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Author: Eva Hesse
Publisher: Yale University Press
ISBN: 9780300111095
Category : Biography & Autobiography
Languages : en
Pages : 240
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Book Description
Sunday, June 21, 1964 "Studio--To date have again done mainly drawings. Coming along. Sometimes I feel they’re good, often I get discouraged. Staying at studio gets a little easier + more pleasant. I usually take break + come home. Tom stays.”---Eva Hesse In 1964--65, Eva Hesse lived with her husband, sculptor Tom Doyle, in Kettwig-on-the-Ruhr, Germany, at the invitation of a European art collector. During this time, as she did throughout most of her life, Hesse kept diaries and made extensive notations in datebook calendars. These two datebooks, published for the first time as facsimile editions, are accompanied by a third volume that includes an essay on their significance in the artist’s career as well as full transcriptions and annotations. The 1964/65 datebooks impart astonishingly rich personal details about the artist’s life: whom she met and where she traveled, which books she read, and which films and exhibitions she saw and what impression they made on her. Hesse’s notations also reveal invaluable insights into the German art scene of the mid-1960s, her transition from a painter to a sculptor and her often conflicted artistic ambitions, the stresses of her marriage, and the difficulties of returning to Germany, the country that in 1938 she fled with her family to escape Nazi persecution.
Author: Eva Hesse
Publisher: Yale University Press
ISBN: 9780300111095
Category : Biography & Autobiography
Languages : en
Pages : 240
Get Book Here
Book Description
Sunday, June 21, 1964 "Studio--To date have again done mainly drawings. Coming along. Sometimes I feel they’re good, often I get discouraged. Staying at studio gets a little easier + more pleasant. I usually take break + come home. Tom stays.”---Eva Hesse In 1964--65, Eva Hesse lived with her husband, sculptor Tom Doyle, in Kettwig-on-the-Ruhr, Germany, at the invitation of a European art collector. During this time, as she did throughout most of her life, Hesse kept diaries and made extensive notations in datebook calendars. These two datebooks, published for the first time as facsimile editions, are accompanied by a third volume that includes an essay on their significance in the artist’s career as well as full transcriptions and annotations. The 1964/65 datebooks impart astonishingly rich personal details about the artist’s life: whom she met and where she traveled, which books she read, and which films and exhibitions she saw and what impression they made on her. Hesse’s notations also reveal invaluable insights into the German art scene of the mid-1960s, her transition from a painter to a sculptor and her often conflicted artistic ambitions, the stresses of her marriage, and the difficulties of returning to Germany, the country that in 1938 she fled with her family to escape Nazi persecution.
Author: Douglas Hall
Publisher: Ben Uri Gallery & Museum
ISBN:
Category : Painters
Languages : en
Pages : 212
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Book Description
Alan Davie's work is included in public and private collections around the world and he has for many years been an influential figure in British art. His considerable international reputation was confirmed when he won the painting prize at the 1963 São Paulo Biennial.This book was published to coincide with the artist's 70th birthday and was produced with the complete collaboration of the artist, who designed a cover and endpapers specially for the volume.In his introduction, Douglas Hall (former director of the Scottish National Gallery of Modern Art) offers an analysis of the development of Davie's work, and an additional contribution by Michael Tucker explores the relationship between Alan Davie's music-making and his painting.The documentation in this volume is thorough and comprehensive, with biography, bibliography, lists of exhibitions and public collections, and an illustrated catalogue of the artist's major paintings.
Author: Andrew McPherson
Publisher: Edinburgh University Press
ISBN: 139951833X
Category : Philosophy
Languages : en
Pages : 927
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Book Description
For seventy years, William Gillies has been seen as a placid painter of landscape and decorative still life. Andrew McPherson explodes this view to reveal a modernist whose response to the instabilities and violence of modernity touched universals of human experience. Gillies' idiom was shaped by institutions for artistic production unique to Scotland. But it was the politics of Scotland's connections to the rest of the British Isles that produced his mythic and misleading reputation.New paintings and new meanings are uncovered placing the micro-effects of modernity on mental health, family and community in the wider contexts of war, nationalism and public patronage. McPherson also shows how this changing world led Gillies towards new applications of modernist expression. Lavishly illustrated, and referencing almost one thousand works, this major reappraisal is an indispensable source on the cultural politics of a four-nation state and the reception of moder nism in Britain.
Author:
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 502
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Book Description
Author: Courtauld Institute of Art
Publisher: Routledge
ISBN: 135176313X
Category : Art
Languages : en
Pages : 219
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Book Description
This title was first published in 2001. An examination of art and patronage in Britain during the post-war years. It consists of five case studies, initially written as MA theses, that closely investigate aspects of the mechanisms of patronage outside the state institutions, while indicating structural links within it. The writers have sought to elucidate the relationship between patronage, the production of art and its dissemination. Without seeking to provide an inclusive account of patronage or art production in the early post-war years, their disparate and highly selective papers set up models for the structure of patronage under specific historical conditions. They assume an understanding that works of art are embedded in their social contexts, are products of the conditions under which they were produced, and that these contexts and conditions are complex, fluid and imbricated in one another.
Author: Museum of Modern Art (New York, N.Y.). Library
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 702
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Book Description
Author: Urszula Szulakowska
Publisher: Routledge
ISBN: 1351577182
Category : Art
Languages : en
Pages : 237
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Book Description
Alchemy in Contemporary Art analyzes the manner in which twentieth-century artists, beginning with French Surrealists of the 1920s, have appropriated concepts and imagery from the western alchemical tradition. This study examines artistic production from c. 1920 to the present, with an emphasis on the 1970s to 2000, discussing familiar names such as Andre Breton, Salvador Dali, Yves Klein, Joseph Beuys, and Anselm Kiefer, as well as many little known artists of the later twentieth century. It provides a critical overview of the alchemical tradition in twentieth-century art, and of the use of occultist imagery as a code for political discourse and polemical engagement. The study is the first to examine the influence of alchemy and the Surrealist tradition on Australian as well as on Eastern European and Mexican art. In addition, the text considers the manner in which women artists such as Leonora Carrington, Remedios Varo, and Rebecca Horn have critically revised the traditional sexist imagery of alchemy and occultism for their own feminist purposes.
Author: Who's who
Publisher:
ISBN: 9780905118864
Category : Biography
Languages : en
Pages : 1556
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Book Description
Author: Eric McCauley Lee
Publisher: University of Oklahoma Press
ISBN: 9780806136806
Category : Art
Languages : en
Pages : 302
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Book Description
This beautifully illustrated catalogue highlights 101 works of art from the Fred Jones Jr. Museum of Art at the University of Oklahoma. Combining full-color reproductions with explanatory text, the catalogue presents significant examples of Asian, European, American, American Indian, and contemporary art from the museum’s permanent collection. For visitors to the museum and art aficionados, these pages offer a tour of the museum’s exceptional paintings, sculptures, works on paper, and photographs. Arranged in chronological and thematic sequence, the catalogue entries focus on single works, each by a different artist. Authors Eric McCauley Lee and Rima Canaan discuss the artists’ backgrounds and analyze the featured works. Where appropriate, related objects in the collection appear as accompanying illustrations. The celebrated artists represented in the catalogue include Claude Monet, Pierre-Auguste Renoir, Vincent van Gogh, Pablo Picasso, Edward Hopper, Georgia O’Keeffe, Allan Houser, and members of the Taos Society of Artists. Published to coincide with the opening of the museum’s new wing, designed by renowned architect Hugh Newell Jacobsen and named in honor of Mary and Howard Lester, this catalogue celebrates the extraordinary development of the museum’s collections over nearly three-quarters of a century.
Author: Alex J. Taylor
Publisher: Univ of California Press
ISBN: 0520383567
Category : Art
Languages : en
Pages : 320
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Book Description
"Forms of Persuasion is the first book-length history of corporate art patronage in the 1960s. After the decline of artist-illustrated advertising but before the rise of museum sponsorship, this decade saw artists and businesses exploring new ways to use art for commercial gain. Where many art historical accounts of the sixties privilege radical artistic practices that seem to oppose the dominant values of capitalism, Alex J. Taylor instead reveals an art world deeply immersed in the imperatives of big business. These projects unfolded in Madison Avenue meeting rooms and MoMA galleries, but as the most creative and competitive corporations sought growth through global expansion, they also reached markets all around the world. From Andy Warhol's commissions for packaged goods manufacturers to Richard Serra's work with the steel industry, Taylor demonstrates how major artists of the period provided brands with "forms of persuasion" that bolstered corporate power, prestige, and profit. Drawing on extensive original research conducted in artist, gallery, and corporate archives, Taylor recovers a flourishing field of promotional initiatives that saw artists, advertising creatives, and executives working around the same tables. As museums continue to grapple with the ethical dilemmas posed by funding from oil companies, military suppliers, and drug manufacturers, Forms of Persuasion returns to these earlier relations between artists and multinational corporations to examine the complex aesthetic and ideological terms of their enduring entanglements"--
