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This title was first published in 2002. The Park Avenue Cubists
explores the work of a group of American artists committed to the
belief that American abstraction could make a unique contribution
to the evolution of the visual experiments begun by the European
Modernists. All were inspired by the work of Braque, Picasso, Gris
and Leger which they witnessed at first hand during repeated trips
to Paris. Dubbed the 'Park Avenue Cubists' for the wealth and
social status that enabled them to promote their own work and
patronise that of their fellow members of the American Abstract
Artists (AAA), the group included Albert Eugene Gallatin, George
L.K. Morris, Suzy Frelinghuysen and Charles G. Shaw. Featuring
essays by Debra Bricker Balken and Robert S. Lubar on the group's
place in the history of modern art, along with individual studies
of the four artists and an appendix bringing together the key
statements written by the artists themselves, this volume provides
the first in-depth study of the group.
This title was first published in 2002. The Park Avenue Cubists
explores the work of a group of American artists committed to the
belief that American abstraction could make a unique contribution
to the evolution of the visual experiments begun by the European
Modernists. All were inspired by the work of Braque, Picasso, Gris
and Leger which they witnessed at first hand during repeated trips
to Paris. Dubbed the 'Park Avenue Cubists' for the wealth and
social status that enabled them to promote their own work and
patronise that of their fellow members of the American Abstract
Artists (AAA), the group included Albert Eugene Gallatin, George
L.K. Morris, Suzy Frelinghuysen and Charles G. Shaw. Featuring
essays by Debra Bricker Balken and Robert S. Lubar on the group's
place in the history of modern art, along with individual studies
of the four artists and an appendix bringing together the key
statements written by the artists themselves, this volume provides
the first in-depth study of the group.
Americans in Paris: Artists Working in Postwar France, 1946–1962
delves into the various circles of artists who lived in France
following World War II. Featuring new scholarship and illuminating
essays, this groundbreaking volume illustrates many of the
paintings, sculptures, drawings, prints, photos, and films produced
during these fertile years. Americans in Paris introduces the story
of the American creative community that inhabited the City of Light
following World War II. Proposing Paris as decisive for the
development of postwar American art, this volume investigates the
academies where many of these artists studied, the spaces where
their work was exhibited, the aesthetic discourses that animated
their conversations, their interactions with European artists, and
the overarching issue of what it meant to be an American abroad.
Despite being one of the foremost American intellectuals of the
mid-twentieth century, Harold Rosenberg (1906-1978) was utterly
incapable of fitting in-and he liked it that way. Signature cane in
one hand and a cigarette in the other, he cut a distinctive figure
on the New York City culture scene, with his radiant dark eyes and
black bushy brows. A gangly giant at six foot four, he would tower
over others as he forcefully expounded on his latest obsession in
an oddly high-pitched, nasal voice. And people would listen,
captivated by his ideas. With Harold Rosenberg: A Critic's Life,
Debra Bricker Balken offers the first-ever complete biography of
this great and eccentric man. Although he is now known mainly for
his role as an art critic at the New Yorker from 1962 to 1978,
Balken weaves together a complete tapestry of Rosenberg's life and
literary production, cast against the dynamic intellectual and
social ferment of his time. She explores his role in some of the
most contentious cultural debates of the Cold War period, including
those over the commodification of art and the erosion of
individuality in favor of celebrity, demonstrated in his famous
essay "The Herd of Independent Minds." An outspoken socialist and
advocate for the political agency of art, he formed deep alliances
with figures such as Hannah Arendt, Saul Bellow, Paul Goodman, Mary
McCarthy, Jean-Paul Sartre, Willem de Kooning, and Jackson Pollock,
all of whom Balken brings to life with vivid accounts from
Rosenberg's life. Thoroughly researched and captivatingly written,
this book tells in full Rosenberg's brilliant, fiercely independent
life and the five decades in which he played a leading role in US
cultural, intellectual, and political history.
After Many Springs is the title of a Thomas Hart Benton painting
that evokes nostalgia for a fertile, creative time gone by. This
bold new book--taking the name of this work by Benton--examines the
intersections between Regionalist and Modernist paintings,
photography, and film during the Great Depression, a period when
the two approaches to art making were perhaps at their zenith. It
is commonly believed that Regionalist artists Benton, John Steuart
Curry, and Grant Wood reacted to the economic and social
devastation of their era by harking back in tranquil bucolic
paintings to a departed utopia. However, this volume compares their
work to that of photographers such as Dorothea Lange and Ben Shahn
and filmmakers such as Josef von Sternberg-all of whom documented
the desolation of the Depression-and finds surprising
commonalities. The book also notes intriguing connections between
Regionalist artists and Modernists Jackson Pollock and Philip
Guston, countering prevailing assumptions that Regionalism was an
anathema to these New York School painters and showing their shared
fascination with the Midwest. Distributed for the Des Moines Art
Center Exhibition Schedule: Des Moines Art Center (January 30 - May
17, 2009)
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Edna Andrade (Hardcover)
Debra Bricker Balken
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R1,326
R1,237
Discovery Miles 12 370
Save R89 (7%)
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Ships in 12 - 17 working days
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One of the foremost artists to emerge in Philadelphia in the 1960s,
Edna Andrade (1917-2008) is now recognized as an early leader in
the Op Art movement. Characterized by pulsating patterns, vivid
colors, and a visual immediacy that surpasses narrative meaning,
her work explores symmetry and rhythm through geometric design and
structures inspired by nature. Andrade sought to create "democratic
art" that dispensed with the need for elite aesthetic education or
intricate explanations. As a result, her accessible and appealing
compositions were often repurposed for commercial art and political
campaigns. Edna Andrade takes a comprehensive look at the full
range of Andrade's work, from her early surreal and figurative
landscapes, through several decades of Bauhaus-inspired design and
the distinctive geometric patterns of Op Art, to her late-life
quasi-abstract studies of the Atlantic coastline. Accompanied by
170 illustrations, including full-color reproductions as well as
photographs, drawings, sketches, and notes, the essays situate
Andrade's work in the context of movements that surfaced in the
United States in the 1960s, such as Minimalism and Pop Art. The
first book-length study of her career as an artist and teacher,
Edna Andrade examines the aesthetic influences, creative
development, and enduring legacy of this dynamic twentieth-century
artist. Contributors: Debra Bricker Balken, Joe Houston
New insights into the transformative work of this visionary modern
artist accompany a comprehensive documentation of his paintings and
assemblages Arthur Dove (1880-1946) was a major American modernist
of the early 20th century. While he is tied to a circle of artists,
including John Marin and Georgia O'Keeffe, who were associated with
the preeminent photographer and art dealer Alfred Stieglitz, Dove's
work is uniquely radical, anticipating the rise of abstract
expressionism in the late 1940s. This catalogue raisonne surveys
the artist's known paintings and assemblages, or "things,"
alongside an incisive essay on his work's critical reception, an
illustrated chronology, and an extensive bibliography and
exhibition history. Additional essays emphasize monumental works
such as Fields of Grain as Seen from Train (1931), the magisterial
Sunrise series (1936), and High Noon (1944), a culmination of his
ongoing preoccupation with abstracting the ephemeral in nature.
Previously unpublished materials and images advance the known
corpus of Dove's work while ensuring that this is the most
definitive publication on the artist to date. Elegantly and
inventively designed, it is also the first book on the artist to
illustrate all his extant paintings in color. Distributed for the
Arthur Dove Catalogue Raisonne Project
In 1971, as the race for the presidency heated up, the artist
Philip Guston (1913-1980) created a series of caricatures of
Richard Nixon titled Philip Guston's Poor Richard. Produced two
years before Watergate and three years before Nixon's resignation,
these provocative, searing condemnations of a corrupt head of state
are remarkable, prescient political satire. The drawings mock
Nixon's physical attributes--his nose is rendered as an enlarged
phallus throughout-as well as his notoriously dubious, shifty
character. Debra Bricker Balken's book is the first book--length
publication of these drawings.
A visual narrative of Nixon's life, the drawings trace Nixon from
his childhood, through his ascent to power, to his years in the
White House. They incorporate Henry Kissinger (a pair of glasses),
Spiro Agnew (a cone-head), and John Mitchell (a dolt smoking a
pipe). They depict Nixon and his cohorts in China, plotting
strategy in Key Biscayne, and shamelessly pandering to African
Americans, hippies, and elderly tourists.
As Balken discusses in her accompanying essay, these drawings also
reflect a dramatic transformation in Guston's work. In response to
social unrest and the Vietnam War, he began to question the
viability of a private art given to self-expression. His betrayal
of aesthetic abstraction in favor of imagery imbued with personal
and political meaning largely engendered the renewal of figuration
in painting in America in the 1970s. These drawings not only
represent one of the few instances of an artist in the late
twentieth century engaging caricature in his work, they are also a
witty, acerbic take on a corrupt figure and a scandalous political
regime.
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