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Painter, architect, engineer, set designer, father to the Russian Constructivist movement, inventor of the “counter-relief” and author of one of modernism’s greatest icons, the “Monument to the Third International,” Vladimir Tatlin blazed an incredible trail of innovation through the glory years of the Soviet avant-garde. Nevertheless, “Not the old, not the new, but the necessary” was his motto; having spent his early years as an icon painter, Tatlin eschewed the modernist disavowal of heritage in favor of a research-based attitude to materials and genres. His “counter-relief” sculptures, made of wood, cardboard, metal and wire, were foundational works for Rodchenko and the Constructivists, and their influence can be seen today in the works of creators as various as Zaha Hadid and Richard Tuttle. But it is his “Monument to the Third International,” often called simply “Tatlin’s Tower,” that has grasped the imaginations of artists, architects and writers down the generations. Though it was never built, “Tatlin’s Tower” endures as a promethean image of utopian heroism and Soviet optimism, as does the artist himself, who applied his energies so broadly, without loss of integrity or focus. With 120 color illustrations and a wealth of archival photos, this volume offers the first English-language overview of Tatlin’s diverse achievements in more than 25 years. Published for a landmark exhibition at the Museum Tinguely in Basel, it examines every facet of his output, from his early Cubist-influenced paintings to the counter-reliefs, the “Tower,” prints, set and costume designs and aeronautic researches, and constitutes an essential portrait of the ambitions of Soviet modernism.
Vladimir Tatlin (1885–1953) was born in the Ukraine, and studied icon painting in Moscow. In 1913 he traveled to Paris, where he encountered Picasso’s three-dimensional sculptures, which directly inspired his own “counter-reliefs.” Following the October Revolution, Tatlin directed his skills towards the Soviet cause, devising in 1920 his “Monument to the Third International.”  > more
TATLIN: NEW ART FOR A NEW WORLD
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ISBN 9783775733632 / In stock
The influence of William Burroughs on popular culture has been enormous: the Beatles, the Stones, Andy Warhol, the Velvet Underground, David Bowie, Keith Haring, David Cronenberg and Sonic Youth have all paid homage to the Beat writer in various media. While Burroughs’ life story and sexual/narcotic proclivities have had their own legacy, the “cut-up” method that he developed in the 1960s with his friend Brion Gysin has proved his most generative legacy. Writers, musicians and artists of all kinds have adopted this chance procedure, which involves the cutting and splicing of language--or image, or sound--to produce unexpected conjunctions and scramble consensus reality. “The cut-up is actually closer to the facts of perception than representational painting,” Burroughs wrote of the method. “Take a walk down a city street and put down what you have just seen on canvas . . . consciousness is a cut up.” This compendium of Burroughs’ artwork, collages, cut-ups, scrapbooks, photographs, films, ephemera and paintings offers a full overview of his visual output, emphasizing the importance and legacy of the cut-up method. In addition, it examines the significance of his tape cut-up experiments of the 60s and 70s, as well as his practice of collaboration across media. Containing much previously unseen material, Cut-ups, Cut-ins, Cut-outs: The Art of William Burroughs is a definitive publication on a writer and artist whose influence only increases with time.
William Seward Burroughs (1914–1997) was born in St. Louis, Missouri. He studied at Harvard University where he graduated in 1936 and briefly attended medical school in Vienna. In the 1940s he met Jack Kerouac and Allen Ginsberg, thus helping to found the Beat movement, of which his novel Naked Lunch is a key text.  > more
THE ART OF WILLIAM S. BURROUGHS: CUT-UPS, CUT-INS, CUT-OUTS
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ISBN 9783869843155 / In stock
Edward Hopper is as quintessentially American as Jackson Pollock or Andy Warhol. Like them, his imagery has reached far beyond the realm of art to impact on our culture in the broadest terms, so that we see early twentieth-century America through his work, as much as within it. The painter Charles Burchfield attributed Hopper’s success to his “bold individualism,” declaring that “in him we have regained that sturdy American independence which Thomas Eakins gave us.” Hopper’s art was profoundly of its time, both in its expression of the subtle melancholies of modern life and in its deeply cinematic qualities--perhaps Hopper’s greatest gift was his treatment of light--to which directors from Alfred Hitchcock to Wim Wenders have paid homage.
This volume presents a definitive Hopper monograph. Published for a massive retrospective at the Museo Thyssen-Bornemisza in Madrid, and the Grand Palais in Paris, it approaches Hopper’s relatively small oeuvre in two sections. The first covers the artist’s formative years from approximately 1900 to 1924, examining a selection of sketches, paintings, drawings, illustrations, prints and watercolors, which are considered alongside works by painters that influenced Hopper, such as Winslow Homer, Robert Henri, John Sloan, Edgar Degas and Walter Sickert. The second section considers the years from 1925 onwards, addressing his mature output through chronological but thematic groupings. Comprehensive in its scope, with a wealth of color reproductions, Hopper is the last word on the artist.  > more
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ISBN 9781935202875 / In stock
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