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Over the course of a career that spanned fifty years, Agnes
Martin’s austere, serene work anticipated and helped to define
Minimalism, even as she battled psychological crises and carved out
a solitary existence in the American Southwest. ‘I paint with my
back to the world’, she claimed; when she died at ninety-two, in
Taos, New Mexico, it is said she had not read a newspaper in half a
century. Here, for the first time, is an account of Martin’s
extraordinary life, and a long- awaited critical discussion of her
work. Nancy Princenthal tells her story chronologically – from
Martin’s birth in Saskatchewan and her early days as an artist,
living in derelict Manhattan shipping lofts with Jasper Johns,
Ellsworth Kelly, Ad Reinhardt and other artists as neighbours; to
the seven years she stopped painting, just as her career was taking
off, and the months she spent roaming the country in a pick-up
truck; and her last thirty years, in Taos some of that time, in an
adobe house she built with her own hands. Martin did not achieve
recognition until she was in her late forties. Her work –
pencilled grids on square canvases, washed with pale or neutral
colours – at last receives the critical appraisal it deserves.
The 1970s was a time of deep division and newfound freedoms.
Galvanized by The Second Sex and The Feminine Mystique, the civil
rights movement and the March on Washington, a new generation put
their bodies on the line to protest injustice. Still, even in the
heart of certain resistance movements, sexual violence against
women had reached epidemic levels. Initially, it went largely
unacknowledged. But some bold women artists and activists,
including Yoko Ono, Ana Mendieta, Marina Abramovic, Adrian Piper,
Suzanne Lacy, Nancy Spero and Jenny Holzer, fired up by women's
experiences and the climate of revolution, started a conversation
about sexual violence that continues today. Some worked unannounced
and unheralded, using the street as their theatre. Others managed
to draw support from the highest levels of municipal power. Along
the way, they changed the course of art, pioneering a form that
came to be called simply performance. Award-winning author Nancy
Princenthal takes on these enduring issues and weaves together a
new history of performance, challenging us to re-examine the
relationship between art and activism, and how we can apply the
lessons of that turbulent era to today
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Joanna Pousette-Dart (Hardcover)
Joanna Pousette-Dart; Text written by Pepe Karmel, Nicholas Logsdail, Nancy Princenthal; Edited by Thomas Phongsathorn, …
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R1,196
R990
Discovery Miles 9 900
Save R206 (17%)
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Ships in 12 - 17 working days
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Paul Mogensen (Hardcover)
Paul Mogensen; Interview by Hans Ulrich Obrist; Text written by Lynda Benglis, Nancy Princenthal, Klaus Kertess, …
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R1,460
R1,219
Discovery Miles 12 190
Save R241 (17%)
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Ships in 12 - 17 working days
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The book In the Deep Present by Craigie Horsfield contains the
series of portraits made for Utrecht and Lugano on the occasion of
the exhibition organised there in 2016 and 2017. More than 160
pieces are represented, along with various as-yet-unpublished
illustrations of Horsfield's most recent work. Explanatory texts
about the work of Craigie Horsfield by Bruno Fornari and Nancy
Princenthal feature, as do the texts In the Deep Present by the
artist himself. Text in English and Italian.
American artist Michelle Stuart (*1938 in California) is
internationally known for a rich and diverse body of work stemming
from her lifelong interest in the natural world and the cosmos.
Working in drawing, sculpture, photography, video, installation and
site-specific earthworks, she has pursued a subtle and responsive
dialogue with nature, distinct from the epic gestures of American
Land Art. Spanning the period from the late 1960s to the present
day, this publication encompasses a varied and unconventional range
of media, while highlighting Stuart's major contribution to the
practice of drawing. During the seventies she won recognition for
her monumental drawings made outdoors, which have the
characteristics of specific sites ingrained in their surfaces.
Other works respond to the Nazca Lines in Peru, the Uffington White
Horse in the UK and New Mexican petroglyphs, pushing our
understanding of drawing beyond the page. Featuring three new
essays and an interview with Stuart, this publication will be the
definitive resource on the pioneering artist's work to date.
Exhibition schedule: Djanogly Art Gallery, Lakeside Art Centre,
University of Nottingham, February 16-April 14, 2013 | Parrish Art
Museum, Water Mill, New York, July 21-October 27, 2013 | Santa
Barbara Museum of Art, January 26-April 20, 2014
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