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"Albert Kotin was among the 24 artists - James Brooks, Nicolas Carone, Giorgio Cavallon, Elaine De Kooning, Willem De Kooning, Enrico Donati, John Ferren, Perle Fine, Michael Goldberg (Stuart), Robert Goodnough, Grace Hartigan, Hans Hofmann, Earl Kerkam, Franz Kline, Albert Kotin, Conrad Marca-Relli, Joan Mitchell, Robert Motherwell, Richard Pousette-Dart, Milton Resnick, James Rosati, Louis Schanker, David Smith, Esteban Vicente - who were chosen out of the total 256 participants and were included in the famous 9th St. Show, (1951) and in all the following New York Painting and Sculpture Annuals from 1953 to 1957. These Annuals were important because the participants were selected by the artists themselves. This survey of Albert Kotin intends to enlighten not only our own generation but the subsequent generations to come. It may help to reevaluate the pioneers of American abstract expressionism and to shed new light on the American art heritage of the 1950s. -- Marika Herskovic, PhD"--Front cover, inside flap
A unique book presents Art's main stream between 1950 and1959 in New York and across the US regardless of race, gender or ethnic origin.
Mavo were aJapanese group of artists active in Tokyo from 1923-1925.
This first volume in the Tate Gallery Liverpool Critical Forum series is derived from a conference held in conjunction with the display of Abstract Expressionist Painting from the USA, which was mounted at Tate Gallery Liverpool from March 1992 to January 1993. The display comprised 21 paintings by 13 artists, including Ad Reinhardt, Norman Lewis, Adolph Gottlieb, Jackson Pollock, Arshile Gorky, Franz Kline and Willem de Kooning. The objectives of the conference, involving speakers from the international community of scholarship in the field, were: to elicit new observations, critical judgments and proposals from the knowledge base of abstract expressionism and perhaps to challenge some of its prevailing conventions; and to debate the role of the Tate Gallery Liverpool as a modifier of this field of knowledge.
This survey (a follow¿up to the earlier volumes: New York School Abstract Expressionists: Artists Choice by Artists;7 American Abstract Expressionism of the 1950s An Illustrated Survey.8) intends to present a significantly different approach. Fifty eight American painters and sculptors of the post-World War II era, are represented, each by one abstract and one figurative work.The book intends to show that the most engaged mainstream creative work in New York and across the USA was not restricted to non-representational or representational expressionism but rather to the creative power of the individual expressionist artist. The artists are represented in alphabetical order. The usual convention of critical analysis is replaced by statements written by the artists themselves. The statements may serve to enlighten the readers as to the artists¿ relation to their creative process. The biographical information for each artist is presented in a standardized, uniform fashion. It is critical that a reference book of this sort would provide excellent, large format reproductions. The books were printed by the world renowned Dr. Cantz¿sche Druckerei in Ostfildern, Germany,
The Sound of Sleat is an intensely personal record of the forces and events that shaped Jon Schueler (1916-1992) as an artist. At the same time, it evokes with great resonance the various cultural, historical and geographical contexts that informed his life: from pre-war Midwestern America to the Western Highlands of Scotland where, from his studio, he could look across the Sound of Sleat to Skye and the other islands of the Inner Hebrides, a vista that allowed him to strike the delicate balance between the observation of nature and abstract forms, which is the mystery and power of Schueler's paintings. The book recounts his dramatic childhood in Milwaukee and traumatic war years in Britain as a B17 navigator; his decision to study painting with Clyfford Still at the California School of Fine Arts; his arrival in New York in 1951 and his introduction to Rothko, Newman and Kline; his turbulent experiences with marriages and women; money and the lack of it; and the tremendous need to return continually to Scotland where he found in the Sound of Sleat the images essential to his painting. The reader in drawn in through the immediacy of the journal entries; the quality of his longer reflections on memory, the past, and the act of painting; and the evocative power of his descriptions of the sea and the sky. Equally compelling are the extraordinary series of letters to lovers and art dealers (Leo Castelli, Ben Heller) that reveal the verve and intelligence with which Schueler engages others through language and the depth of his engagement. What is perhaps most striking throughout is the urgency to tell the story, to search out a truth that is always difficult, often painful, and sometimes damning in its evidence of failure. Although Schueler was first and foremost an artist, he devoted himself to his writing with the same passion, sense of struggle and drive towards experimentation that he brought to his painting. Rather than beginning in childhood and then proceeding onwards in a conventional way, the book's chronology is based on the moment of writing, so events may be presented once, or they may be divulged piecemeal as the years go by. This technique adds an element of suspense to the narrative-- as in his efforts to come to terms with his almost unbearable air force experiences, his search for a woman loved during World War II, and his attempt to discover the mother who died just after he was born. What continuously lures the reader on is both the unusual glimpses of the intricate maneuverings of the art scene and the fascinating figure of Schueler himself. Ironic and irreverent, alternately acerbic and lyrical, deeply spiritual and unabashedly erotic, he offers us both humor and moments of revealing psychological insight.
Abstract expressionism refers to the non-representational use of form and color as a means of expression that emerged in America in the 1940s. These artists had striven to express pure emotion directly on canvas, via color and texture.
Religion is a driving force of the twenty-first century. Here is a book that discusses every aspect of this fascinating subject, proposing an agenda for future study. The authors are leading scholars from all over the world.
The essays in this volume analyse the significance (and failures) of literary coteries as spaces of aesthetic and political freedom. They offer an evaluation of the ethos of sociability in the women's salons of the Enlightenment, as the basis of the utopia of community and reflect on the notion of individual authorship within a group.
"Scholarly, sympathetic, lucid--and filled with fascinating detail--The Avant-Garde in Exhibition is as valuable as a reference as it is exciting as a narrative."--Arthur Danto