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These powerful works, all completed in 2016, are reproduced in this
stunning new volume in beautiful colour-saturated plates to which
black and white installation photos, as well as studio shots,
provide a striking contrast. New texts by art historian Yve-Alain
Bois and art critic Ben Eastham situate these new works within
Ruscha s larger oeuvre and provide detailed insight into particular
works. In the restrained paintings that comprise Extremes and
In-Betweens, Ruscha sets into motion a dynamic interplay of words
and their meanings in ascending and descending shifts of scale and
tone that echo the relation of macrocosm to microcosm. Although his
images are undeniably rooted in the signs and symbols of American
reality closely observed, his elegant and laconic art speaks to
more complex and widespread issues regarding the appearance, feel,
and function of the world and our tenuous and transient place
within it.
This monograph was copublished by Cahiers d’Art and Centre Pompidou on the occasion of the 2019 exhibition Ellsworth Kelly: Windows, which brought together, for the first time, the six Windows made by Ellsworth Kelly (1923–2015) in France between 1949 and 1950. Kelly’s years in France were a period of perpetual invention and are fundamental to an understanding of his work. As he wrote in 1969, “After constructing Window with two canvases and a wood frame, I realized that ... painting as I had known it was finished for me.” This signal moment is evoked through more than 80 works, paintings, drawings, sketches and photographs, along with two beautiful essays by Yve-Alain Bois and Jean-Pierre Criqui.
Ellsworth Kelly is one of the most important abstract artists of the 20th and 21st centuries, as well as a key figure in the rebirth of Cahiers d’Art: the publishing house was reopened in 2012 with an exhibition of Kelly’s work in its legendary gallery, and, in collaboration with Yve-Alain Bois and the Ellsworth Kelly Foundation, it published the first volume of Kelly’s Catalogue Raisonné of Paintings, Reliefs, and Sculpture, 1940–1953.
A landmark compendium - the first authoritative publication to
cover in its entirety one of the most significant holdings of
Matisse in the world. Here is a vibrant celebration - slipcased and
beautifully produced - of the Barnes's extraordinary Matisse
collection. Composed of fifty-nine works from every stage of the
artist's career, it is among the most important in the world. At
its heart are Matisse's most historically significant paintings, Le
Bonheur de vivre, also called The Joy of Life, and The Dance, the
monumental mural that Albert C. Barnes commissioned to fill the
lunettes of the Foundation's main gallery, transforming both the
space and the artist's career. An essay by Yve-Alain Bois addresses
the evolution of The Dance and its role in Matisse's career; Karen
Butler looks at what Barnes thought of Matisse; and Claudine
Grammont's considers how and why he collected his work. The
artworks themselves, sumptuously reproduced, are the subjects of
interpretive analyses that tell the stories of their acquisition
and address their critical reception. The book includes major
contributions by Barbara Buckley and Jennifer Mass on the
artist’s technique and a report on the latest findings on the
pigments used in Le Bonheur de vivre.
Informed by both structuralism and poststructuralism, these
essays by art critic and historian Yve Alain Bois seek to redefine
the status of theory in modernist critical discourse. Warning
against the uncritical adoption of theoretical fashions and equally
against the a priori rejection of all theory, Bois argues that
theory is best employed in response to the specific demands of a
critical problem. The essays lucidly demonstrate the uses of
various theoretical approaches in conjunction with close reading of
both paintings and texts.Yve-Alain Bois was a founder of the French
journal Macula and a Fellow at the Centre National de la Recherche
Scientifique, Paris. He is currently Professor of the History of
Art at Harvard University.
The first comprehensive look at Rauschenberg's Cardboard series, a
previously unexplored realm of the artist's oeuvre Robert
Rauschenberg (b. 1925) began to investigate the boundaries between
painting and sculpture in the 1950s, working with a variety of
found objects in his Combine paintings and freestanding Combines.
Later, in his Cardboard series (1971-72), he confined himself to
the use of cardboard boxes, eliminating virtually all imagery,
reducing the palette to a near monochrome, and commenting in subtle
ways on the materialism and disposability of modern life. This book
is the first to focus exclusively on Rauschenberg's rarely seen
Cardboards, along with related works from his Made in Tampa Clay,
Cardbirds, Egyptian, and Venetian series. Approximately
eighty-eight Cardboards and related sculptural pieces, many from
the artist's personal collection, are reproduced in the book. Full
provenance and exhibition history are provided for each work, along
with a complete bibliography. In addition, distinguished scholar
Yve-Alain Bois offers an insightful essay that discusses the
Cardboards and situates these lesser-known but critical pieces
within the context of Rauschenberg's long and creative career.
Distributed for The Menil Collection Exhibition Schedule: The Menil
Collection, Houston (February 23 - May 13, 2007)
A fascinating gathering of modern and contemporary art that
considers artworks from different media as material objects This
book features 31 objects from Constance R. Caplan's noted
collection of 20th- and 21st-century art, including works in a
variety of media by artists such as Hans Arp, Lynda Benglis, Liz
Deschenes, Claes Oldenburg, and Cy Twombly. Rather than specialize
in one medium, artist, or movement, Caplan has instead assembled
paintings, photographs, drawings, sculptures, and examples of
decorative art that together capture the full scope of a
transformative period in art history. Individual pieces are
examined by a diverse group of scholars that includes voices from
both the school and the museum of the Art Institute of Chicago,
while Yve-Alain Bois provides a historical overview of the
collection's genesis, with a particular focus on the dialogue among
works from different artistic disciplines. Distributed for the Art
Institute of Chicago Exhibition Schedule: The Art Institute of
Chicago (February 22-July 5, 2020)
The most comprehensive collection on Lichtenstein, from the
earliest reviews to recent reassessments, including several
hard-to-find and previously unpublished pieces. Roy Lichtenstein's
popular appeal-and his influence on pop culture, seen in everything
from greeting cards to sitcoms-at times overshadows his importance
to contemporary art. Yet, examined on its own terms, Lichtenstein's
comics-inspired, deadpan artwork remains as truly unsettling to
art-world orthodoxies today as when it first gained wide attention
in the early 1960s. Lichtenstein (1923-1997), a central figure in
Pop, consistently savaged the rules of painting-while remaining
committed to the most traditional procedures and goals of the
medium. (He once said, "The things that I have apparently parodied
I actually admire and I really don't know what the implication of
that is.") This book offers the most comprehensive collection of
writings on Lichtenstein's work to appear in thirty-five years,
with early reviews, artist interviews and statements (some never
before published), and recent reassessments. The book includes
Donald Judd's reviews of Lichtenstein's three solo Pop shows in the
early 1960s, an essay on the artist's 1969 Guggenheim
retrospective, interviews that touch on topics ranging from the New
York art world to Monet and Matisse, the transcript of a 1995 slide
presentation in which Lichtenstein surveyed three decades of his
work, and an in-depth study of Lichtenstein's first Pop painting,
Look Mickey (1961). The texts explore Lichtenstein's career across
the boundaries of medium and period, excavating early critical
discussions and surveying more recent reexaminations of his
artistic practice. The collection will be an indispensable resource
for those interested in Lichtenstein, Pop Art, and American culture
of the 1960s. Contributors Graham Bader, Yve-Alain Bois, John
Coplans, David Deitcher, Hal Foster, John Jones, Donald Judd, Max
Kozloff, Jean-Claude Lebensztejn, Roy Lichtenstein, Michael Lobel
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