Preview our Mid-Winter 2022 catalog, featuring new books on art, photography, design, architecture, film, music and visual culture.
SEATTLE ART MUSEUM
Target Practice: Painting Under Attack 1949-78
Painting Under Attack 1949-78
Edited by Michael Darling. Text by Graham Bader, Michael Darling, Elizabeth Mangini, Mika Yoshitake.
Target Practice: Painting Under Attack 1949-78 is an international historical survey of the "attacks" that painting endured (and survived) in the years following World War II. For the artists discussed here, coming after Abstract Expressionism, painting had arrived at an impasse, and they devised ways to overcome its existing conventions. This phenomenon occurred all over the world, and Target Practice documents how and why artists felt compelled to shoot, rip, tear, burn, erase, nail, unzip and deconstruct painting in order to usher in new ways of thinking about their art. It shows that such ideas were of concern to well-known artists like Jasper Johns, Roy Lichtenstein and Andy Warhol, and also introduces lesser-known peers who were making equally challenging work.
FORMAT: Hbk, 10.25 x 12.25 in. / 156 pgs / 98 color / 39 b&w. LIST PRICE: U.S. $50.00 LIST PRICE: CANADA $60 ISBN: 9780932216649 PUBLISHER: Seattle Art Museum AVAILABLE: 7/31/2009 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of print AVAILABILITY: Not available TERRITORY: *not available
Target Practice: Painting Under Attack 1949-78 Painting Under Attack 1949-78
Published by Seattle Art Museum. Edited by Michael Darling. Text by Graham Bader, Michael Darling, Elizabeth Mangini, Mika Yoshitake.
Target Practice: Painting Under Attack 1949-78 is an international historical survey of the "attacks" that painting endured (and survived) in the years following World War II. For the artists discussed here, coming after Abstract Expressionism, painting had arrived at an impasse, and they devised ways to overcome its existing conventions. This phenomenon occurred all over the world, and Target Practice documents how and why artists felt compelled to shoot, rip, tear, burn, erase, nail, unzip and deconstruct painting in order to usher in new ways of thinking about their art. It shows that such ideas were of concern to well-known artists like Jasper Johns, Roy Lichtenstein and Andy Warhol, and also introduces lesser-known peers who were making equally challenging work.
