ARTIST MONOGRAPHS

Pousette-Dart

Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays


       

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Richard Pousette-Dart: The New York School and Beyond

By Sam Hunter.

Hbk, 10 x 13 in. / 256 pgs / 243 color / 20 bw. | 2/14/2006 | In stock
ISBN 9788876241550 | $80.00


Richard Pousette-Dart: 1930s

Text by Charles H. Duncan, Lowery Stokes Sims.

Pbk, 6 x 9 in. / 152 pgs / 92 color. | 9/27/2016 | In stock
ISBN 9780942324921 | $25.00


Absence/Presence: Richard Pousette-Dart as Photographer

Text by Charles H. Duncan.

Pbk, 8.5 x 11 in. / 128 pgs / 60 bw. | 1/27/2015 | In stock
ISBN 9780915895397 | $40.00


Pousette-Dart: Predominantly White Paintings

Foreword by Dorothy Kosinski. Text by David Anfam, Carter Ratcliff.

Pbk, 7.5 x 7.5 in. / 64 pgs / illustrated throughout. | 8/30/2010 | In stock
ISBN 9780943044361 | $24.95


Richard Pousette-Dart: 1930sRichard Pousette-Dart: 1930s

Published by The Drawing Center.
Text by Charles H. Duncan, Lowery Stokes Sims.

Best known as a founding member of the New York School of painting, Richard Pousette-Dart (1916–1992) initially pursued a career as a sculptor. The son of Nathaniel Pousette, a painter, art director, educator and art writer, and Flora Louise Dart, a poet and musician, Pousette-Dart was raised in an environment surrounded by music, poetry and the visual arts, and began drawing and painting by the age of eight. Introduced to African, Oceanic and Native American art by his father, Pousette-Dart made frequent visits to the Museum of Natural History as a young man. In 1938, he forged a close friendship with John Graham, whose writings were closely aligned with his own interests in spiritual concerns and so-called primitive art. Throughout the 1930s, Pousette-Dart was most entranced by the work of Henri Gaudier-Brzeska, whose abstract sculptures, drawings and forms in brass greatly informed the orientation of the young American artist.
Published to accompany an exhibition at The Drawing Center, this volume is the first in-depth consideration of Richard Pousette-Dart’s drawings from the 1930s, a period when the artist pursued directly-carved sculpture, yet also painted, experimented with photography and created numerous works on paper. These early drawings explore Pousette-Dart’s concerns about sculpture and working three-dimensionally, and many reference the figure through full-frontal or profile views as they consider space, orientation and volume. Additionally, numerous studies allude to dance, animal forms, masks and heads, and many examples offer an accumulation of abstract and geometric forms, particularly for his brasses--small sculptures meant to be “held in the hand.” The exhibition includes approximately 80 works from the 1930s including drawings, notebooks and brasses.

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The Drawing Center

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Paperback, 6 x 9 in. / 152 pgs / 92 color.

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Catalog: FALL 2016 p. 157   

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Absence/Presence: Richard Pousette-Dart as PhotographerAbsence/Presence: Richard Pousette-Dart as Photographer

Published by Munson-Williams-Proctor Arts Institute.
Text by Charles H. Duncan.

Abstract Expressionist painter Richard Pousette-Dart (1916–92) pursued photography throughout his long and distinguished career, creating brilliant nature studies and portraits, including of New York School colleagues Mark Rothko, Betty Parsons, John Graham, Barnett Newman and Theodoros Stamos. In 1948 Pousette-Dart's photographs were exhibited at the Betty Parsons Gallery and, in 1953, honored by Photography magazine, yet this body of work has been overshadowed by the artist's achievements in painting. This volume is the first in-depth consideration of the artist's photographic work. Many of the photographs are published for the first time, and include portraits of artists, musicians, filmmakers and writers drawn from the rich milieu in which Pousette-Dart flourished, as well as sumptuous studies of the natural world.

PUBLISHER
Munson-Williams-Proctor Arts Institute

BOOK FORMAT
Paperback, 8.5 x 11 in. / 128 pgs / 60 bw.

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Catalog: SPRING 2015 p. 113   

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Pousette-Dart: Predominantly White PaintingsPousette-Dart: Predominantly White Paintings

Published by The Phillips Collection.
Foreword by Dorothy Kosinski. Text by David Anfam, Carter Ratcliff.

During the early 1950s, Richard Pousette-Dart (1916-1992) created one of the most anomalous bodies of work of his career: graphite drawings on undercoats of blue or ocher painted over a titanium white ground. For an artist known for his love of color and impasto, these predominantly white paintings constituted quite a departure. Twenty-five works were shown at Betty Parsons Gallery in 1955, in an exhibition titled Predominantly White; the artist returned to mine this vein in later paintings in the 1960s, 1970s and 1980s.

PUBLISHER
The Phillips Collection

BOOK FORMAT
Paperback, 7.5 x 7.5 in. / 64 pgs / illustrated throughout.

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Catalog: FALL 2010 p. 95   

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Richard Pousette-Dart: The New York School and BeyondRichard Pousette-Dart: The New York School and Beyond

Published by Skira.
By Sam Hunter.

This groundbreaking volume on Richard Pousette-Dart is the most comprehensive publication on his painting to be published since the artist’s death. It provides fresh insights into his oeuvre by five outstanding, contemporary art historians, who have interpreted the artist’s creative output from the 1930s to 1992.

Richard Pousette-Dart, one of the founding members of the New York School, created paintings, drawings, sculptures, and journals for over sixty years. The youngest member of the first generation of American Abstract Expressionists, Pousette-Dart shared with his fellow artists’ interests in psychology, myth-making, anthropology, and both African and American tribal art. Along with Pollock, Rothko, de Kooning, Motherwell, and others, Pousette-Dart created the art movement known as The New York School.

This book presents the evolution of Richard Pousette-Dart’s styles and philosophy and provides an in-depth look at his ever-evolving painting techniques. The essays focus on his major themes and periods, and include his contributions to the complexity of the intellectual and stylistic language of the Abstract Expressionist movement.



Sam Hunter is Professor Emeritus at Princeton University and an acknowledged expert on 20th century art. His publications include Modern Art: Painting, Sculpture and Architecture, and monographs on Isamu Noguchi and Robert Rauschenberg.Pepe Karmel is an Associate Professor in the Department of Art History at New York University and is the author of Picasso and the Invention of Cubism (Yale University Press, 2003).Robert S. Mattison is a Professor of Art History and Head of the Art Department at Lafayette College. His most recent book is Robert Rauschenberg: Breaking Boundaries.Martica Sawin is an art historian and critic. She is the author of Surrealism in Exile and the Beginning of the New York School (MIT Press, 1995). John Yau is a widely published poet, fiction writer, and critic whose books include In The Realm of Appearances: The Art of Andy Warhol (1993).

PUBLISHER
Skira

BOOK FORMAT
Hardcover, 10 x 13 in. / 256 pgs / 243 color / 20 bw.

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