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| | | | Nothing and EverythingSeven Artists, 1947–1962Text by Douglas Dreishpoon.
Nothing and Everything examines the synergistic relationship between artists and composers living in New York City between the end of World War II and the early 1960s. It features seven artists and composers—Louise Bourgeois, John Cage, Morton Feldman, Philip Guston, Franz Kline, Joan Mitchell and David Smith—all of whom pushed the boundaries of their respective mediums to new realms of abstraction. Part of a larger coterie of creative individuals who shared an ethos, they naturally sought each other out, socializing, exhibiting and supporting each other’s ideas despite negative press and public indifference. Paintings, sculptures, prints and drawings by the artists are contextualized by a selection of musical scores and ephemera: Cage’s “Lecture on Nothing,” his sketches for Williams Mix, Music for Piano and Aria; and Feldman’s finished scores for Projection I, Intersection 4 and Extension 4.
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FORMAT: Pbk, 8.25 x 10.25 in. / 104 pgs / 96 color / 3 b&w.
LIST PRICE: U.S. $30.00
LIST PRICE: CANADA $40
ISBN: 9783952446171
PUBLISHER: Hauser & Wirth Publishers
AVAILABLE: 7/25/2017
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
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| Nothing and Everything
Seven Artists, 1947–1962 Published by Hauser & Wirth Publishers.
Text by Douglas Dreishpoon. Nothing and Everything examines the synergistic relationship between artists and composers living in New York City between the end of World War II and the early 1960s. It features seven artists and composers—Louise Bourgeois, John Cage, Morton Feldman, Philip Guston, Franz Kline, Joan Mitchell and David Smith—all of whom pushed the boundaries of their respective mediums to new realms of abstraction. Part of a larger coterie of creative individuals who shared an ethos, they naturally sought each other out, socializing, exhibiting and supporting each other’s ideas despite negative press and public indifference. Paintings, sculptures, prints and drawings by the artists are contextualized by a selection of musical scores and ephemera: Cage’s “Lecture on Nothing,” his sketches for Williams Mix, Music for Piano and Aria; and Feldman’s finished scores for Projection I, Intersection 4 and Extension 4.
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