Published by David Zwirner/Steidl. Text by Tiffany Bell, Anne Rorimer, Richard Shiff, Alexandra Whitney. Interview with Dan Graham.
Series and Progressions examines Dan Flavin's (1933-96) use of progressions and serial structures, ideas that were central throughout his career. Famed for creating sculptural objects and installations from fluorescent light fixtures, Flavin was one of the first artists to employ a systematic arrangement of color and light, and had a major influence on Conceptual artistic practices. This monograph includes over 50 full-color plates of work ranging from 1963 to 1990, in addition to a comprehensive selection of installation views and archival photographs and documents. It also includes newly commissioned scholarship by Tiffany Bell, Anne Rorimer, Richard Shiff and Alexandra Whitney; an interview with Dan Graham; a facsimile of the original catalogue from Flavin's 1967-68 exhibition alternating pink and 'gold' at Museum of Contemporary Art, Chicago; and a detailed illustrated chronology of Flavin's exhibition history.
Published by David Zwirner/Steidl. Text by Richard Shiff. Interview by Jochen Poetter.
This publication documents an exhibition of Donald Judd's work held at David Zwirner in New York in 2011, which presented works drawn from the artist's seminal 1989 exhibition held at the Staatliche Kunsthalle Baden-Baden, Germany. Consisting of 12 identically scaled anodized aluminum works, the historic exhibition at the Kunsthalle Baden-Baden was significant in that it marked the first time Judd used colored anodized aluminum in such a large, floor-mounted format. The combinations of materials, dividers and colors--which differ from box to box--thus determine the singular nature of each work within a finite number of variable possibilities. As such, these works comprise one of Judd's few explorations of color on a large scale. With new scholarship by noted art historian Richard Shiff, in addition to archival material and an interview with the artist by Jochen Poetter, this hardcover provides a focused investigation of one of the key concerns within Judd's practice.
Published by D.A.P./Tate. Edited by Frances Morris, Tiffany Bell. Text by Marion Ackermann, Rachel Barker, Jacquelynn Baas, Tiffany Bell, Christina Bryan Rosenberger, Briony Fer, Lena Fritsch, Anna Lovatt, Frances Morris, Maria Müller-Schareck, Richard Tobin, Rosemarie Trockel.
The critically acclaimed, indispensible illustrated monograph on Agnes Martin, published to accompany the major retrospective exhibition organized by the Tate and on view in 2016 at the Los Angeles County Museum of Art and the Guggenheim
This groundbreaking survey provides an in-depth account of Martin's artistic career, from lesser-known early experimental works through her striped and gridded grey paintings and use of color in various formats, to a group of her final pieces that reintroduce bold forms. A selection of drawings and watercolors and Martin's own writing are also included.
Edited by the exhibitions's co-curators Frances Morris and Tiffany Bell, and with essays by leading scholars that give a context for Martin's work—her life, relationship with other artists, the influence of South-Asian philosophy—alongside focused shorter pieces on particular paintings, this beautifully designed volume is the definitive publication on her oeuvre. Frances Morris places Martin's work in the art historical context of the time; art historian Richard Tobin analyzes Martin’s painting "The Islands"; conservator Rachel Barker offers the reader a close viewing of "Morning"; curator Lena Fritsch provides a visual biography by comparing photographic portraits of Martin from different periods; and art historian Jacquelynn Baas delves into the spiritual and philosophical beliefs so present in Martin's art, including Platonism, Christian mysticism, Zen Buddhism and Taoism.
Agnes Martin was born in Maklin, Saskatchewan, Canada, in 1912, and moved to the US in 1932, studying at universities in Oregon, California, New Mexico and New York. She painted still lifes and portraits until the early 1950s, when she developed an abstract biomorphic style influenced by Abstract Expressionism. Her first one-woman exhibition was held at the Betty Parsons Gallery, New York, in 1958. Partly through close friendships with artists such as Ellsworth Kelly and Ad Reinhardt, Martin began to experiment with symmetrical compositions of rectangles or circles within a square, then from around 1960–61 to work with grids of delicate horizontal and vertical lines. She left New York in 1967, shortly after the death of Reinhardt, and moved to New Mexico, where she lived until her death in 2004.
Published by Hatje Cantz. Text by Holger Bröker, Markus Brüderlin, Gregor Stemmrich, et al.
Frank Stella is abstraction’s greatest living champion--the artist who, more than any other, has merged abstract painting with sculpture and architecture, pursuing the implications of his “what you see is what you see” stance. A forceful clarity of purpose and vision has characterized his art and his career from the start: he dominated the New York art scene of the late 1950s with his Black Paintings composed of stripes, which famously helped pave the way for Minimalism, and which were exhibited in The Museum of Modern Art, New York’s milestone exhibition Sixteen Americans, alongside Johns and Rauschenberg. In 1970 Stella became the youngest artist to receive a show at The Museum of Modern Art, by which time he had already blazed his way through several stylistic evolutions. To the surprise of many, the passionate race-car driver did not follow the seemingly inevitable route towards Minimalism, and instead followed a path that led him to ever more opulent and baroque reliefs. With this idiosyncratic turn “from Minimalist to Maximalist,” Stella developed into one of the boldest artists of the twentieth century. On the occasion of Stella’s comprehensive retrospective at the Kunstmuseum Wolfsburg, this massive survey celebrates the many lives of Frank Stella. It includes classic examples of each of his many periods, such as the Black Paintings, Irregular Polygons, the Protractor paintings, the Circuits series, the metal reliefs and floor sculptures of the past two decades and an “ArchiSkulptur” conceived by the artist exclusively for the exhibition. With more than 660 color reproductions, this volume is as ambitious and spectacular as its subject. Frank Stella was born in 1936, to first-generation Sicilians, and grew up in a suburb of Boston. In 1954 he entered Princeton University, where he took a night class in painting and drawing. His first solo exhibition was at the Leo Castelli Gallery in 1960.
Published by Hatje Cantz. Text by Rainer Fuchs, Karola Kraus, Stefan Neuner, Juliane Rebentisch, Roland Wäspe.
The years 1955–1965 saw artists wreaking havoc with the parameters of painting. If Abstract Expressionists had proposed art as the manipulation of paint on a flat plane, the American artist Dan Flavin further refined art as the manipulation of light itself. Starting out as a convert to Abstract Expressionism in the late 1950s, Flavin quickly disposed of painting’s “frame,” as sculptural light object. He first used fluorescent light in a 1961 series of square boxes with lights attached to the sides, titled Icons. The spiritual connotations of the title were soon eschewed for a radical materiality: “It is what it is, and it ain’t nothin’ else,” he famously once said of his work: “everything is clearly, openly, plainly delivered.” By using such an everyday material (neon tubing) and arranging it in simple compositions (in rows, or as diagonals, grids, right angles, arcs), Flavin attained a powerful combination of ordinariness and grandeur, and a purity on a par with the modernist artists to whom he dedicated works--Brancusi, Mondrian, Tatlin. This catalogue offers the broadest appraisal of Flavin’s achievement to date. With 200 color plates, it traces his development, from the early painted objects to the first neon tubes, beginning with the “Diagonal of May 25, 1963 (to Constantin Brancusi),” and beyond. Also included here are his much admired drawings and prints. Dan Flavin (1933–1996) was born in New York to Irish-Catholic parents. During military service in 1954–55, he was trained as a meteorological technician; returning to New York in 1956, he studied art at the Hans Hofmann School of Fine Arts and at Columbia University. Following his development of neon sculpture, Flavin’s first museum exhibition was held at the St Louis Art Museum in 1973. Just two days before his death in November 1996, Flavin completed the design for his famous installation at the Menil Collection in Houston.
Published by Hatje Cantz/David Zwirner. Edited by Anna Gray, Kristine Bell. Text by Robert Storr.
Published on the occasion of the exhibition Ad Reinhardt at David Zwirner, New York, this catalogue presents a comprehensive exploration of the artist’s cartoon works, which he created for various publications throughout his lifetime, most notably the progressive tabloid daily newspaper P.M., in which his How to Look series first appeared in 1946. Reinhardt’s comics shed light on the artist’s humorous insight into art history, politics and culture, as well as his unparalleled critical sensibility as a painter and thinker. The publication includes new scholarship on this facet of Reinhardt’s practice by curator Robert Storr. Ad Reinhardt (1913–1967) was born in Buffalo, New York, and studied art history at Columbia University, where he forged lifelong friendships with Thomas Merton and Robert Lax. After studies at the American Artists School, he worked for the WPA and became a member of the American Abstract Artists group, with whom he exhibited for the next decade; later he was also represented by Betty Parsons. Throughout his career Reinhardt engaged in art-world activist politics, participating in the famous protests against The Museum of Modern Art in 1940 and the Metropolitan Museum of Art in 1950 (among the group that became known as "The Irascibles").
Published by David Zwirner/Radius. Text by Robin Clark. Interview by Anne Reeve.
John McCracken (1934–2011) occupies a singular position within the recent history of American art, as his work melds the restrained formal qualities of Minimalist sculpture with a distinctly West Coast sensibility expressed through color, form and finish. He developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with industrial materials, including plywood, sprayed lacquer and pigmented resin, creating the highly reflective, smooth surfaces that he was to become known for. This catalogue charts the evolution of McCracken’s diverse oeuvre, encompassing both well-known and lesser-seen examples of the artist’s production from the early 1960s up through his death in 2011, presenting a range of sculptures, paintings and sketches.
Published by Matthew Marks Gallery. Text by Briony Fer.
For almost seven decades, Ellsworth Kelly (born 1923) has redefined abstraction in art. His work has become iconic for its emphasis on form, color and relief, yet he harnesses these basic elements, in all their apparent simplicity, to deliver an astonishing array of effects. Ellsworth Kelly: Outside In is, likewise, more than the sum of its parts. With an oversize format and generous images, the book introduces the artist's latest body of work in stunning color. Its introductory essay, by art historian Briony Fer, provides insight into Kelly's perpetual movement between inside and outside, past and present, two dimensions and three.
PUBLISHER Matthew Marks Gallery
BOOK FORMAT Hardcover, 9.75 x 12.75 in. / 56 pgs / 30 color / 3 bw.
PUBLISHING STATUS Pub Date 8/25/2015 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 130
PRODUCT DETAILS ISBN 9781880146903TRADE List Price: $35.00 CDN $40.00
Published by Matthew Marks Gallery. Text by by Anne M. Wagner, Anne Truitt.
Threshold is an in-depth look at a pivotal decade in the career of Anne Truitt (1921–2004): the 1970s. An authoritative essay by acclaimed art historian Anne M. Wagner delivers new insights into the artist and her work, while extensive excerpts from the artist’s writings--including some previously unpublished--open a new window on Truitt’s creative process and its preoccupation with perceptual experiences that hover along an invisible edge--a threshold, as Truitt often called it, or "the point at which the abstract nature of events becomes perceptible." In the 1970s this idea was an ongoing preoccupation, which she repeatedly attempted to define. The plates section includes generous illustrations of works from the period, including drawings, paintings and the sculptures for which she has been heralded as a key figure in postwar American art.
Published by Williams College Museum of Art. Edited by Charles W. Haxthausen. Text by Charles W. Haxthausen, Christianna Bonin, Erica DiBenedetto.
Sol LeWitt: The Well-Tempered Grid is the first exhibition to focus on the centrality of the grid in LeWitt’s art. The exhibition focuses on LeWitt’s use of the grid as a generative matrix for his artistic production over the span of nearly five decades, from 1960 until his death in 2007. Inspired by his first encounter with the work of photographer Eadweard Muybridge in the late 1950s, LeWitt began experimenting with a loosely structured grid in several large oil paintings of 1960, based on the Muybridge motif of a running man. By 1962 he had simplified his use of this format to exclude figurative elements, and by 1964 he was making his first wall-mounted grid structures. When LeWitt made his first wall drawings in 1968 he used the grid as the underlying structural principle. Thereafter, grids became a pervasive matrix in all of the media in which LeWitt worked--three-dimensional “structures,” drawings and gouaches on paper, photographic cycles, artist’s books, furniture and wall drawings. Fully illustrated with 95 color images (and a plate section), the book includes three essays, including Charles W. Haxthausen on LeWitt’s relationship to the grid and classical music, especially Bach; Christianna Bonin on LeWitt’s relationship to Richard Serra and the wall drawing; and Erica DiBenedetto on LeWitt’s 1980 artist’s book, Autobiography, a publication consisting solely of 1,101 photographs of LeWitt’s New York studio, organized over 128 pages in nine-part grids.
PUBLISHER Williams College Museum of Art
BOOK FORMAT Paperback, 9.5 x 10.5 in. / 120 pgs / 95 color.
PUBLISHING STATUS Pub Date 1/31/2013 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 106
PRODUCT DETAILS ISBN 9780913697313TRADE List Price: $35.00 CDN $40.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
In a 1973 interview, Minimalist sculptor and poet Carl Andre (born 1935) proclaimed: "I am a native son of Quincy, Massachusetts, proud of the town whether the town is proud of me or not." In lieu of an exhibition catalogue for his 1973 solo show at the Addison Gallery, Andre hired a commercial photographer to document landscapes from his hometown. Taken in the winter of that year, the resulting images of Quincy’s snow-covered headstones and monuments were composed into this artist’s book (the wry cover image is of a locally quarried headstone reading "Andre"). The stark black-and-white photographs focus on the industrial, working-class side of the city--the shipyard, railroad tracks, cranes and granite quarries--as well as on the creeks and dirt roads of its desolate wooded outskirts. An unusual work within Andre’s oeuvre, this artist’s book hints at the origins of his sculptural aesthetic.
Mars black, lemon yellow, use muddy white. Don't forget the young blonde in La Dolce Vita. Scenes in country cafe and post orgy on the beach. She is the one Benno calls the 'Purity symbol.' Orange green grey. This and other reflections make up Brice Marden: Notebook Sept. 1964-Sept. 1967 and Brice Marden: Notebook Feb. 1968-, facsimiles of American artist Brice Marden's (born 1938) personal journals. On every page, a patchwork of clippings, drawings, renderings and handwritten notes reveal the painter's thought process and document the political and cultural events of the era. A prolific notetaker, Marden filled his journals with subject matter as familiar as references to Italian film director Federico Fellini and as esoteric as "looking at an object in nature and running lines around it." The constant throughout is the work--deliberate, studied rectangles of graphite and ballpoint pen allude to the monochrome paintings that earned the artist fame and are a precursor to the panel paintings to come. Each journal is a unique guide to Marden's artistic output from that period as well as a distinct reference to the city--at that time bustling with artists such as Robert Rauschenberg and Jasper Johns--where he painted.
PUBLISHER Karma, New York
BOOK FORMAT Hardcover, 4.25 x 7.25 in. / 128 pgs / 150 color.
PUBLISHING STATUS Pub Date 7/28/2015 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 134
PRODUCT DETAILS ISBN 9781938560484TRADE List Price: $25.00 CDN $30.00
Published by Hatje Cantz. Text by Simon Baier, Bernhard Mendes Bürgi, Gregor Stemmrich.
Piet Mondrian (1872–1944), Barnett Newman (1905–1970) and Dan Flavin (1933–1996) belong to very different generations, but they have in common a rigorously ascetic approach to abstraction. Their intellectual, spiritual and social visions also differ significantly, but each experimented with more representational forms in their younger days, before arriving at a distinctive abstract modality from which they did not deviate for the rest of their careers. Working within the respective contexts of Neoplasticism, Abstract Expressionism and Minimalism, Mondrian, Newman and Flavin combined abstract color and concrete form, forging instantly recognizable, stripped-down vocabularies that radically expanded (and simplified) the language of abstraction. This volume considers the sympathies between these three modernist pioneers, juxtaposing well-known masterpieces with seldom-seen works by each of the artists.
Published by Richter Verlag. Text by Dieter Schwarz.
From the beginning of his career, Fred Sandback (1943–2003) used drawing to formulate his ideas of sculptural volume. In pictures of existing rooms, Sandback explored the possibilities of spaces and planes by drawing his famous horizontal, vertical and diagonal lines in colored pencil. In the 1980s, he expanded his drawing repertoire to include acrylic, the pochoir technique and pastel. In these late drawings--considered to be more pictorial than his pencil sketches--Sandback elaborated on the experience of space, mass and volume in ways impossible in a coherent space: many of these sculptural ideas are absolutely boundless. Only a specific section of the whole is intimated in the drawing, for which Sandback invented unusual techniques: actual incisions instead of drawn lines, for instance, or painterly traces on transparent film. Superbly produced and edited, Fred Sandback: Drawings assembles works from a 30-year span, supplemented by sculptural works.
BOOK FORMAT Hardcover, 10.5 x 12.5 in. / 208 pgs / 243 color.
PUBLISHING STATUS Pub Date 11/30/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 137
PRODUCT DETAILS ISBN 9783941263680TRADE List Price: $60.00 CDN $70.00
AVAILABILITY In stock
in stock $60.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by The Museum of Modern Art, New York. Text by Ann Temkin.
In celebration of Ellsworth Kelly’s ninetieth birthday in May 2013, The Museum of Modern Art will present the first exhibition in 40 years of all fourteen paintings that comprise the Chatham series of works the artist produced after leaving New York City for Spencetown, in upstate New York, in 1970. The series has not been exhibited in its entirety since it was presented at the Albright-Knox Art Gallery, Buffalo, in 1972. The Chatham Series, published in conjunction with the exhibition, is a richly illustrated exploration of this key moment in Kelly’s career. The 14 large-scale paintings he produced there all rely on a single formal concept—each is made of two joined canvases of pure monochrome color—yet the works vary in color and proportion from one to the next. An essay by Ann Temkin traces the artist’s explorations of shape, color and spatiality from the early 1950 to today.
Published by Hatje Cantz. Edited by Hubertus Gassner, Brigitte Kölle, Petra Roettig. Text by Renate Petzinger, Tom Doyle, Doug Johns, Brigitte Kölle, Lucy Lippard, Robert Mangold, Sylvia Mangold, Cindy Nemser, Petra Roettig, Franz Erhard Walther.
Eva Hesse (1936–1970) was one of the foremost women artists of the twentieth century. Her artistic practice combined the seriality and reduction of 1960s Minimalism with emotion, sensuousness and physicality, while the transparency and transience of her unconventional materials also contributed greatly to her unique position in the art world of her day. From November 2013 onward, the Hamburger Kunsthalle is presenting the first solo exhibition of Hesse’s work in her native city. Hesse emigrated with her family via the Netherlands and England to the United States in 1938. They settled in New York City, where she later studied painting at the Cooper Union School of Art from 1954 to 1957, and then continued her studies in the master class of Josef Albers at the Yale School of Art and Architecture from 1957 to 1959. At the invitation of Friedrich Arnhard Scheidt, a German industrialist and art collector, and his wife Isabel, Hesse and her husband Tom Doyle spent a year in Kettwig an der Ruhr during 1964–1965. This period is regarded as a turning point in Hesse’s artistic practice. Drawing inspiration from the materials she found in an abandoned textile factory in Kettwig, she made her first three-dimensional artworks, and when she returned to New York she devoted herself exclusively to sculpture, creating fragile works in unconventional materials such as polyester, fiberglass and latex. Hesse died of a brain tumor in 1970, aged just 34. The exhibition at the Hamburger Kunsthalle focuses on the latter part of the artist’s career, a highly productive period in which she created a substantial number of sculptures and drawings.
Published by David Zwirner Books. Text by Antoon Melissen.
Regarded as one of the most important Dutch artists of the twentieth century, Jan Schoonhoven (1914–1994) created innovative works that reflect his active involvement in major European postwar developments in art, particularly in relation to serialized abstraction. Despite spending the majority of his life in Delft, The Netherlands, Schoonhoven worked in dialogue with and had a significant impact upon an international group of avant-garde artists. Beginning in the 1950s, he played a central role in the Nederlandse Informele Groep (Netherlandish Informal Group) and the Nul-groep (Nul Group), which were affiliated with the European Informel movement and the ZERO Group, respectively. Rejecting illusionism and subjective expression, these artists shared a collective interest in exploring the essential objective properties of art. Schoonhoven in particular developed a highly unique body of work that centered on a sustained investigation of serial abstraction, the monochrome and the grid. This volume includes new scholarship by Antoon Melissen, one of the foremost authorities on Schoonhoven's work.
Published by Peter Blum Edition, New York. Text by Erich Franz, Peter Blum.
This volume contains full-color plates of important works by Kasimir Malevich, Piet Mondrian, Barnett Newman, Ad Reinhardt, Mark Rothko, Robert Ryman, Brice Marden, Agnes Martin, Helmut Federle and Joseph Marioni.
Published by The Phillips Collection. Text by Vesela Sretenovic.
For over 50 years, Robert Ryman (born 1930) has explored the materiality of paint and the surfaces to which he applies it, in white-on-white paintings that subtly attain the status of painted objects rather than patterned gestures or depictions of further objects. Published on the occasion of the Phillips Collection's Ryman exhibition in Washington, D.C., Robert Ryman: Variations and Improvisations presents approximately 25 small-scale works, all of which are drawn from private collections, and some of which have only rarely been shown in the U.S. An interview with the artist is included.
PUBLISHER The Phillips Collection
BOOK FORMAT Paperback, 7.5 x 7.5 in. / 32 pgs / 21 color.
PUBLISHING STATUS Pub Date 8/30/2010 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2010 p. 95
PRODUCT DETAILS ISBN 9780943044354TRADE List Price: $15.95 CDN $17.50
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Kerber. Text by Jörg Daur, Matthew L. Levy, Roland Mönig. Preface by Harald Kunde.
David Novros (born 1941) is internationally known as an exponent of Minimalism, working and exhibiting alongside artists such as Carl Andre and Donald Judd. This first major publication of the artist in many years shows his sculptural canvases from the pivotal phase of his career, between about 1965 and 1975.