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A startling and authoritative look at the special-interest groups that have corrupted the climate change debate.
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By the early 1970s most art history students knew the work of Larry Bell. His glass cubes made him world famous; his minimalist work, along with that of his contemporaries Robert Irwin, Ed Ruscha, Billy Al Bengston, Ken Price, and Joe Goode, defined the "L.A. Look." This retrospective includes Bell's evolving zones of experience: the elegant cubes, his monumental glass sculptures, the furniture and games, his vapor drawings and mirage paintings, the light and space explorations including photographs of the leaning room, his recent Sumer/Stickman sculptures, and the Fractions. Zones of Experience spans the artist's work from the early 1960s to the present, and includes a comprehensive biography/bibliography. Essays are by art historian Peter Frank; writer and photographer Douglas Kent Hall; former art school classmate Dean Cushman; and Larry Bell.
The full story of the infamous double murder featured on Discovery’s FBI Files—includes photos. In this book, former South Carolina Law Enforcement Division (SLED) forensic photographer Lt. Rita Y. Shuler recounts twenty-eight days of terror and shocking developments in one of the most notorious double murders and manhunts in South Carolina history. Shuler shares her own personal interactions with some of the key players in this famous manhunt and investigation. Also included are Bell’s chilling calls from area phone booths to the Smith family, along with his disconcerting interviews and bizarre actions in the courtroom, which show the dark, evil, and criminal mind of this horrific killer. This is a comprehensive account of the case that has been featured on the Discovery Channel’s FBI Files, in the CBS movie Nightmare in Columbia County, and on Court TV’s Forensic Files.
In 1969 curator, critic and former Jewish Museum director Alan Solomon interviewed Craig Kauffman, Larry Bell, James Turrell and Robert Irwin in conjunction with an exhibition he was organizing. They are the earliest in-depth interviews with each artist. Because of his untimely death they have remained in his archives and are published here for the first time. The interviews provide a rare glimpse into the early careers of these seminal artists, documenting their critical, aesthetic and intellectual concerns at a pivotal moment, allowing readers new insight into an important era of American postwar art. Solomon rose to prominence in the 1960s as a curator at the Jewish Museum in New York, where he organized a series of first solo exhibitions for the likes of Jasper Johns and Robert Rauschenberg. He also curated several major international surveys, including the 1964 Venice Biennale, where Rauschenberg won the Golden Lion. In 1968 Solomon left New York to take up a position at the fledgling University of California campus in Irvine, which was home to a dynamic group of young faculty and students. There he became acquainted with Kauffman, Bell, Turrell and Irwin, who have since been recognized as canonical participants in California Light and Space art of the 1960s. With this volume his engagement with these artists, and their roles in this important art historical episode, has finally been brought to light.
With hundreds of pages of new and previously unpublished essays, notes, and letters, Donald Judd Writings is the most comprehensive collection of the artist’s writings assembled to date. This timely publication includes Judd’s best-known essays, as well as little-known texts previously published in limited editions. Moreover, this new collection also includes unpublished college essays and hundreds of never-before-seen notes, a critical but unknown part of Judd’s writing practice. Judd’s earliest published writing, consisting largely of art reviews for hire, defined the terms of art criticism in the 1960s, but his essays as an undergraduate at Columbia University in New York, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd’s early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now. The largest addition of newly available material is Judd’s unpublished notes—transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most. In these intimate reflections we see Judd’s thinking at his least mediated—a mind continuing to grapple with questions of its moment, thinking them through, changing positions, and demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary visual art. Edited by the artist’s son, Judd Foundation curator and co-president Flavin Judd, and Judd Foundation archivist Caitlin Murray, this volume finally provides readers with the full extent of Donald Judd’s influence on contemporary art, art history, and art criticism.