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Lyrical and luminous post-Color Field abstractions from a leading Texas painter Dallas-based painter Marcelyn McNeil (born 1965) creates large-scale oil abstractions with brightly colored forms--sometimes lozenge-like, sometimes angular--that drip, bleed and fade into one another. Her recent paintings and site-specific installation works celebrate the power of color and simple, clear gestures. Inspired by artists such as Helen Frankenthaler, McNeil rejects the masculinity of hard-edged abstract painting, instead introducing a sort of lyricism into her work with soft stains and blots of pigment. Often experimenting with perspective and illusion in her work, McNeil also resists the planar quality traditionally associated with abstract painting in favor of a more dynamic relationship to the canvas. With an accompanying interview and essay that provide a framework for engaging with the work, this volume explores the full breadth of this exciting artist's quietly subversive oeuvre, and introduces new ways to consider and experience contemporary abstract painting.
Linn Meyers is best known for her intricate line-based paintings and drawings, and her large-scale installations. This book provides a comprehensive survey of site-specific wall drawings in museums and galleries since 2000, as well as the detailed preparatory drawings and plans created by the artist for these projects, plus recent paintings that inform, and are informed by, the site-specific works. Meyers's large projects require a great deal of endurance and involve drawing in the gallery space over the course of days, sometimes weeks or months, accumulating lines into dense and intricate compositions. The scale of these projects allows Meyers to respond to the existing architectural features, magnifying the wholly committed performativity of her process. On Meyers' exhibition for The Hammer Museum, Senior Curator Anne Ellegood wrote, "The sense of being present while viewing the work is also amplified at this larger scale, allowing viewers to experience the work not just visually but also physically. To see a wall drawing is to be surrounded by it and to feel oneself to be part of the work."
This catalogue is published on the occasion of the exhibition Texas Women: A New History of Abstract Art, organized by the San Antonio Museum of Art and on view February 7 through May 3, 2020.
Texas Abstract: Modern / Contemporary examines the development, establishment, and continued presence of abstraction in the art scene in Texas. Texas Abstract begins with a section that discusses the context of modernist abstraction and its place in the history of Texas art. The state's first abstract painters appeared in the late 1930s and into the 1940s. By the 1950s and 1960s, abstraction had been accepted by many of the most significant Texas artists working at that time. The book also includes a series of chapters devoted to individual contemporary abstractionists currently active in Texas. These artists have embraced in their efforts the wide range of cutting-edge abstract styles of our time. These contemporary abstractions are more international in their outlook than were those of earlier Texas artists, and thus Texas is today an important place for contemporary abstraction.
Spanning four and a half centuries, James A. Michener’s monumental saga chronicles the epic history of Texas, from its Spanish roots in the age of the conquistadors to its current reputation as one of America’s most affluent, diverse, and provocative states. Among his finely drawn cast of characters, emotional and political alliances are made and broken, as the loyalties established over the course of each turbulent age inevitably collapse under the weight of wealth and industry. With Michener as our guide, Texas is a tale of patriotism and statesmanship, growth and development, violence and betrayal—a stunning achievement by a literary master. BONUS: This edition includes an excerpt from James A. Michener's Hawaii. Praise for Texas “Fascinating.”—Time “A book about oil and water, rangers and outlaws, frontier and settlement, money and power . . . [James A. Michener] manages to make history vivid.”—The Boston Globe “A sweeping panorama . . . [Michener] grapples earnestly with the Texas character in a way that Texas’s own writers often don’t.”—The Washington Post Book World “Vast, sprawling, and eclectic in population and geography, the state has just the sort of larger-than-life history that lends itself to Mr. Michener’s taste for multigenerational epics.”—The New York Times
A witty and thought-provoking collection of visual poems constructed from stacks of books. Delighting in the look and feel of books, conceptual artist Nina Katchadourian’s playful photographic series proves that books’ covers—or more specifically, their spines—can speak volumes. Over the past two decades, Katchadourian has perused libraries across the globe, selecting, stacking, and photographing groupings of two, three, four, or five books so that their titles can be read as sentences, creating whimsical narratives from the text found there. Thought-provoking, clever, and at times laugh-out-loud funny (one cluster of titles from the Akron Museum of Art’s research library consists of: Primitive Art /Just Imagine/Picasso/Raised by Wolves), Sorted Books is an enthralling collection of visual poems full of wry wit and bookish smarts. Praise for Sorted Books “Katchadourian’s project . . . takes on a weight beyond its initial novelty. It’s a love letter to books, book collecting and the act of reading.” —San Francisco Chronicle “As a longtime fan of [Katchadourian’s] long-running Sorted Books project I’m thrilled for the release of Sorted Books—a collection spanning nearly two decades of her witty and wise minimalist mediations on life by way of ingeniously arranged book spines. . . . In an era drowned in periodic death tolls for the future of the physical book, her project stands as a celebration of the spirit embedded in the magnificent materiality of the printed page.” —Brain Pickings “Katchadourian’s stacks possess an understated sophistication; they are true to the intimate nature of books and yet reveal their dramatic features and unexpected potential.” —Publishers Weekly
The Unfolding Center is a collaboration between visual artist Susan York and poet Arthur Sze. For this project, York has created 11 diptychs comprised of 22 densely layered graphite drawings, which are interleaved with Sze's extended polyvocal poem.