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Over his long and successful career David Remfry MBE RA RWS has
achieved a mastery of watercolour that few have matched. Unusually
for the medium, he works on a large scale and often focuses on
people, exploring the dance hall and the nightclub in breathtaking
images that are at once beautiful and edgy. This book is the first
full-length monograph devoted to the artist's watercolours. Its
author, James Russell, is well known for his writing on
20th-century British artists. Russell brings his scholarship,
humour and fascination for people and their lives to his study of
Remfry's career, tracing the evolution of a remarkable talent,
looking in depth at the most significant works and placing Remfry
in the context of both the British watercolour tradition and
international contemporary painting. This is at once a glorious art
book and an intimate portrait of city life. Having spent 20 years
living and working at the legendary Chelsea Hotel in New York,
Remfry has a following on both sides of the Atlantic. New Yorkers -
often in party mode - feature in many of his watercolours, and his
recollections of people and places add colour to the text.
This book discusses the role of gesture painting and the sculpture
related to the painting in the development of distinctive artistic
tendencies by the members of the second generation of the New York
School during the second part of the fifties.
The fourth and final installment in Irving Sandler's series on
contemporary art, Art of the Postmodern Era surveys the artists,
works, movements, and ideas as well as the social and cultural
context of this energetic and turbulent period in art.The book
begins with the late 1960s, when new directions in art emerged,
ranging from diverse postminimal
FROM 1947 TO 1951, more than a dozen Abstract Expressionists
achieved "breakthroughs" to independent styles. 1 During the
following years, these painters, the first generation of the New
York School, received growing recognition nationally and globally,
to the extent that American vanguard art came to be considered the
primary source of creative ideas and energies in the world, and a
few masters, notably Pollock, de Kooning, and Rothko, were elevated
to art history's pantheon. Younger artists who entered their circle
in the early fifties-the early wave of the second generation-such
as Larry Rivers, Helen Frankenthaler, Grace Hartigan, Allan Kaprow,
Joan Mitchell, Robert Rauschenberg, and Richard Stankiewicz (to
list some of the better known), were also acclaimed, but with a few
exceptions, their reputations had gone into decline by the end of
the fifties. In the following decade, the second generation was
eclipsed by a third generation, the innovators of Pop, Op, Minimal,
and Conceptual Art. (Any notion of a generation of artists is
necessarily arbitrary, of course. The term "generation," as it is
used here, refers to a group of artists close in age who live in
the same neighborhood at the same time, and to a greater or lesser
degree, know each other and partake of a similar sensibility, a
shared outlook and aesthetic.)
In his fourth and final book in an acclaimed series on contemporary
art, Irving Sandler, a leading authority on the subject, critiques
art and artists of the last 25 years. Sandler discusses major and
minor artists and their works, movements, ideas, attitudes, and
styles, and places them in the social and cultural context of the
period. An essential reference for understanding the art of this
period. 8 color and 200 b&w photos.
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Women of Abstract Expressionism (Hardcover)
Joan Marter; Introduction by Gwen F. Chanzit; Contributions by Robert Hobbs, Ellen G. Landau, Susan Landauer; Created by …
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R1,730
Discovery Miles 17 300
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Ships in 12 - 17 working days
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The celebrated survey of female Abstract Expressionist artists
revealing the richness and lasting influence of their work The
artists Jay DeFeo, Helen Frankenthaler, Grace Hartigan, Elaine de
Kooning, Lee Krasner, Joan Mitchell, and many other women played
major roles in the development of Abstract Expressionism, which
flourished in New York and San Francisco in the 1940s and 1950s and
has been recognized as the first fully American modern art
movement. Though the contributions of these women were central to
American art of the twentieth century, their work has not received
the same critical attention as that of their male counterparts.
Women of Abstract Expressionism is a long-overdue survey. Lavishly
illustrated with full-color plates emphasizing the expressive
freedom of direct gesture and process at the core of the movement,
this book features biographies of more than forty artists, offering
insight into their lives and work. Essays by noted scholars explore
the techniques, concerns, and legacies of women in Abstract
Expressionism, shedding light on their unique experiences. This
groundbreaking book reveals the richness of the careers of these
important artists and offers keen new reflections on their work and
the movement as a whole. Published in association with the Denver
Art Museum Exhibition Schedule: Mint Museum, Charlotte, N.C.
(10/22/16-01/22/17) Palm Springs Art Museum (02/18/17-05/28/17)
Literary Nonfiction. Art Studies. Edited by Helen A. Harrison.
Foreword by Irving Sandler. The absence of traditional subject
matter was a primary issue for painters in mid-twentieth-century
America whose imagery lacked representational references; it was
also a problem for those struggling to understand modern art.
Robert Goodnough (19170-2011), then a New York University graduate
student and an artist deeply involved with these issues, responded
to the situation in a 1950 research paper, "Subject Matter of the
Artist: An Analysis of Contemporary Subject Matter in Painting as
Derived from Interviews with Those Artists Referred to as the
Intrasubjectivists." Goodnough's paper constitutes the first
scholarly work on the artists who became known as the Abstract
Expressionists and includes interviews with William Baziotes,
Willem de Kooning, Adolph Gottlieb, Robert Motherwell, Barnett
Newman, Jackson Pollock, and Mark Rothko. This previously
unpublished study is presented here for the first time alongside
related writings by Goodnough.
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Whitfield Lovell - Kin (Hardcover)
Irving Sandler; Contributions by Sarah Lewis, Julie L. McGee, Klaus Ottmann, Elsa Smithgall
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R1,167
R948
Discovery Miles 9 480
Save R219 (19%)
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Ships in 12 - 17 working days
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Whitfield Lovell: Kin centers on a sumptuously reproduced portfolio
of the artist s Kin series, in which images of anonymous
African-Americans are paired with found objects evoking their
personalities and experiences. Tangible presences that powerfully
connect with the viewer, Lovell s works invoke issues of cultural
heritage and personal identity as they imaginatively reflect the
lives of forgotten Americans. Also included are the artist s
large-scale installations and works from the 1980s and early 1990s.
Art critic, writer, and professor, Irving Sandler is the author of
the memoir Swept Up by Art. Sarah Lewis is assistant professor of
History of Art and Architecture and African and African American
Studies, Harvard University. Kevin Quashie is professor of Africana
Studies, Smith College. Klaus Ottmann is deputy director for
Curatorial and Academic Affairs and Elsa Smithgall is curator, the
Phillips Collection, Washington, D.C. Erin Dziedzic is curator and
head of Adult Programs, Kemper Museum of Contemporary Art, Kansas
City, Missouri. Julie L. McGee is curator of African American Art,
University Museums, University of Delaware
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