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This landmark book surveys the breadth of artist Newman's career, from his founding role in the New York School in the 1940s to his key influence on both minimalism and conceptual art in the 1960s. 3 8-page gatefolds. Over 300 illustrations.
This book investigates the writings and works of the American Abstract Expressionist artist Barnett Newman in light of ideas articulated by one of Germany's most important and influential philosophers: Martin Heidegger. At the intersection of art history and philosophy, an int...
David Sylvester has chosen texts by the Chinese sage Chuang Tzu to accompany works on paper by Newman, Beuys, Twombly, Klein, and Johns.
Published on the occasion of the exhibition held at the Museum of Modern Art, New York, Mar. 30-Aug. 29, 2005.
"The central works of Barnett Newman's oeuvre - many of which are reproduced here as full-page color plates - are the subject of an analytical study by Armin Zweite. This study not only gives a comprehensive appraisal of Newman's paintings, from his beginnings through his later works - predominantly large-format, monochromatic paintings - but also deals in detail with all of Newman's sculptures - "Here I", "Here II", and "Here III", "Broken Obelisk", "Lace Curtain for Mayor Daley", and "Zim Zum I" and "Zim Zum II"--As well as with Newman's Model for a Synagogue. The book affords a more differentiated insight into Newman's hermetic oeuvre than would ever be possible in separate treatises on individual parts or periods of Newman's work."--Jacket.
This volume situates the work of American poet Charles Olson (1910-1970) at the centre of the early post-war American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson's work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson's published and unpublished writings to establish an original account of early post-war American modernism. The development of Olson's work is seen to illustrate two primary drivers of formal innovation in the period: the evolution of a new model of political action pivoting around the radical individual and, relatedly, a powerful new critique of instrumental reason and the Enlightenment tradition. Drawing on extensive archival research and featuring readings of a wide range of artists including, prominently, Barnett Newman, Mark Rothko, David Smith, Wolfgang Paalen, and John Cage, Charles Olson and American Modernism offers a new reading of a major American poet and an original account of the emergence of post-war American modernism.
Abstract Expressionist works on paper from the permanent collection of The Metropolitan Museum of Art are presented in this volume, which documents the wealth of the Museum's holdings in that area. Many of them are published here for the first time, and several are recent additions to the collection. All are illustrated in full-page color reproductions that show the nuances of each work in great detail. The Abstract Expressionists are best known for their paintings and sculptures, and virtually all of the many publications about these artists concentrate on those large-scale works. This unique catalogue deals exclusively with their smaller, more intimate works on paper, providing many new insights about the routes that led to the Abstract Expressionists' innovative artistic accomplishments. The nineteen artists included are William Baziotes, James Brooks, Elaine de Kooning, Willem de Kooning, Arshile Gorky, Adolph Gottlieb, Philip Guston, Gerome Kamrowski, Franz Kline, Robert Motherwell, Barnett Newman, Jackson Pollock, Richard Pousette-Dart, Theodore Roszak, Mark Rothko, Anne Ryan, David Smith, Theodoros Stamos, and Mark Tobey. Each of them is discussed in a separate essay, which encompasses information about the artist's background and development, commentary about the importance of drawing in his or her oeuvre, and an analysis of each work in the selection. Also included in the essays is technical information about a number of the individual works that enhances understanding of the variety and originality of these artists' media and techniques.
Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.
While art history has made room for the flurry of movements that emerged in the period following World War II, the myriad artistic developments of the last thirty years have yet to be assigned firm historical categories. Drawing from the Modern, 1975–2005, the final installment in a series of inaugural-year exhibitions produced by the Department of Drawings, attempts to tell a provisional story of the years from 1975 to the present, as reflected through MoMA's singular drawings collection. While making no claims to comprehensiveness, the installation details both the blossoming of different art positions on a broad, international scale in this era, and the coming of age of drawing as an independent—and for many artists, primary—mode of expression.Organized chronologically and in loose clusters of artists working in the same milieu or vein of interest, the exhibition features works by more than fifty artists, including Bruce Nauman, Gerhard Richter, Martin Kippenberger, Marlene Dumas, Gabriel Orozco, Kara Walker, and Luc Tuymans.