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This incisive book offers a revealing glimpse into the life and
thought of a seminal art critic. Lawrence Alloway (1926-1990) was a
key figure in the development of modern art in Europe and America
from the 1950s to the 1980s. He is credited with coining the term
pop art and with championing conceptual art and feminist artists in
America. His interests as a critic and as a curator at the Solomon
R Guggenheim Museum in New York were wide-ranging, however, and
included architecture, design, earthworks, film, neo-realism,
science fiction, and public sculpture. Early in his career he was
associated with the Independent Group in London and although he was
largely self-taught, he was a noted educator and lecturer. A
prolific writer, Alloway sought to escape the conventions of
art-historical discourse. This volume illuminates how he often
shaped the field and anticipated approaches such as social art
history and visual and cultural studies. Lawrence Alloway: Critic
and Curator provides the first critical analysis of the multiple
facets of Alloway's life and career, exploring his formative
influence on the disciplines of art history, art criticism, and
museum studies.The nine essays in this volume depend on primary
archival research, much of it conducted in the Lawrence Alloway
Papers held by the Getty Research Institute. Each author addresses
a distinct aspect of Alloway's eclectic professional interests and
endeavors.
This third volume of the catalogue raisonne of Ed Ruscha's works on
paper documents more than 1,000 works created between 1998 and 2018
The third volume of this extraordinary catalogue raisonne project
compiles the unique works on paper that celebrated American artist
Edward Ruscha (b. 1937) made between 1998 and 2018. There are 1,068
works documented, hundreds of which have rarely, or never, been
exhibited or published. Drawing is the mode in which Ruscha is most
prolific, poetic, and experimental. In this period, he further
developed some of his iconic subjects, among them film titles,
gasoline stations, mountains, and of course words and phrases. He
also expanded into new thematic territory in palindrome drawings,
map-like representations, and "swiped word" works that incisively
reflect the contemporary moment. Included are pencil, dry pigment,
pastel, and acrylic drawings on paper, board, and assorted
unconventional supports; collages and photo-based works; and
sketches and studies for various contemporaneous paintings,
commissions, and miscellaneous projects. Each work is catalogued
with a beautiful color reproduction, collection details, full
chronological provenance, exhibition history, and bibliographic
references. Distributed for Gagosian
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Light + Space (Hardcover)
Michael Auping, Lucy Bradnock, Robin Clark, Bettina Kames + Amira Gad, Elizabeth Gollnick, …
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This groundbreaking account of postwar American art traces the
profound influence of Antonin Artaud Proposing an original
reassessment of art from the 1950s to the 1970s, No More
Masterpieces reveals how artistic practice in postwar America was
profoundly shaped by the work of the rebellious French poet and
dramatist Antonin Artaud (1896-1948). A generation of artists
mobilized Artaud's countercultural ideas to imagine new forms of
representation and to redefine the relationship between artist and
audience. The book shows how Artaud's radical writings inspired the
experimental theatrical work of John Cage, Rachel Rosenthal, and
Allan Kaprow; the attack on artistic and social conventions
launched by assemblage artists Wallace Berman and Bruce Conner; and
the feminist work of Carolee Schneemann and Nancy Spero. Lucy
Bradnock traces the dissemination of Artaud's writings in America
and demonstrates how his interest in political and cultural
disorder, the dangers of authority, and the unreliability of
representation found fertile ground in the context of the Cold War,
disillusionment with the ideals of Abstract Expressionism, and the
early years of identity politics.
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