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The definitive collection of artist profiles by legendary journalist and New Yorker writer Calvin Tomkins, from the 1960s to today
When Calvin Tomkins joined The New Yorker as a staff writer in 1960, he did not plan to make art and living artists his main subjects. And yet, auspiciously for the magazine and its readers, Tomkins did just that. For the last six decades, his profiles of contemporary artists, from Jasper Johns and Robert Rauschenberg to Cindy Sherman and Mark Bradford, have become the liveliest and most authoritative guide to the art of our time. These six volumes contain eighty-two of Tomkins’s profiles, from 1962 to 2019. Balancing insight and observation with wit, candor, and appreciation, Tomkins is a master of the profile―his indelible prose forming fascinating portraits, each a work of art in its own right.
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Marcel Duchamp (Hardcover)
Calvin Tomkins, Adina Kamien Kazhdan
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R1,806
R1,388
Discovery Miles 13 880
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A catalog documenting an exhibition of Marcel Duchamp's editioned
readymades at Gagosian Gallery, New York, replicating his American
debut at Cordier and Ekstrom in the same building in 1965 and
including new essays.
First published to great acclaim in 1996, New Yorker writer and art
critic Calvin Tomkins' biography of the influential artist Marcel
Duchamp (1887-1968) has been out of print for many years. Now, The
Museum of Modern Art, New York, is publishing a new and revised
edition of the landmark biography to commemorate the 100th
anniversary of Duchamp's first Readymade, "Bicycle Wheel," a later
version of which is in MoMA's collection. Duchamp is widely
considered one of the most important artists of the twentieth
century, yet his personal life remained an enigma throughout his
avidly scrutinized career. Tomkins, from his unique vantage point
as both an accomplished art critic and a friend of Duchamp's since
the late 1950s, presents a piercing portrait of Duchamp, adeptly
analyzing his art and career while also recounting his personal
life, influences and relationships. This thoroughly researched,
eminently readable book is by far the most authoritative Duchamp
biography.
Calvin Tomkins first discovered the work of Robert Rauschenberg in
the late 1950s, when he began to look seriously at contemporary
art. While gazing at Rauschenberg's painting "Double Feature, "
Tomkins felt compelled to make some kind of literal connection to
the work, and it is in that sprit that "for the last forty years
it's been his] ambition to write about contemporary art not as a
critic or a judge, but as a participant." Tomkins has spent many of
those years writing about Robert Rauschenberg, whom he rapidly came
to see as "one of the most inventive and influential artists of his
generation." So it seemed natural to make Rauschenberg the focus of
"Off the Wall," which deals with the radical changes that have made
advanced visual art such a powerful force in the world.
"Off the Wall" chronicles the astonishingly creative period of the
1950s and 1960s, a high point in American art. In his in his
collaborations with Merce Cunningham and John Cage, and as a
pivotal figure linking abstract expressionism and pop art,
Rauschenberg was part of a revolution during which artists moved
art off the walls of museums and galleries and into the center of
the social scene. Rauschenberg's vitally important and productive
career spans this revolution, reaching beyond it to the present
day. Featuring the artists and the art world surrounding
Rauschenberg--from Jackson Pollock, and Willem de Kooning to Jasper
Johns, Frank Stella, and Andy Warhol, together with dealers Betty
Parsons, and Leo Castelli, and the patron Peggy
Guggenheim--Tomkins's stylish and witty portrait of one of
America's most original and inspiring artists is fascinating,
enlightening, and very entertaining.
First published in 1971 and now available for a younger generation
with a new introduction by the author, Living Well Is the Best
Revenge is Calvin Tomkins' now-classic account of the lives of
Gerald and Sara Murphy, two American expatriates who formed an
extraordinary circle of friends in France during the 1920s. First
in Paris and then in the seaside town of Antibes, they played host
to a cast of some of the most memorable artists and writers of the
era, including Cole Porter, Pablo Picasso, Fernand Leger, Ernest
Hemingway and Scott and Zelda Fitzgerald. It was in Paris that
Gerald Murphy first encountered Cubist painting, which prompted him
to embark on an all-too-brief career as a painter--roughly from
1922 to 1929--during which he produced 15 works, seven of which
survive, and every one of which is a unique American modernist
masterpiece. This dazzling phase of work was brought to a close in
1929, when one of the Murphys' sons, Patrick, was diagnosed with
tuberculosis and the family returned to New York. When their second
son, Boath, succumbed to meningitis in 1935, and Patrick's death
followed shortly thereafter in 1937, Murphy hung up his brush.
Despite the brevity of Murphy's oeuvre, the intensity of its
conception and its recently acknowledged status as a crucial
precedent to Pop art have elevated Murphy's reputation
considerably. In 1974, The Museum of Modern Art mounted the first
Gerald Murphy retrospective. Illustrated with nearly 70 photographs
from the Murphys' family album and with a special section on
Murphy's paintings, Living Well presents a fascinating Lost
Generation chronicle as charming and enticing as the couple
themselves.
Sixty Years of Photographs, back in print after many years, is one
of the most comprehensive surveys of the power and force of a major
photographic figure of our time. Before his death in 1976, Strand
spent his last days going over his photographic prints and his many
books with an eye to the completion of this volume. Because of his
insistence on growth and movement toward perfection throughout his
career, and to be true to his vision, the editors examined over
three thousand photographs, constituting the main body of the work
of Strand's lifetime. This volume, which includes an insightful
biographical profile by Calvin Tomkins and excerpts from Strand's
correspondence, interviews, and other documents, has long been
unavailable.
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