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"Eleanore Mikus: Shadows of the Real brings together for the first time the monochromatic work of an immensely important artist. Her art is related to minimalism; to slow down perception and thought, it reduces artistic means to only a few elements. Mikus differs from the minimalists in her use of materials. Her subtly inflected surfaces play with real light and shadows. They manifest the seemingly contradictory qualities of pristine appearance and old age. While sharing the austerity and sense of purity found in early suprematist paintings by Kasimir Malevich and Alexander Rochenko, among others, Mikus's white, black, and gray works have a sensuousness and a subtlety that bring them into closer harmony with organic nature. As light and viewpoints change, evanescent shadows emerge and disappear on the gently modulated surfaces. In the 1960s Mikus's works were acquired by major museums on the East and West coasts. In this book Robert Hobbs, an associate professor of the history of art at Florida State University and the author of monographs on Milton Avery, Edward Hopper, and Robert Smithson, examines Mikus's relationship to Zen Buddhism, which began to fascinate Americans after World War II. He also considers her development as a critic of American postwar consumption and prosperity. Cornell professor Judith Bernstock, the author of a recent monograph on Joan Mitchell and the forthcoming book Under the Spell of Orpheus, looks at Mikus's contributions in relation to the tradition of modern art. The book contains an appreciation by Thomas W. Leavitt, the director of Herbert F. Johnson Museum of Art at Cornell University." -- Provided by publisher
The monochrome - a single colour of paint applied over the entirety of a canvas - remains one of the more contentious modernist artistic inventions. But whilst the manufacture of these 'pictures of nothing' was ostensibly straightforward, their subsequent theorisation has been anything but. More than a history, Monochrome: Darkness and Light in Contemporary Art is the first account of the monochrome's lively role in contemporary art. Liberated from the burden of representation, the monochrome first stood for emancipation: an ideological and artistic impulse that characterised the avant-garde of the early twentieth century. Historically, the monochrome embodied the most extreme form of abstraction and pure materiality. Yet more recently, adaptations of the art form have focused on a broader range of cultural and interpretive contexts. Provocative, innovative and timely, this book argues that the latest artistic strategies go beyond stylistic concerns and instead seek to re-engage with ideas around authorship, process and the conditions of the visible as they are given and understood through both light and darkness. Discussing works by artists such as Katie Paterson, Hiroshi Sugimoto, Tom Friedman, Bruno Jakob, Sherrie Levine and Ceal Floyer, the book shows that the debates around an artwork's form and its possibility for meaning that the monochrome first engendered remain very much alive in contemporary visual culture.
Painting has often been declared dead since the 1960s and yet it refuses to die. Even the status and continued legitimacy of the medium has been repeatedly placed in question. As such, painting has had to continually redefine its own parameters and re-negotiate for itself a critical position within a broader, more discursive set of discourses. Taking the American Clement Greenberg's 'Modernist Painting' as a point of departure, After Modernist Painting will be both a historical survey and a critical re-evaluation of the contested and contingent nature of the medium of painting over the last 50 years. Presenting the first critical account of painting, rather than art generally, this book provides a timely exploration of what has remained a persistent and protean medium. Craig Staff focuses on certain developments including the relationship of painting to Conceptual Art and Minimalism, the pronouncement of paintings alleged death, its response to Installation Art's foregrounding of site, how it was able to interpret ideas around appropriation, simulation and hybridity and how today painting can be understood as both imaging and imagining the digital. After Modernist Painting is an invaluable resource for those seeking to understand the themes and issues that have pertained to painting within the context of postmodernism and contemporary artistic practice.
The author of AlterKnits Felt shows knitters how to turn a little yarn into fun projects and gifts—including baby clothes, bags, and household items. “Two needles and one (or one more) skein of yarn—the possibilities never cease to amaze me,” writes Leigh Radford in the introduction to her new book. Radford’s fascination with the creative potential of these raw materials is evident throughout One More Skein, where she melds the alternative approach to knitting and felting she introduced in AlterKnits and AlterKnits Felt with the magic she worked with a single skein of yarn in the bestselling One Skein. One More Skein features 30 diverse projects that can be completed with one or two average-sized skeins of yarn or multiple bits of leftover yarn. Projects include an earflap hat sized for the whole family; fingerless mitts; sweaters, britches, and capelets for baby; hemp jewelry embellished with jump ring “beads”; a felted, pleated sleeve to dress up a vase; and a multicolored blanket worked from assorted stash yarn. All of them are quick and relatively easy to make, without sacrificing beauty or ingenuity.
Since 2000, The Brooklyn Rail has been a platform for artists, academics, critics, poets, and writers in New York and abroad. The monthly journal’s continued appeal is due in large part to its diverse contributors, many of whom bring contrasting and often unexpected opinions to conversations about art and aesthetics. No other publication devotes as much space to the artist’s voice, allowing ideas to unfold and idiosyncrasies to emerge through open discussion. Since its inception, cofounder and artistic director Phong Bui and the Rail’s contributors have interviewed over four hundred artists for The Brooklyn Rail. This volume brings together for the first time a selection of sixty of the most influential and seminal interviews with artists ranging from Richard Serra and Brice Marden, to Alex Da Corte and House of Ladosha. While each interview is important in its own right, offering a perspective on the life and work of a specific artist, collectively they tell the story of a journal that has grown during one of the more diverse and surprising periods in visual art. There is no unified style or perspective; The Brooklyn Rail’s strength lies in its ability to include and champion difference. Selected and coedited by Jarrett Earnest, a frequent Rail contributor, with Lucas Zwirner, the book includes an introduction to the project by Phong Bui as well as many of the hand-drawn portraits he has made of those he has interviewed over the years. This combination of verbal and visual profiles offers a rare and personal insight into contemporary visual culture. Interviews with Vito Acconci, Ai Weiwei, Lynda Benglis, James Bishop, Chris Burden, Vija Celmins, Francesco Clemente, Bruce Conner, Alex Da Corte, Rosalyn Drexler, Keltie Ferris, Simone Forti, Andrea Fraser, LaToya Ruby Frazier, Suzan Frecon, Coco Fusco, Robert Gober, Leon Golub, Ron Gorchov, Michelle Grabner, Josephine Halvorson, Sheila Hicks, David Hockney, Roni Horn, House of Ladosha, Alfredo Jaar, Bill Jensen, Alex Katz, William Kentridge, Matvey Levenstein, Nalini Malani, Brice Marden, Chris Martin, Jonas Mekas, Shirin Neshat, Thomas Nozkowski, Lorraine O’Grady, Genesis Breyer P-Orridge, Joanna Pousette-Dart, Ernesto Pujol, Martin Puryear, Walid Raad, Dorothea Rockburne, Tim Rollins and K.O.S., Robert Ryman, Dana Schutz, Richard Serra, Shahzia Sikander, Nancy Spero, Hiroshi Sugimoto, Sarah Sze, Rirkrit Tiravanija, James Turrell, Richard Tuttle, Luc Tuymans, Kara Walker, Stanley Whitney, Jack Whitten, Yan Pei-Ming, and Lisa Yuskavage Special thanks to Furthermore, a program of the J.M. Kaplan Fund, for their support of The Brooklyn Rail.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics provide a broad social context for the artworks themselves.