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The field of composition theory has emerged as part of the intellectual turmoil and set of pedagogical debates which have beset higher education for the last four decades and is now revolutionizing the theory and praxis of higher education. This volume examines three of the dominant pedagogical theories within composition theory: expressivist, cognitivist, and social-constructivist and builds its critique on the fact that much of modern composition theory has focused on epistemological concerns while neglecting the ontological foundations of that which is being discussed. Critical Realism and Composition Theory offers an alternative approach to teaching composition. This problem-oriented alternative is designed to lead students beyond the abstract, contemplative description of a problem to an expanded understanding that shows that concerns for justice cannot be addressed intellectually without at the same time confronting the practical constraints that limiting powers of social institutions play in both defining a problem and its social solution.
A sweeping selection of Donald Judd's iconic and ambitious works
alongside a diverse collection of newly commissioned writings. "One
of the most significant American artists of the postwar period,
Donald Judd rigorously experimented with color, form, material, and
space. The works in this catalogue range from the artist's
expansive installations to self-contained single units, yielding
valuable new insights into his process and approach. The survey
includes one of the artist's largest and most intricate
installations of sixty-three wall-mounted plywood boxes, conceived
in 1986. Other works include variations on some of Judd's most
recognizable forms, executed in materials such as Cor-ten steel,
plexiglass, copper, plywood, brushed aluminum, and enameled
aluminum. Brilliant and exacting reproductions bring these works to
life on the page. Following the artist's major retrospective at The
Museum of Modern Art, New York, in 2020, this book serves as a
companion volume. With contributions from a wide range of
voices-art historians, critics, writers, and performers- this
publication includes rich new writings on Judd's oeuvre, art
criticism, and enduring influence. Artworks: 1970-1994 is published
on the occasion of the eponymous 2020 exhibition at David Zwirner,
New York."
The field of composition theory has emerged as part of the
intellectual turmoil and set of pedagogical debates which have
beset higher education for the last four decades and is now
revolutionizing the theory and praxis of higher education. This
volume examines three of the dominant pedagogical theories within
composition theory: expressivist, cognitivist, and
social-constructivist and builds its critique on the fact that much
of modern composition theory has focused on epistemological
concerns while neglecting the ontological foundations of that which
is being discussed. Critical Realism and Composition Theory offers
an alternative approach to teaching composition. This
problem-oriented alternative is designed to lead students beyond
the abstract, contemplative description of a problem to an expanded
understanding that shows that concerns for justice cannot be
addressed intellectually without at the same time confronting the
practical constraints that limiting powers of social institutions
play in both defining a problem and its social solution.
Josef Albers' groundbreaking series Homage to the Square comprises
roughly two thousand oil paintings. His continuous reflections and
refinements for more than 25 years inspired numerous young minimal
and conceptual artists in their search for a reduced formal
language. This outstanding catalogue explores the secret of Albers'
subtle aesthetic and unearths its preconditions: What is the
significance of the square? How does his impression of color and
its use as a material change during this period? Featuring studies
on paper, archival materials, as well as essays by internationally
leading Albers experts, Margit Rowell and Donal Judd, this richly
illustrated publication sheds light on the various inspirations
that influenced Albers early on in Europe and later in America, and
illustrates the lasting impact of his art and thinking.
Donald Judd Interviews presents more than sixty interviews with the
artist over the course of four decades, and is the first
compilation of its kind. It is the companion volume to the
critically acclaimed and bestselling Donald Judd Writings. This
collection of interviews engages a diverse range of topics, from
philosophy and politics to Judd's insightful critiques of his own
work and the work of others such as Mark di Suvero, Edward Hopper,
Yayoi Kusama, Barnett Newman, and Jackson Pollock. The opening
discussion of the volume between Judd, Dan Flavin, and Frank Stella
provides the foundation for many of the succeeding conversations,
focusing on the nature and material conditions of the new art
developing in the 1960s. The publication also gathers a substantial
body of unpublished material across a range of mediums including
extensive interviews with art historians Lucy R. Lippard and
Barbara Rose. Judd's contributions in interviews, panels, and
extemporaneous conversations are marked by his forthright manner
and rigorous thinking, whether in dialogue with art critics, art
historians, or his contemporaries. In one of the last interviews,
he was asked, "What kind of advice do you have for young artists
and architects based on all the things you thought all these
years?" Judd responded, "To remember that art and architecture are
both real activities with their own integrity and that they are not
basically commercial activities and you have to partly live with
that. Certainly, it's not hard to maintain the difference ... I
think both activities, to repeat myself, have an integrity. They
are each a particular activity, and if you don't like that
activity, don't do it. Go do something else. If you really want to
make a lot of money, go sell cars or something." Donald Judd
Interviews is co-published by Judd Foundation and David Zwirner
Books. The interviews expand upon the artist's thinking present in
Donald Judd Writings (Judd Foundation/David Zwirner Books, 2016).
A beautiful book on the famed Chinati Foundation in Marfa, Texas
The Chinati Foundation, a world-famous destination for large-scale
contemporary art, was founded by Donald Judd (1928-1994) to
preserve and present a select number of permanent installations
that were inextricably linked to the surrounding landscape in
Marfa, Texas. This handsome publication, first published in 2010
and now available with a new chapter devoted to the permanent
installation by Robert Irwin that was inaugurated in 2016 and a new
foreword by Jenny Moore, director of the Chinati Foundation,
describes how Judd developed his ideas of the role of art and
museums from the early 1960s onward, culminating in the creation of
Chinati. The individual installations featured here include work by
John Chamberlain, Dan Flavin, David Rabinowitch, Roni Horn, Ilya
Kabakov, Richard Long, Ingolfur Arnarsson, Carl Andre, Claes
Oldenburg and Coosje Van Bruggen, and John Wesley, as well as by
Judd himself. The book also features a complete catalogue of the
collection and writings by Judd relating to Chinati and Marfa.
Published in association with the Chinati Foundation/La Fundacion
Chinati
The most comprehensive collection on Lichtenstein, from the
earliest reviews to recent reassessments, including several
hard-to-find and previously unpublished pieces. Roy Lichtenstein's
popular appeal-and his influence on pop culture, seen in everything
from greeting cards to sitcoms-at times overshadows his importance
to contemporary art. Yet, examined on its own terms, Lichtenstein's
comics-inspired, deadpan artwork remains as truly unsettling to
art-world orthodoxies today as when it first gained wide attention
in the early 1960s. Lichtenstein (1923-1997), a central figure in
Pop, consistently savaged the rules of painting-while remaining
committed to the most traditional procedures and goals of the
medium. (He once said, "The things that I have apparently parodied
I actually admire and I really don't know what the implication of
that is.") This book offers the most comprehensive collection of
writings on Lichtenstein's work to appear in thirty-five years,
with early reviews, artist interviews and statements (some never
before published), and recent reassessments. The book includes
Donald Judd's reviews of Lichtenstein's three solo Pop shows in the
early 1960s, an essay on the artist's 1969 Guggenheim
retrospective, interviews that touch on topics ranging from the New
York art world to Monet and Matisse, the transcript of a 1995 slide
presentation in which Lichtenstein surveyed three decades of his
work, and an in-depth study of Lichtenstein's first Pop painting,
Look Mickey (1961). The texts explore Lichtenstein's career across
the boundaries of medium and period, excavating early critical
discussions and surveying more recent reexaminations of his
artistic practice. The collection will be an indispensable resource
for those interested in Lichtenstein, Pop Art, and American culture
of the 1960s. Contributors Graham Bader, Yve-Alain Bois, John
Coplans, David Deitcher, Hal Foster, John Jones, Donald Judd, Max
Kozloff, Jean-Claude Lebensztejn, Roy Lichtenstein, Michael Lobel
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