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Catalogue covering Mark Manders' double solo show "Isolated rooms" at The Art Institute of Chicago and The Renaissance Society at The University of Chicago (9.13.2003 -1.4.2004). The book (184 pp.) is accompanied by a exhibition checklist and a 56 pp. reference book. Compilation and design : Roger Willems and Mark Manders. Texts by : James Cuno and Susanne Ghez, James(...)
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Catalogue covering Mark Manders' double solo show "Isolated rooms" at The Art Institute of Chicago and The Renaissance Society at The University of Chicago (9.13.2003 -1.4.2004). The book (184 pp.) is accompanied by a exhibition checklist and a 56 pp. reference book. Compilation and design : Roger Willems and Mark Manders. Texts by : James Cuno and Susanne Ghez, James(...)
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Mark Manders : isolated rooms
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Catalogue covering Mark Manders' double solo show "Isolated rooms" at The Art Institute of Chicago and The Renaissance Society at The University of Chicago (9.13.2003 -1.4.2004). The book (184 pp.) is accompanied by a exhibition checklist and a 56 pp. reference book. Compilation and design : Roger Willems and Mark Manders. Texts by : James Cuno and Susanne Ghez, James Rondeau, Dieter Roelstraete, Mark Manders and Marije Langelaar.
Mark Manders : isolated rooms
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Catalogue covering Mark Manders' double solo show "Isolated rooms" at The Art Institute of Chicago and The Renaissance Society at The University of Chicago (9.13.2003 -1.4.2004). The book (184 pp.) is accompanied by a exhibition checklist and a 56 pp. reference book. Compilation and design : Roger Willems and Mark Manders. Texts by : James Cuno and Susanne Ghez, James Rondeau, Dieter Roelstraete, Mark Manders and Marije Langelaar.
Form:
books
books
Publication:
February 2006, Chicago
February 2006, Chicago
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$93.95
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With contributions by Faye Hirsch, Vincent Katz, Jeremy Lewison, Raphael Rubinstein, and Phyllis Tuchman. Peter Blum was the first print publisher in the United States to introduce and promote a new generation of European, Asian, and American artists to a larger public. "Singular multiples" presents all of the works from the Blum Edition Archive, which contains completed(...)
$93.95
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With contributions by Faye Hirsch, Vincent Katz, Jeremy Lewison, Raphael Rubinstein, and Phyllis Tuchman. Peter Blum was the first print publisher in the United States to introduce and promote a new generation of European, Asian, and American artists to a larger public. "Singular multiples" presents all of the works from the Blum Edition Archive, which contains completed(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
May 2006, Houston / New Haven / London
May 2006, Houston / New Haven / London
Title:
Singular multiples : the Peter Blum edition archive 1980-1994
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With contributions by Faye Hirsch, Vincent Katz, Jeremy Lewison, Raphael Rubinstein, and Phyllis Tuchman. Peter Blum was the first print publisher in the United States to introduce and promote a new generation of European, Asian, and American artists to a larger public. "Singular multiples" presents all of the works from the Blum Edition Archive, which contains completed portfolios, single editions, books, preparatory drawings, maquettes, working and trial proofs, and printing blocks and plates, totaling more than 1,200 works. This major archive was acquired in 1996 by the Museum of Fine Arts, Houston, and is published here for the first time. This book includes thematic essays that address the various collaborations between prominent artists and Peter Blum. These essays are followed by detailed entries on the portfolios in the collection, including works by John Baldessari, Jonathan Borofsky, Louise Bourgeois, Sandro Chia, Francesco Clemente, Eric Fischl, Alex Katz, Barbara Kruger, Brice Marden, James Turrell, Terry Winters, Yukiori Yanagi, and others. "Singular multiples" also includes a listing of related proofs and drawings and discusses the collection within the art historical context of the 1980s, all of which reveals Blum’s “ability to persuade the best painters and sculptors of his day to produce prints” and his tremendous impact on the contemporary art world.
Singular multiples : the Peter Blum edition archive 1980-1994
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With contributions by Faye Hirsch, Vincent Katz, Jeremy Lewison, Raphael Rubinstein, and Phyllis Tuchman. Peter Blum was the first print publisher in the United States to introduce and promote a new generation of European, Asian, and American artists to a larger public. "Singular multiples" presents all of the works from the Blum Edition Archive, which contains completed portfolios, single editions, books, preparatory drawings, maquettes, working and trial proofs, and printing blocks and plates, totaling more than 1,200 works. This major archive was acquired in 1996 by the Museum of Fine Arts, Houston, and is published here for the first time. This book includes thematic essays that address the various collaborations between prominent artists and Peter Blum. These essays are followed by detailed entries on the portfolios in the collection, including works by John Baldessari, Jonathan Borofsky, Louise Bourgeois, Sandro Chia, Francesco Clemente, Eric Fischl, Alex Katz, Barbara Kruger, Brice Marden, James Turrell, Terry Winters, Yukiori Yanagi, and others. "Singular multiples" also includes a listing of related proofs and drawings and discusses the collection within the art historical context of the 1980s, all of which reveals Blum’s “ability to persuade the best painters and sculptors of his day to produce prints” and his tremendous impact on the contemporary art world.
Form:
books
books
Publication:
May 2006, Houston / New Haven / London
May 2006, Houston / New Haven / London
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
Title:
Art conceptuel
Art conceptuel
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Dans les années soixante, l'artiste américain Sol LeWitt propose la dénomination " Art conceptuel " pour désigner une pratique artistique qui relègue la réalisation de l'œuvre d'art à l'arrière-plan des considérations esthétiques. En revanche, l'accent y est mis sur le concept ou l'idée qui la sous-tend. Les travaux de facture artisanale sont ainsi relayés par des(...)
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Dans les années soixante, l'artiste américain Sol LeWitt propose la dénomination " Art conceptuel " pour désigner une pratique artistique qui relègue la réalisation de l'œuvre d'art à l'arrière-plan des considérations esthétiques. En revanche, l'accent y est mis sur le concept ou l'idée qui la sous-tend. Les travaux de facture artisanale sont ainsi relayés par des(...)
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Art conceptuel
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Dans les années soixante, l'artiste américain Sol LeWitt propose la dénomination " Art conceptuel " pour désigner une pratique artistique qui relègue la réalisation de l'œuvre d'art à l'arrière-plan des considérations esthétiques. En revanche, l'accent y est mis sur le concept ou l'idée qui la sous-tend. Les travaux de facture artisanale sont ainsi relayés par des esquisses, des écrits, voire des instructions qui valent œuvre à part entière. Un aspect important de l'art conceptuel est en fait la dématérialisation de l'œuvre d'art, et, partant, l'accomplissement de l'œuvre dans l'imagination du spectateur, qui en réactualise constamment le concept. Au vu de l'inhérente critique institutionnelle qui le caractérise et par sa remise en question de la conception traditionnelle de l'art, l'art conceptuel revêt une importance d'actualité en tant que modèle alternatif, notamment à une époque marquée par le déferlement incessant d'images et la réanimation de formes d'art réputées conservatrices comme la peinture.
Art conceptuel
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Dans les années soixante, l'artiste américain Sol LeWitt propose la dénomination " Art conceptuel " pour désigner une pratique artistique qui relègue la réalisation de l'œuvre d'art à l'arrière-plan des considérations esthétiques. En revanche, l'accent y est mis sur le concept ou l'idée qui la sous-tend. Les travaux de facture artisanale sont ainsi relayés par des esquisses, des écrits, voire des instructions qui valent œuvre à part entière. Un aspect important de l'art conceptuel est en fait la dématérialisation de l'œuvre d'art, et, partant, l'accomplissement de l'œuvre dans l'imagination du spectateur, qui en réactualise constamment le concept. Au vu de l'inhérente critique institutionnelle qui le caractérise et par sa remise en question de la conception traditionnelle de l'art, l'art conceptuel revêt une importance d'actualité en tant que modèle alternatif, notamment à une époque marquée par le déferlement incessant d'images et la réanimation de formes d'art réputées conservatrices comme la peinture.
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books
books
Publication:
January 2006, Cologne
January 2006, Cologne
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$62.50
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Feldman is now widely recognized, alongside John Cage and Edgard Varèse, as one of the foremost American composers of the twentieth century. Despite his reputation, he remains poorly represented in published literature. Feldman loved to talk. This lifelong passion is demonstrated in the many interviews and lectures Morton Feldman gave about his life and work. Over the(...)
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Feldman is now widely recognized, alongside John Cage and Edgard Varèse, as one of the foremost American composers of the twentieth century. Despite his reputation, he remains poorly represented in published literature. Feldman loved to talk. This lifelong passion is demonstrated in the many interviews and lectures Morton Feldman gave about his life and work. Over the(...)
Title:
Morton Feldman says : selected interviews and lectures 1964-1987
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Feldman is now widely recognized, alongside John Cage and Edgard Varèse, as one of the foremost American composers of the twentieth century. Despite his reputation, he remains poorly represented in published literature. Feldman loved to talk. This lifelong passion is demonstrated in the many interviews and lectures Morton Feldman gave about his life and work. Over the past seven years, editor Chris Villars has collected and published many of Feldman’s interviews online, a selection of which is now available for the first time in this book. The book is certainly an important addition to the literature of Feldman. Morton Feldman says can also be enjoyed for the pleasure that Feldman’s words offer, and for the illumination that they give to anyone who is making work in art or design. Morton Feldman says features 21 interviews and notes on conversations spanning 23 years of Feldman’s life, including conversations with Gavin Bryars, Kevin Volans, and Walter Zimmermann, as well as transcriptions of four Feldman’s lectures, held in Toronto (1982), Johannesburg (1983), and Darmstadt (1984). The publication also contains an introduction by the editor and the first English translation of Sebastian Claren’s biographical notes (originally published in Neither: Die Musik Morton Feldmans). A key element in the book is the photographs from Feldman’s life, which provide a rich accompaniment to the text.
Morton Feldman says : selected interviews and lectures 1964-1987
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Feldman is now widely recognized, alongside John Cage and Edgard Varèse, as one of the foremost American composers of the twentieth century. Despite his reputation, he remains poorly represented in published literature. Feldman loved to talk. This lifelong passion is demonstrated in the many interviews and lectures Morton Feldman gave about his life and work. Over the past seven years, editor Chris Villars has collected and published many of Feldman’s interviews online, a selection of which is now available for the first time in this book. The book is certainly an important addition to the literature of Feldman. Morton Feldman says can also be enjoyed for the pleasure that Feldman’s words offer, and for the illumination that they give to anyone who is making work in art or design. Morton Feldman says features 21 interviews and notes on conversations spanning 23 years of Feldman’s life, including conversations with Gavin Bryars, Kevin Volans, and Walter Zimmermann, as well as transcriptions of four Feldman’s lectures, held in Toronto (1982), Johannesburg (1983), and Darmstadt (1984). The publication also contains an introduction by the editor and the first English translation of Sebastian Claren’s biographical notes (originally published in Neither: Die Musik Morton Feldmans). A key element in the book is the photographs from Feldman’s life, which provide a rich accompaniment to the text.
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books
books
Publication:
March 2006, London
March 2006, London
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$87.00
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"Whoop to the duck!" is both a comprehensive retrospective and a preview of the work of the SPLITTERWERK label, active in the conflictive context between engineering and art since 1988. The publication covers the spectrum from urbanistic designs for our “post-urban society” to the return of the ornament and the exemplary implementation of new housing designs. Frank Lloyd(...)
$87.00
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Summary:
"Whoop to the duck!" is both a comprehensive retrospective and a preview of the work of the SPLITTERWERK label, active in the conflictive context between engineering and art since 1988. The publication covers the spectrum from urbanistic designs for our “post-urban society” to the return of the ornament and the exemplary implementation of new housing designs. Frank Lloyd(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
December 2005, Vienna
December 2005, Vienna
Title:
Splitterwerk : whoop to the duck ! / es lebe die Ente!, buildings and projects
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"Whoop to the duck!" is both a comprehensive retrospective and a preview of the work of the SPLITTERWERK label, active in the conflictive context between engineering and art since 1988. The publication covers the spectrum from urbanistic designs for our “post-urban society” to the return of the ornament and the exemplary implementation of new housing designs. Frank Lloyd Wright’s open plan, Adolf Loos’ Raumplan or Margarete Schütte Lihotzky’s Frankfurt Kitchen find their contemporary continuation in the Graz Apartment. In the 21st century, the walls have a custom-made world of images which allows functions to be added “on demand”. The investigation of experimental surfaces has led Splitterwerk to fundamentally reassess imagery in architecture. It is a revival of a different nature for the "duck" (R. Venturi / D. Scott Brown) which calls for a further paradigm shift in architecture.
Splitterwerk : whoop to the duck ! / es lebe die Ente!, buildings and projects
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$87.00
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Summary:
"Whoop to the duck!" is both a comprehensive retrospective and a preview of the work of the SPLITTERWERK label, active in the conflictive context between engineering and art since 1988. The publication covers the spectrum from urbanistic designs for our “post-urban society” to the return of the ornament and the exemplary implementation of new housing designs. Frank Lloyd Wright’s open plan, Adolf Loos’ Raumplan or Margarete Schütte Lihotzky’s Frankfurt Kitchen find their contemporary continuation in the Graz Apartment. In the 21st century, the walls have a custom-made world of images which allows functions to be added “on demand”. The investigation of experimental surfaces has led Splitterwerk to fundamentally reassess imagery in architecture. It is a revival of a different nature for the "duck" (R. Venturi / D. Scott Brown) which calls for a further paradigm shift in architecture.
Form:
books
books
Publication:
December 2005, Vienna
December 2005, Vienna
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$27.95
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Summary:
This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important(...)
$27.95
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This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important(...)
Title:
artists in labs : processes of inquiry
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This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important educational experiences. For contemporary artists, laboratories are inspiring spaces to investigate, share know-how transfer and search for new collaboration potentials. The nine labs represented in this book are from the natural, computing and engineering sciences. An enclosed comprehensive DVD documents the results, the problems and serves as a guideline for the future of true Art/Sci experiments.
artists in labs : processes of inquiry
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This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important educational experiences. For contemporary artists, laboratories are inspiring spaces to investigate, share know-how transfer and search for new collaboration potentials. The nine labs represented in this book are from the natural, computing and engineering sciences. An enclosed comprehensive DVD documents the results, the problems and serves as a guideline for the future of true Art/Sci experiments.
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books
books
Publication:
April 2006, Wien, New York
April 2006, Wien, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$56.50
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the(...)
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
March 2006, Cambridge, Mass.
March 2006, Cambridge, Mass.
Title:
America starts here : Kate Ericson and Mel Ziegler
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the municipally-approved "authentic colors" of historic Charleston, South Carolina. The commercial name of each paint, commemorating an aspect of the city's history, is also painted on the house, revealing and illuminating the lingering Civil War-era past of the region. Like the Earthwork pioneers, Ericson and Ziegler took the whole country as their working space; but rather than impose a conspicuous work of art upon a site or situation, they devised projects that altered sites subtly, creating a patchwork of poetic narratives and histories to be excavated. The windows rescued from the old National Licorice factory in Philadelphia in the title piece America Starts Here--which takes its name from the slogan used to promote Pennsylvania tourism during the 1980s--are hung according to the location of the original windows in the factory; the cracks in the glass echo the famous cracks in two of Philadelphia's tourist attractions, the Liberty Bell and Marcel Duchamp's The Large Glass.
America starts here : Kate Ericson and Mel Ziegler
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the municipally-approved "authentic colors" of historic Charleston, South Carolina. The commercial name of each paint, commemorating an aspect of the city's history, is also painted on the house, revealing and illuminating the lingering Civil War-era past of the region. Like the Earthwork pioneers, Ericson and Ziegler took the whole country as their working space; but rather than impose a conspicuous work of art upon a site or situation, they devised projects that altered sites subtly, creating a patchwork of poetic narratives and histories to be excavated. The windows rescued from the old National Licorice factory in Philadelphia in the title piece America Starts Here--which takes its name from the slogan used to promote Pennsylvania tourism during the 1980s--are hung according to the location of the original windows in the factory; the cracks in the glass echo the famous cracks in two of Philadelphia's tourist attractions, the Liberty Bell and Marcel Duchamp's The Large Glass.
Form:
books
books
Publication:
March 2006, Cambridge, Mass.
March 2006, Cambridge, Mass.
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$33.95
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also(...)
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Summary:
Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
January 2006, Milwaukee
January 2006, Milwaukee
Title:
Elusive signs : Bruce Nauman works with light
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also aggressively convey a message. Over the first three decades of his career, Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning with the earnest playfulness that characterizes all his art. "Elusive signs" focuses on the discrete body of Nauman's work that uses neon and fluorescent light in signs and room installations, and includes images of nearly all Nauman's work with light. After "Window or wall sign", Nauman embarked on a series of neons that grappled with the semiotics of body and identity, and with "My name as though it were written on the surface of the moon" (1968), he forces the viewer to contemplate the role of naming in forming identity. Language - signs and symbols - plays an important role in Nauman's art. His later neon works emphasize the neon as a sign, presenting provocative twists of language and offering harsh and humorous sociopolitical commentary in such pieces as "Run from fear, fun from rear" (1972). This series culminates in the monumental, billboard-size "One hundred live and die" (1984), which employs overwhelming scale to bombard the viewer with sardonic aphorisms. In the essays that accompany the images of Nauman's work, Joseph Ketner II of the Milwaukee Art Museum (which originated the exhibit this book accompanies) and critics Janet Kraynak and Gregory Volk analyze the works in light both as a body of work and as an access point to Nauman's entire career.
Elusive signs : Bruce Nauman works with light
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also aggressively convey a message. Over the first three decades of his career, Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning with the earnest playfulness that characterizes all his art. "Elusive signs" focuses on the discrete body of Nauman's work that uses neon and fluorescent light in signs and room installations, and includes images of nearly all Nauman's work with light. After "Window or wall sign", Nauman embarked on a series of neons that grappled with the semiotics of body and identity, and with "My name as though it were written on the surface of the moon" (1968), he forces the viewer to contemplate the role of naming in forming identity. Language - signs and symbols - plays an important role in Nauman's art. His later neon works emphasize the neon as a sign, presenting provocative twists of language and offering harsh and humorous sociopolitical commentary in such pieces as "Run from fear, fun from rear" (1972). This series culminates in the monumental, billboard-size "One hundred live and die" (1984), which employs overwhelming scale to bombard the viewer with sardonic aphorisms. In the essays that accompany the images of Nauman's work, Joseph Ketner II of the Milwaukee Art Museum (which originated the exhibit this book accompanies) and critics Janet Kraynak and Gregory Volk analyze the works in light both as a body of work and as an access point to Nauman's entire career.
Form:
books
books
Publication:
January 2006, Milwaukee
January 2006, Milwaukee
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$78.00
(available to order)
Summary:
A solid album of recent work, this volume includes exhibition photographs as well as notes and sketches, and documents work both interior and exterior, including a light installation that put Bustamante's mark all over Austria's Kunsthaus Bregenz. "Given the fact that [they] had committed the entire building to me, it seemed obvious that I should display my presence from(...)
$78.00
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Summary:
A solid album of recent work, this volume includes exhibition photographs as well as notes and sketches, and documents work both interior and exterior, including a light installation that put Bustamante's mark all over Austria's Kunsthaus Bregenz. "Given the fact that [they] had committed the entire building to me, it seemed obvious that I should display my presence from(...)
Title:
Jean-Marc Bustamante beautifuldays
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A solid album of recent work, this volume includes exhibition photographs as well as notes and sketches, and documents work both interior and exterior, including a light installation that put Bustamante's mark all over Austria's Kunsthaus Bregenz. "Given the fact that [they] had committed the entire building to me, it seemed obvious that I should display my presence from the outside. The display is a signal. It reveals itself progressively as the 200 lights come on, until all of them are ablaze."
Jean-Marc Bustamante beautifuldays
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A solid album of recent work, this volume includes exhibition photographs as well as notes and sketches, and documents work both interior and exterior, including a light installation that put Bustamante's mark all over Austria's Kunsthaus Bregenz. "Given the fact that [they] had committed the entire building to me, it seemed obvious that I should display my presence from the outside. The display is a signal. It reveals itself progressively as the 200 lights come on, until all of them are ablaze."
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books
books
Publication:
July 2007, Köln
July 2007, Köln
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$63.00
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Summary:
In paintings, murals, and book illustrations, Aaron Douglas (1899–1979) produced the most powerful visual legacy of the Harlem Renaissance, prompting the philosopher and writer Alain Locke to dub him the “father of Black American art.” Presenting more than ninety illustrations of Douglas’s works and the commentary of leading critics and historians, this book focuses on(...)
$63.00
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In paintings, murals, and book illustrations, Aaron Douglas (1899–1979) produced the most powerful visual legacy of the Harlem Renaissance, prompting the philosopher and writer Alain Locke to dub him the “father of Black American art.” Presenting more than ninety illustrations of Douglas’s works and the commentary of leading critics and historians, this book focuses on(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
October 2007, New Haven/London
October 2007, New Haven/London
Title:
Aaron Douglas. African American Modernist
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In paintings, murals, and book illustrations, Aaron Douglas (1899–1979) produced the most powerful visual legacy of the Harlem Renaissance, prompting the philosopher and writer Alain Locke to dub him the “father of Black American art.” Presenting more than ninety illustrations of Douglas’s works and the commentary of leading critics and historians, this book focuses on the artist’s career from the 1920s through the 1940s in relation to American modernism. Its authors argue that Douglas’s bold work opened doors for African American artists in Harlem and beyond, and that it invited a dialogue with modernism that put African American life, labor, and freedom, along with African traditions and motifs, at its center. New information emerges from these pages, reflecting the rich interchange between the visual arts, music, dance, literature, and politics that shaped Douglas’s work and also defined the Harlem Renaissance.
Aaron Douglas. African American Modernist
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(available to order)
Summary:
In paintings, murals, and book illustrations, Aaron Douglas (1899–1979) produced the most powerful visual legacy of the Harlem Renaissance, prompting the philosopher and writer Alain Locke to dub him the “father of Black American art.” Presenting more than ninety illustrations of Douglas’s works and the commentary of leading critics and historians, this book focuses on the artist’s career from the 1920s through the 1940s in relation to American modernism. Its authors argue that Douglas’s bold work opened doors for African American artists in Harlem and beyond, and that it invited a dialogue with modernism that put African American life, labor, and freedom, along with African traditions and motifs, at its center. New information emerges from these pages, reflecting the rich interchange between the visual arts, music, dance, literature, and politics that shaped Douglas’s work and also defined the Harlem Renaissance.
Form:
books
books
Publication:
October 2007, New Haven/London
October 2007, New Haven/London
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
