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The catalogue for the exhibition of the great American painter at the Istituto Nazionale della Grafica in Rome in December 2001, with text by the curator Mario Codognato. The 70 works selected by the famously reclusive artist provide a unique insight into his collected oeuvre. Marden's dedication to paint as a medium marks him as a singular figure in contemporary art; his remarkable and intrinsic use of colour makes him a pioneer among artists who seek other mediums to express themselves. His belief in the use of paint in the modern era has made him a major figure in the American minimalist art movement, with retrospectives in New York, Paris and London. His work is recognised in permanent collections worldwide.
Brice Marden: A Retrospective ISBN 0-87070-446-X / 978-0-87070-446-8 Hardcover, 11.5 x 9.5 in. / 240 pgs / 248 color. / U.S. $60.00 CDN $72.00 October / Art
This book is the first to catalogue in one volume all of abstract artist Brice Marden's work From the 1990s, and includes, unlike other publications on the artist, marvelous large details of the pieces, which give the reader a better perspective of what the works are like in actual size. Marden's alternately fluid and tensile abstractions and patterned motifs represent a lifetime's worth of thought about art. The book is published to accompany a major travelling exhibition on Marden's work organized by the Dallas Museum of Art.
Brice Marden's art is deceptively austere. Within the seemingly narrow color range of his paintings and drawings, he orchestrates remarkable thematic variations of color, light, scale and mood. His monochromatic gray palette of the 1960s, expressing a "vocabulary of ambiguities,'' gave way to limpid motions and a neoclassical exploration of color-and-light relationships. Kertess, a curator at New York City's Whitney Museum, links the elemental grace of Marden's more recent works to this American artist's summer sojourns on Hydra, a Greek island in the Aegean Sea. In Marden's organic, cellular structures, Kertess sees the influence of Chinese calligraphy and Marden's trips to the Far East. Illustrated with 158 plates (133 in color), this handsome monograph follows Marden's metamorphosis from a pure abstractionist to an artist seeking to objectify the spiritual, as he does in his Annunciation series and in the Elements, which are symbolic paintings rooted in medieval alchemy.
Catalog of an exhibition held at Matthew Marks Gallery, New York, N.Y., Oct. 29-Dec. 23, 2010.
Catalog of an exhibition held November 7-December 24, 2015 at Matthew Marks Gallery, New York City, and January 23-April 9, 2016 at Matthew Marks Gallery, Los Angeles.
"Mars black, lemon yellow, use muddy white. Don't forget the young blonde in La Dolce Vita. Scenes in country cafe and post orgy on the beach. She is the one Benno calls the 'Purity symbol.' Orange green grey." This and other reflections make up Brice Marden: Notebook Sept. 1964-Sept. 1967 and Brice Marden: Notebook Feb. 1968-, facsimiles of American artist Brice Marden's (born 1938) personal journals. On every page, a patchwork of clippings, drawings, renderings and handwritten notes reveal the painter's thought process and document the political and cultural events of the era. A prolific notetaker, Marden filled his journals with subject matter as familiar as references to Italian film director Federico Fellini and as esoteric as "looking at an object in nature and running lines around it." The constant throughout is the work--deliberate, studied rectangles of graphite and ballpoint pen allude to the monochrome paintings that earned the artist fame and are a precursor to the panel paintings to come. Each journal is a unique guide to Marden's artistic output from that period as well as a distinct reference to the city--at that time bustling with artists such as Robert Rauschenberg and Jasper Johns--where he painted.