This exhibition will be the first American retrospective of Donald Judd's work in thirty years. Due to the unprecedented archival access granted by the Judd Foundation to MoMA's curatorial team, this show presents a unique opportunity to assess Judd's career anew.

Most writings to date have dwelled on Judd's place within Minimalism and drawn heavily on biography as well as the artist's own statements on his work. With an aim to counter the mythologizing and interpretation-heavy literature that still prevails in Judd scholarship, this book will marshal in-depth research in order to expand readers' knowledge of the revolutionary nature of his working method. The essays included will delve into the specifics of Judd's industrial materials, fabrication processes, exhibition histories, and activities related to design and architecture.

The fifth and final volume in the Essays by Leo Steinberg series, focusing on modern artists.   Leo Steinberg was one of the most original art historians of the twentieth century, known for taking interpretive risks that challenged the profession by overturning reigning orthodoxies. In essays and lectures ranging from old masters to modern art, he combined scholarly erudition with eloquent prose that illuminated his subject and a credo that privileged the visual evidence of the image over the literature written about it. His writings, sometimes provocative and controversial, remain vital and influential reading. Steinberg’s perceptions evolved from long, hard looking at his objects of study. Almost everything he wrote included passages of formal analysis that were always put into the service of interpretation.   Following the series publication on Pablo Picasso, this volume focuses on other modern artists, including Cézanne, Monet, Matisse, Max Ernst, Jasper Johns, Robert Rauschenberg, Roy Lichtenstein, Hans Haacke, and Jeff Koons. Included are seven unpublished lectures and essays, Steinberg’s landmark essay “Encounters with Rauschenberg,� a survey of twentieth-century sculpture, and an examination of the role of authorial predilections in critical writing. The final chapter presents a collection of Steinberg’s humorous pieces, witty forays penned for his own amusement.    Modern Art is the fifth and final volume in a series that presents Steinberg’s writings, selected and edited by his longtime associate Sheila Schwartz.  

This is a new release of the original 1931 edition.

"I rush to the door and attempt to pry it open, the door is firmly latched. I sink to my knees in despair. I'm guilty of countless misdeeds and under the death penalty. I place my face in my hands and prepare myself for execution. I'm overcome with guilt, tears of remorse fill my eyes and I cry out... I deserve to die " "I feel a hand on my shoulder and expect to see my executioner. I look up to a large hooded man dressed in black He extends his hand I reluctantly grasp his hand and expect to be led out to my execution. The hooded man motions to the open door and says... you're free " ..".I possess power and influence and my followers look to me for leadership I wrestle not against flesh and blood, but against principalities, against powers, against rulers of darkness of this world, against spiritual wickedness in Mohamed's high place. I'm challenged to join forces with Mohamed and lead my followers to war against western nations and fight for Mohamed's ideologies. And I'm challenged to love my followers with grace and fight the spiritual war to destroy Mohamed's high place and lead my followers to their legacy of peace " This is a story of intrigue, suspense, spiritual warfare... and love with grace Jim is retired and traveled nationally and internationally as a computer consultant gaining a wealth of acquaintances, friends and experiences. He and his wife are parents of twins and grandparents of two preteen boys. Jim's active in children's and middle school ministries and a serious Bible student. He writes stories with characters living Biblical parallels to world events.

College Art Association's Frank Jewett Mather Award for Distinction in Art Criticism, February 2006. The HIV epidemic animates this collection of essays by a noted artist, writer, and activist. "So total was the burden of illness--mine and others'--that the only viable response, other than to cease making art entirely, was to adjust to the gravity of the predicament by using the crisis as a lens," writes Gregg Bordowitz, a film- and video-maker whose best-known works, "Fast Trip Long Drop" (1993) and "Habit" (2001), address AIDS globally and personally. In "The AIDS Crisis Is Ridiculous"--the title essay is inspired by Charles Ludlam, founder of the Ridiculous Theater Company--Bordowitz follows in the tradition of artist-writers Robert Smithson and Yvonne Rainer by making writing an integral part of an artistic practice. Bordowitz has left his earliest writings for the most part unchanged--to preserve, he says, "both the youthful exuberance and the palpable sense of fear" created by the early days of the AIDS crisis. After these early essays, the writing becomes more experimental, sometimes mixing fiction and fact; included here is a selection of Bordowitz's columns from the journal "Documents," "New York Was Yesterday." Finally, in his newest essays he reformulates early themes, and, in "My Postmodernism" (written for "Artforum"'s fortieth anniversary issue) and "More Operative Assumptions" (written especially for this book), he reexamines the underlying ideas of his practice and sums up his theoretical concerns. In his mature work, Bordowitz seeks to join the subjective--the experience of having a disease--and the objective--the fact of the disease as a global problem. He believesthat this conjunction is necessary for understanding and fighting the crisis. "If it can be written," he says, "then it can be realized."

This exciting series situates the work of individual artists within the bigger picture of modern art. The uninitiated reader and the scholar alike need look no further to understand the prevailing art tendencies of our time. The development of modern and contemporary art has been dominated by fundamental, revolutionary movements - such as Abstract Expressionism, Pop, Conceptual or Minimal art - and recurring themes: the artist's relation to the body; to the environment; to questions of gender and identity. The Themes and Movements series is the first to document twentieth-century and recent art fully by combining expert narrative, key works and original documents. As exhaustive as a full-scale museum overview, each volume presents the key works of art associated with a particular tendency. The series also offers direct access to the voice of the artist and to primary texts and documents by critics, historians, curators, and theorists. A unique archive of the innovations, discourses and controversies that have shaped art today, each book features a comprehensive survey by a distinguished scholar.