minimalism

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  • Out of Stock

    Edited by Barbara Haskell: AGNES MARTIN. With essays by Barbara Haskell, Anna Chave and Rosalind Krauss. New York: Whitney Museum / Harry Abrams, 1994 (1992). Tall slim 4to in softcover. 188 pages, illustrated in color. Text in English. Fine clean copy Second printing

  • Out of Stock

    “Agnes Martins celebrated grid paintings are widely acknowledged as a touchstone of postwar American art and have influenced many contemporary artists. The artists formative years, however, have been largely overlooked. In this revelatory study of the early artistic production, Christina Bryan Rosenberger demonstrates that the rapidly evolving creative processes and pictorial solutions Martin developed between 1940 and 1967 define all her subsequent art. Beginning with Martins initiation into artistic language at the University of New Mexico and concluding with the reception of her grid paintings in New York in the early 1960s, Rosenberger offers vivid descriptions of the networks of art, artists, and information that moved between New Mexico and the creative centers of New York and California in the postwar period. She also documents Martins exchanges with artists including Ellsworth Kelly, Barnett Newman, Georgia OKeeffe, Ad Reinhardt, and Mark Rothko, among others. Rosenberger uses original analysis of MartinÕs art, as well as a rich array of archival materials, to situate Martins art within the context of a dynamic historical moment. With a lively, innovative approach informed by art history and conservation, this fluidly written book makes a substantial contribution to the history of postwar American art.”

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    “The only complete career retrospective of this visionary painter, including all her most iconic works, which are prized for their exquisite visual poetry, together with personal letters and facsimiles, reprinted in Martin’s own hand, adding intimacy to this classic bookAgnes Martin’s career spanned over seven decades, with a profile that has skyrocketed since the 2015-17 major exhibition at Tate Modern, London that travelled globally to great acclaim. Though a major influence on Minimalist painters, Martin saw her own work more closely related to Abstract Expressionism, her paintings being ‘meditations on innocence, beauty, happiness and love.’ This much-anticipated reissue of Martin’s exhibition manager and close friend Arne Glimcher’s highly-acclaimed book presents 130 of her paintings and drawings alongside her previously unpublished writings and lecture notes. Glimcher’s illuminating introduction, his personal memories of visits to Martin at her studio, and their correspondence throughout her career, reveal many insights into the artist’s life and work.”

  • Out of Stock

    “Agnes Martins celebrated grid paintings are widely acknowledged as a touchstone of postwar American art and have influenced many contemporary artists. The artists formative years, however, have been largely overlooked. In this revelatory study of the early artistic production, Christina Bryan Rosenberger demonstrates that the rapidly evolving creative processes and pictorial solutions Martin developed between 1940 and 1967 define all her subsequent art. Beginning with Martins initiation into artistic language at the University of New Mexico and concluding with the reception of her grid paintings in New York in the early 1960s, Rosenberger offers vivid descriptions of the networks of art, artists, and information that moved between New Mexico and the creative centers of New York and California in the postwar period. She also documents Martins exchanges with artists including Ellsworth Kelly, Barnett Newman, Georgia OKeeffe, Ad Reinhardt, and Mark Rothko, among others. Rosenberger uses original analysis of MartinÕs art, as well as a rich array of archival materials, to situate Martins art within the context of a dynamic historical moment. With a lively, innovative approach informed by art history and conservation, this fluidly written book makes a substantial contribution to the history of postwar American art.”

  • 245,00 kr.

    David Zwirner, 2017. Tall 4to hardcover without dustjacket as issued, 96 pages. Richly color illustrated. Fine clean and crisp copy First edition “Published on the occasion of the exhibition: Al Taylor, Early Paintings, held at David Zwirner, 537 West 20th Street, New York, February 24-April 15, 2017. New scholarship by…

  • 200,00 kr.

    Bridget Riley: Complete Prints 1962-2005. Second Revised Edition. London: Ridinghouse 2005 – Softcover, 110 pages; . 8vo. Stiff wraps. 110 pp. Text in English. Illustrated Second revised and enlarged edition. Fine, clean copy

  • Out of Stock

    Dusseldorf: Kunsthalle 1971. Square 8vo in wraps as issued. 106 pages, mostly illustrations, mainly in black and white with only a few in color. Text in German. Name of previous owner to innercover and an ink note first page Cool small catalogue, designed by Berndt Carow. 1st edition

  • 200,00 kr.

    “Dan Flavin (1933-1996), whose career began in the 1960s, is one of the most important and innovative artists of his era. The reductiveness and systematic character of his extraordinary work, along with his discovery and relentless exploration of an art of light, established him as a progenitor and chief exponent of Minimalism. Uniquely situated outside the media of painting and sculpture, the majority of Flavin’s work after 1963 consists of art made from light, which was often focused in relationship to specific architectural contexts. This landmark book is the first retrospective publication of Flavin’s art since 1969 and features the artist’s most significant light works, beginning with a pivotal series of constructed boxes with attached incandescent or fluorescent lights, called icons, made from 1961 to 1963. These icons demonstrate the influence of painters such as Barnett Newman as well as object makers such as Marcel Duchamp. Works spanning Flavin’s career are discussed in depth, including examples that integrate light with the surrounding space and show the particular characteristics of blended fluorescent light, large-scale installations, and constructed corridors. The book also features reproductions of Flavin’s drawings, which reveal his thought processes, working methods, and the wider range of his interests. Three critical essays offer overviews and new interpretations of Flavin’s work. while an extensive chronology, comprehensive bibliography, and exhibition history present scholarly data never before available. In addition, this book includes Flavin’s seminal text “‘…in daylight or cool white.’ an autobiographical sketch,” originally published in Artforum in 1965, and two interviews with the artist, one from 1972 and the other from 1982. Exquisitely designed and produced, with many new stunning color reproductions, Dan Flavin: A Retrospective captures the brilliance of the artist’s challenging contribution to twentieth-century art and will be the authoritative volume on Ravin for years to come.”

  • 450,00 kr.

    “As a new movement that arose in the 1950s and 1960s, Minimalism challenged traditional ideas about art-making and the art object. A Minimal Future? Art As Object 1958-1968, which accompanies a major exhibition at The Museum of Contemporary Art in Los Angeles, offers a redefinition of Minimalism by situating it in the context of the concurrent aesthetics of modernist abstraction, pop art, and nascent ideas of conceptual art. Minimalism is presented as a range of strategies that propelled new definitions of the structure, form, material, image, and production of the art object and renegotiated its relationship to space and to the spectator.Focusing on the years 1958-1968, A Minimal Future? presents key works within the framework of a scholarly re-examination of minimal art’s emergence and historical context. It reflects the early transitional period that begins in the late 1950s, through the so-called “canonization” of Minimalism by 1968, with an emphasis on work produced in the mid-to-late 1960s.The book includes works from the late 1950s through the late 1960s by 40 artists, including Carl Andre, Richard Artschwager, Jo Baer, Larry Bell, Mel Bochner, Judy Chicago, Dan Flavin, Robert Grosvenor, Eva Hesse, Donald Judd, Sol LeWitt, Agnes Martin, John McCracken, Robert Ryman, Frank Stella, Anne Truitt, and Lawrence Weiner that reflect the shifting object status of painting and sculpture.The text features original essays by prominent art historians and scholars. Diedrich Diedrichsen addresses the relationship between minimal art and music; Jonathan Flatley focuses on Donald Judd and Andy Warhol; Timothy Martin considers perfomance in relation to minimal art; James Meyer examines East and West Coast practices of Minimalism; and Anne Rorimer discusses the relationship of minimal to conceptual art. Exhibition curator Ann Goldstein contributes an introduction. Also included are individual entries on each of the artists, an extensive bibliography, and an exhibition chronology. The 400-page book includes 300 images, most in color”

  • Out of Stock

    Donald Judd. New York: Paula Cooper Gallery, 1995. Landscape 8vo in staple-bound wraps as issued. 28 pages. Color illustrated. Fine clean copy   With introduction by Brydon E. Smith

  • 300,00 kr.

    Edited by Dietmar Elger et al: Donald Judd Colorist. Hatje Cantz Publishers, 2000. Small squarish 4to hardcover with dustjackjet. 132 pages with 66 color illustrations. Text in English. Fine, clean copy with only minimal edgewear to jacket First edition, English version