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The immediate physical presence of color is central to Katharina
Grosse's creative endeavor. Through an open-ended creative process
in which painting takes on the form of a performance, color
embodies movement, making its emotional potential tangible. These
issues are not only driving her dramatically large in situ works
painted across various surfaces in public places. They also inform
her studio paintings, which have played an equally central role in
her practice from the start. This book is the first study focusing
on Grosse's studio practice from the late 1980s to the present.
Five essays and an insightful interview with the artist explore how
Grosse expands the concept of painting - not just in open space,
but also on canvas - through creating an ephemeral character and
removing the limitations of its traditional frame.
A definitive resource, full of fresh insights and new revelations,
on one of the most influential interwar artists This richly
illustrated book offers a definitive new assessment of the oeuvre
of Kurt Schwitters (1887-1948), a central figure of the interwar
European avant-garde. Active as an artist, designer, publisher,
performer, critic, poet, and playwright, Schwitters is best known
for intimately scaled, materially rich collages and assemblages
made from found objects-often refuse-that the artist described as
having lost all contact with their role and history in the world at
large. But as Graham Bader explores, such simple separation of art
from life is precisely what Schwitters's "poisoned abstraction"
calls into question. Considering works reaching from Schwitters's
earliest collage-based pieces of 1918-19, through his 1920s
advertising designs, to his seminal environmental installation the
Merzbau, Bader carefully unpacks the meaning behind such projects
and sheds new light on the tumultuous historical conditions in
which they were made. In the process, he reveals a new
Schwitters-aesthetically committed and politically astute-for our
time. This authoritative account reframes our understanding of
Schwitters's multifaceted artistic practice and explores the
complex entwinement of art, politics, and history in the modern
period.
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Lisa Lapinski: Miss Swiss (Hardcover)
Lisa Lapinski; Text written by Kyle Dancewicz, Bruce Hainley, MacKenzie Stevens, Sabrina Tarasoff, …
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R768
Discovery Miles 7 680
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Ships in 12 - 17 working days
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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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