism, performance art, land art, mail art, and political art, these artists delved into the local and achieved global relevance. Making “connections” and finding “resonances” between these three practitioners and artists elsewhere, Tomii links their local practices to the global narrative and illuminates the fundamentally “similar yet dissimilar” characteristics of their work. In her reading, Japan becomes a paradigmatic site of world art history, on the periphery but asserting its place through hard-won international contemporaneity.
Essays discuss Ad Reinhardt, Jasper Johns, J.M.W. Turner, Jim Dine, minimalism, Robert Venturi, and Elia Kazan's "Wild River."
This comprehensive, lavishly illustrated catalogue offers an in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works.