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Zeng Fanzhi (Hardcover)
Zeng Fanzhi, Fabrice Hergott; Edited by David Anfam
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R1,578
R1,120
Discovery Miles 11 200
Save R458 (29%)
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Ships in 12 - 17 working days
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First published to accompany the exhibition, John Golding: Pure
Colour Sensation at Piano Nobile gallery, this fully colour
illustrated catalogue showcases fifteen years of exceptional
paintings by John Golding. Although an acclaimed art historian,
Golding considered himself, first and foremost, a painter. His work
features in prominent institutions such as the Tate, MoMA, the
Scottish National Gallery, the British Council, and the Yale Center
for British Art. Golding had numerous one-man shows in the UK and
abroad, and also participated in many group exhibitions, including
international shows with his close friend Bridget Riley. He was
appointed a CBE in 1992 and elected a Fellow of the British Academy
in 1994. The publication presents a survey of works from the 1970s
and 1980s, ranging from large scale canvases to both small and
large pastels. Golding's work, although abstract, repeatedly
returns to the human body. The monumental canvases and the tactile
handling of paint through expressive layering of pigment demand a
visceral physical reaction from the viewer. Speaking in an
interview for Artists' Lives, Golding recollected that his turn to
abstraction was in "recognition of what was happening in America in
the 1950s...the most important thing going on in painting [of the
day]". In his abstract paintings, both intimate and large in scale,
Golding sought unadulterated formal brilliance, letting colour and
composition take prominence, "so that there is nothing getting
between you and the pure colour sensation." Dr David Anfam's
introductory essay explores the roots of Golding's abstract work in
the early figurative painting he produced whilst living in Mexico.
Analysing the influence of the great Mexican muralists during
Golding's formative years, Anfam charts the progression of
Golding's vision that culminated in the exceptionally accomplished
and joyful body of the work produced in the 1970s and 1980s and
reproduced in this publication.
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Larry Poons (Hardcover)
David Anfam, David Ebony, Barbara Rose
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R2,782
Discovery Miles 27 820
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Ships in 12 - 17 working days
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Larry Poons (b. 1937) shot to fame while still in his twenties, on
the strength of his “dot paintings,” in which dots or ellipses
were meticulously arranged on brightly coloured fields, creating a
rhythmic, pulsating effect. But within a few years, Poons first
loosened the hard-edged precision of the dot paintings and then
abandoned them entirely for an organic mode of abstraction based on
vertical drips of flung paint. This marked the beginning of an
uncompromising five-decade evolution that has finally led the
artist back to a more intimate mode of painting with brushes —
and his own hands. At every stage, Poons's career has compelled the
attention of critics and, in particular, other artists. This
handsome volume, the first full-length biocritical monograph on
Poons, reproduces more than 140 of his most important works in full
colour, some as spectacular gatefolds. The incisive text — a
collaboration between four leading critics and historians —
traces the development of the artist’s extraordinary career.
Larry Poons is a necessary addition to the library of anyone with
an interest in American art.
In the decade before his death in 2011, John Hoyland began to
reckon with mortality. Confronting his own demise, he painted
elegies to departed artist friends and tributes to illustrious
artistic forebears. Imagery of the void looms large, but it is a
void faced with defiance and vitality, less a rumination on the end
than a celebration of life. This publication explores the paintings
Hoyland made in this decade, including his final series, the
Mysteries. Essays by Natalie Adamson, David Anfam, Matthew Collings
and Mel Gooding offer a rich and multifaceted account of a complex
body of work. Hoyland’s veneration of Vincent van Gogh, his
connections to J.M.W. Turner, the use of black as a colour, his
deployment of risk and attempts to subvert his own taste, and his
development of the cosmic visual language of the Abstract
Expressionists are all discussed. Richly illustrated, the book
extends our understanding of Hoyland’s late work within the story
of modern painting as a whole.
Abstract Expressionism is the most important art movement since the
Second World War. Although it is often considered a revolution in
painting alone - for the images created by such leading figures as
Jackson Pollock, Clyfford Still, Willem de Kooning and Mark Rothko
remain altogether extraordinary - its radical spirit extended
further, encompassing the sculpture of David Smith and Aaron
Siskind's photography. Along with other key artists such as Barnett
Newman and Franz Kline, these artists formed a nucleus united not
just against the tensions of American society from the 1930s
onwards, but also in their aim to forge diverse new visual
languages. David Anfam explores the movement in terms of its
political implications and rich cultural contexts, bringing many
fresh insights to the works themselves. Taking into account a
wealth of scholarship, this new edition also has nearly one hundred
works reproduced in colour.
The abandoned and forgotten landscapes of rural southwestern towns
are the favoured subjects of Rod Penner's paintings. The artist's
keen eye combines photojournalism and photorealism to create images
of small-town America. His deft use of contrasts in his images -
despondency and hope, isolation and nostalgia - evokes memories of
The Last Picture Show and elicits complex responses from viewers.
"I'm interested in the look of things and the quality of being
there," he says. "A moment that is completely frozen with all the
variety of textures; rust on poles, crumbling asphalt, light
hitting the grass." Penner's works are based on his photographs,
digital video stills, and his experience of the rural landscapes of
Texas and New Mexico. He depicts desolate, often deserted
locations, the character of old houses and abandoned buildings,
weather, and unique geography. His chosen scenes are infused with a
cinematic quality that is the result of the exquisite light that he
captures with his meticulous process. "The finished paintings
should evoke contrasting responses of melancholy and warmth,
desolation and serenity," he says.
Accompanying an exhibition at BASTIAN, London, this striking
publication presents works by the German-born American artist Hans
Hofmann (1880-1966), produced at the end of the Second World War
and immediately afterwards. Hofmann's angular abstractions (such as
Fury No. 1) personify the insecurities of the period, but this was
also the moment that he moved towards the soft ambiguous forms and
gesture that would become the hallmark of the Abstract
Expressionist movement. Renowned as both an artist and teacher,
Hofmann established his first art school in Munich in 1915. Built
on the contemporary ideas regarding colour and form of Cezanne, the
Cubists and Kandinsky, his work laid the foundations for his
reputation as a forward-thinking artist. After relocating to the
United States in 1932, he then opened schools in both New York and
Provincetown, immersing himself within America's growing avantgarde
art scene. His teaching had a significant influence on post-War
American artists, including Helen Frankenthaler, Lee Krasner and
Joan Mitchell - artists who would later lead the Abstract
Expressionism movement. The works presented here span from 1942 to
1946. Whilst demonstrating Hofmann's development towards
abstraction, the paintings still reveal an identifiably
representational quality which nod to his figurative beginnings;
linear paintings such as The Virgin (1946) particularly emphasise
this artistic trajectory. Primarily known for his expressive use of
bold, often primary colours, the palette used in these paintings
consists predominantly of vivid, bright colours and contrasting
dark tones, epitomizing the conflicted post-War feeling. Hofmann's
work during the 1940s also saw him garner the support of several
key figures in the artistic scene, including the renowned
gallerists and dealers Peggy Guggenheim, Betty Parsons, and Samuel
M. Kootz. A particularly important moment in his career - aged 64
at the time - was his first solo exhibition in New York in 1944 at
Peggy Guggenheim's gallery Art of This Century, considered 'a
breakthrough in painterly versus geometric abstraction that
heralded abstract expressionism' by the influential art critic
Clement Greenberg.
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