|
Showing 1 - 4 of
4 matches in All Departments
Gordon Matta-Clark (1943-78) died at only 35 of pancreatic cancer
and has since become a cult figure of late 20th-century art.
Trained in architecture at Cornell, he went on to question the
field's conventions in vivid projects--performance and recycling
pieces, space and texture works and word games--some of which
excised holes into existing buildings or assembled deeds to New
York City alleys and curbs. The artist used a variety of media to
document his work, including film, video and photography. His work
and words, while sophisticated enough to make him an artist's
artist, and colossal and outgoing enough to draw public attention
and affection, were always also grounded in social or political
convictions. In the early 1970s, Matta-Clark developed the idea of
anarchitecture, which encompassed his interest in voids, gaps and
left-over spaces. Gordon Matta-Clark: Experience Becomes the Object
collects five essays and ten individual interviews with various
friends and family members of Matta-Clark's. Together, they outline
a biographical profile and offer an analysis of the historical
period in which the artist developed his short but successful
career. New, never-before-published material and photographs as
well as an exclusive link to the documentary Crosswords:
Matta-Clark's Friends by Matias Cardone are also included.
An essential reference that provides new understanding of the
thought processes of one of the most radical artists of the late
twentieth century. Gordon Matta-Clark (1943-1978) has never been an
easy artist to categorize or to explain. Although trained as an
architect, he has been described as a sculptor, a photographer, an
organizer of performances, and a writer of manifestos, but he is
best known for un-building abandoned structures. In the brief span
of his career, from 1968 to his early death in 1978, he created an
oeuvre that has made him an enduring cult figure. In 2002, when
Gordon Matta-Clark's widow, Jane Crawford, put his archive on
deposit at the Canadian Centre for Architecture in Montreal, it
revealed a new voice in the ongoing discussion of artist/architect
Matta-Clark's work: his own. Gwendolyn Owens and Philip Ursprung's
careful selection and ordering of letters, interviews, statements,
and the now-famous art cards from the CCA as well as other sources
deepens our understanding of one of the most original thinkers of
his generation. Gordon Matta-Clark: An Archival Sourcebook creates
a multidimensional portrait that provides an opportunity for
readers to explore and enjoy the complexity and contradiction that
was Gordon Matta-Clark.
Lawren S. Harris is best known for his iconic landscape paintings
that declare a sense of cool Canadian resilience. Yet, in the
1920s, an audacious and more colourful interior world began to
emerge in his work, and by 1934, the patriotic landscape painter
had taken a seemingly unexpected turn toward a transnational career
in abstract painting. The social, intellectual, and aesthetic
milieu of American transcendentalism shaped a movement of abstract
art across North America, seen in the paintings of Georgia
O'Keeffe, Marsden Hartley, Katherine Dreier, Raymond Jonson, and
Lawren Harris. Harris, in particular, made an impact on both sides
of the border. Inspired by the ideas of Kandinsky and informed by
the writings of Emerson and Whitman, Harris and his contemporaries
turned to abstraction to express higher states of consciousness,
creating work that was the very embodiment of the modern spirit. As
Harris's career progressed, as he ascended from mountaintops to
inner states of mind, he sought greater and more ethereal spiritual
heights. This magnificent volume features reproductions of more
than 75 paintings by Harris and his contemporaries. Two major
essays by Roald Nasgaard and Gwendolyn Owens investigate Lawren
Harris's exploration of modernity and the evolution of his work
towards a form of abstraction that enthusiastically embraced the
energies of the ambient visual culture. Higher States: Lawren
Harris and His American Contemporaries accompanied an exhibition
organized by the McMichael Canadian Art Collection.
Lawren S. Harris doit sa renommee A ses paysages emblematiques
penetres d'un force tranquille resolument canadienne. Dans les
annees 1920, un monde interieur audacieux et colore commence A se
manifester dans son oeuvre, et en 1934, contre toute attente, il
entreprend une carriere de peintre abstrait outre-frontiere.Le
milieu social, intellectuel et esthetique du transcendantalisme
americain sert de modele A un mouvement d'art abstrait en Amerique
du Nord. Inspires par les idees de Kandinsky et les ecrits
d'Emerson et Whitman, Harris et ses contemporains americains --
Georgia O'Keeffe, Marsden Hartley, Katherine Dreier et Raymond
Jonson -- se tournent vers l'abstraction pour exprimer des etats de
conscience plus eleves.Aspirant A s'elever au-dessus des choses
terrestres, Harris delaisse le paysage au profit du spirituel et de
l'interiorite. Ce magnifique ouvrage reproduit plus de 75 peintures
realisees par Harris et ses contemporains. Les essais de Roald
Nasgaard et Gwendolyn Owens analysent l'exploration de la modernite
chez Lawren Harris et l'evolution de son oeuvre vers une
abstraction qui se nourrit du dynamisme de la culture visuelle
ambiante.Vers de nouveaux sommets : Lawren Harris et ses
contemporains americains accompagne une exposition organisee par la
Collection McMichael d'art canadien qui prendra l'affiche en
fevrier 2017. L'exposition sera presentee egalement au Musee
Glenbow, A Calgary, dans le cadre d'une tournee canadienne.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Morbius
Jared Leto, Matt Smith, …
DVD
R179
Discovery Miles 1 790
Ab Wheel
R209
R149
Discovery Miles 1 490
|