Edited by John Elderfield, Peter Reed, Mary Chan and Maria del Carmen Gonzalez. Essays by Starr Figura, Beatrice Kernan, Judith B. Hecker, Elizabeth Levine and M. Darsie Alexander, Magdalena Dabrowski, Wendy Weitman, Peter Reed, Susan Kismaric, Sarah Ganz, Mary Lea Bandy and Deborah Wilk. Foreword by Glenn D. Lowry.
Paperback, 9.5 x 12.25 in. / 360 pgs / 235 color / 221 bw. | 7/2/2002 | Not available $29.95
Published by National Portrait Gallery. Introduction by John Elderfield.
With over 500 songs, 46 albums and an astonishing 110 million record sales to his name, Bob Dylan (born 1941), now in his early seventies, is turning increasingly to another mode of artistic expression; one that has occupied him throughout his life, but for which he is much less well known. Although Dylan has sketched and drawn since childhood and painted since the late 1960s, only relatively recently has he begun to exhibit his artworks. The 12 works collected in this beautifully produced volume represent his latest foray into portraiture. In an illuminating essay and a rare Q&A with Dylan, curator and art historian John Elderfield explores the story behind these works. For Elderfield, Dylan’s paintings, like his songs, are "products of the same extraordinary, inventive imagination, the same mind and eye, by the same story-telling artist, for whom showing and telling … are not easily separated."
Published by The Museum of Modern Art, New York. Edited by John Elderfield.
The Museum of Modern Art houses the most important collection of twentieth-century art in the world, and the Painting & Sculpture department forms the core of its holdings. This volume offers a comprehensive overview of the masterworks from this department, through over 300 color plates and texts drawn from the Museum's archives.
Latin American Abstract Art from the Colección Patricia Phelps de Cisneros
Published by Fundación Cisneros/Colección Patricia Phelps de Cisneros. Introduction by Gabriel Pérez-Barreiro. Preface by Adriana Cisneros de Griffin. Text by Ariel Jiménez, John Elderfield. Interview with Patricia Phelps de Cisneros, James Cuno.
One of the world's foremost collections of Latin American abstract art, the Colección Patricia Phelps de Cisneros features works from Venezuela, Brazil, Argentina and Uruguay by Joaquin Torres-Garcia, Hélio Oiticica and Jesús Soto, among many others.
Published by The Museum of Modern Art, New York. Foreword by Glenn D. Lowry. Text by John Elderfield, Luis Pérez-Oramas.
This first U.S. retrospective of the work of Armando Reverón (1899-1954), exhibited this spring at The Museum of Modern Art, New York, introduces the celebrated Latin American artist to an international audience. Well-known in his native Venezuela, but little known outside Latin America, Reverón deserves to be ranked alongside the great early European Modernists. By the 1920s, he had fused post-Impressionistic idioms with an extremely tactile surface and an almost monochromatic palette, creating unmistakably original paintings that are both mysterious and radical. In addition to Reverón's paintings, the exhibition includes life-sized dolls and other objects that he and his partner, Juanita Ríos, created to fill their secluded Caribbean home. Reverón's figurative works seem to replicate the perceptual experience of puzzling out forms in shadowy interiors; increasingly over the years, the subjects of these paintings came to be not human beings but his own life-sized dolls. This volume, the first major publication on Reverón in English, features more than 100 paintings, drawings, and objects, accompanied by texts by MoMA curators John Elderfield, Luis Pérez-Oramas and Nora Lawrence.
Published by The Museum of Modern Art, New York. Text by John Elderfield, Elizabeth Reede, Richard Powell, Michael Auping.
Over the last 30 years, Martin Puryear has created a body of work that defies categorization, creating sculpture that examines identity, culture and history. Departing from the impersonal and machined aesthetic of Minimalism, Puryear's work combines Modernist abstraction with the traditions of crafts and woodworking, in shapes informed by the natural and by ordinary objects, made with materials such as tar, wood, stone and wire. It is quiet but deliberately associative, encompassing wide-reaching cultural and intellectual experiences and drawing on a huge and varied reserve of images, ideas and information. As a high school and college student, the artist studied ornithology, falconry and archery, and in the 1960s he volunteered with the Peace Corps in Sierra Leone, where he schooled himself in the region's indigenous crafts; these are only a few of the influences and methods that have embedded themselves in his work. And the sources of his works are no less varied than the possible and open-ended interpretations: "I think there are a number of levels at which my work can be dealt with and appreciated," Puryear said in a 1978 interview. "It gives me pleasure to feel there's a level that doesn't require knowledge of, or immersion in, the aesthetic of a given time or place." This volume is published on the occasion of the artist's Fall 2007 exhibition at The Museum of Modern Art, which travels from New York to Fort Worth, Washington, D.C. and San Francisco. It follows Puryear's development from his first solo show in 1977 to new works that are presented here for the first time and contains essays by John Elderfield, Michael Auping and Elizabeth Reede, and a conversation with the artist by Richard Powell.
Contemporary Art from the Edward R. Broida Collection
Published by The Museum of Modern Art, New York. Essay by John Elderfield. Interview by Ann Temkin.
This catalogue of outstanding paintings, sculptures, drawings and prints from Edward R. Broida's recent gift of 175 contemporary works from his collection to The Museum of Modern Art reflects a wide range of artistic approaches. Most pieces were created after 1960; several artists, such as Vija Celmins, Philip Guston, Ken Price and Christopher Wilmarth, are represented in depth. The Broida collection also includes works by Richard Artschwager, Jake Berthot, Martin Puryear, Susan Rothenberg, Joel Shapiro, Mark di Suvero and John Walker, among others, and significant works by Jennifer Bartlett, Bruce Nauman and Richard Serra that provided important additions to the Museum's holdings. This book includes an introduction to the collection by John Elderfield, the Marie-Josee and Henry Kravis Chief Curator of Painting and Sculpture, and an interview with Broida conducted by Ann Temkin, Curator of Painting and Sculpture. The plate section reproduces at least one work by each of the 38 artists included in the gift, and in many cases numerous works by one artist.
Published by The Museum of Modern Art, New York. Essay by John Elderfield.
The execution of Emperor Maximilian of Mexico, in 1867, was the subject of a quartet of paintings by the French Impressionist and early Modernist Edouard Manet. These works are rarely shown together, and in fact cannot be seen in their entirety, since one of them exists only in fragments, but the three intact paintings and the surviving elements of the fourth are reproduced in this publication, and will be shown at The Museum of Modern Art's exhibition in the fall of 2006. Maximilian's death was an event of great public interest in France, in part because French policies shared the responsibility for it. A European aristocrat of the Hapsburg family, Maximilian had been installed in 1864 after a trio of European powers, led by Napoleon III of France, mounted an invasion of Mexico to reclaim debts upon which the Mexican government had suspended payment. But Napoleon soon withdrew, abandoning Maximilian to his fate at the hands of a resurgent Mexican army. As news of the execution reached Paris, Manet reacted with a group of works synthesizing the information as it came to him and drawing heavily on an earlier painting inspired by violent political events, Goya's The Third of May. In addition to analyzing and documenting the creation of these works, John Elderfield, in his text, clarifies their historical importance in the context of modern art, and in so doing, offers a capsular history of the place of current events in art.
Painting and Sculpture from The Museum of Modern Art
Published by The Museum of Modern Art, New York. Edited by John Elderfield.
It has been said that the history of modern art--especially as it is understood in the United States--is inextricably linked to that defining institution of the twentieth century, The Museum of Modern Art in New York. Since its founding in 1929, the museum has been known for its unrivaled collection of artworks created over the last century. And since its first publication was issued, in that same year, it has reproduced countless paintings, drawings, sculptures, photographs and design objects from its collection, accompanying them with elucidating essays written by some of the most notable scholars of the day. Never before, however, has the collection been viewed through the lens of the museum's history in the way it is here. Visions of Modern Art not only gathers together masterworks from the painting and sculpture department, it anthologizes the texts written about them from the museum's vast archives and publications, beginning in 1929 and ending in 2002.
Published by The Museum of Modern Art, New York. Edited by John Elderfield. Introduction by Glenn D. Lowry.
In December 1997, The Museum of Modern Art, New York, chose as architect for its ambitious expansion program Yoshio Taniguchi, designer of several admired museums in his native Japan. Since that time, the project, which is about to commence construction, and will temporarily relocate the Museum and its forthcoming exhibitions to Queens, has been a focus of international attention within the worlds of art, architecture, and design. In an appropriate departure from the Studies in Modern Art series' goal of fostering and sustaining the study of the Museum's own unparalleled collection of art works and archival material, presented here is a detailed examination of an example of institutional decision-making in a context of great practical and aesthetic complexity. Included are transcripts of conferences and lectures on the future of art museums and an illustrated presentation of charettes by the 10 architects invited to submit proposals.
Published by The Museum of Modern Art, New York. By Anne Baldassari, Elizabeth Cowling, John Elderfield, John Golding, Isabelle Monod-Fontaine and Kirk Varnedoe.
Henri Matisse and Pablo Picasso have long been seen as the twin giants of modern art, as polar opposites but also as complementary figures. Between them they are the originators of many of the most significant innovations of 20th-century painting and sculpture, but their relationship has rarely been explored in all of its closeness and complexity. In spite of their initial rivalry, the two masters eventually acknowledged one another as equals, becoming, in their old age, increasingly important to one another both artistically and personally. From the time of their initial encounters in 1906 in Gertrude and Leo Stein's Paris studio until 1917, they individually produced some of the greatest art of the 20th century and maintained an openly competitive relationship brimming with intense innovation. This period saw them create such works as Picasso's majestic "Woman with a Fan" of 1908 and Matisse's great portrait of his wife of 1913. Matisse responds to Synthetic Cubism in his "Piano Lesson" of 1916 and Picasso comes back in turn with a new, more decorative Cubism in "Three Musicians" of 1921. The 20s saw them grow apart, as Matisse moved from Paris to Nice and Picasso became involved with the Surrealists, but the 30s brought them together again, through their sheer fame and devotion to reality-based art. Their story continues until Matisse's death in 1954, when Picasso paid his friend and colleague tribute in his series Women of Algiers, of which he said, "When Matisse died, he left his odalisques to me as a legacy." Matisse Picasso presents the artists' oeuvres in groupings that reveal the affinities but also the extreme contrasts of their artistic visions. Published to accompany the landmark exhibition, a joint effort of The Museum of Modern Art, New York; the Tate Modern, London; the Rªunion des musªes nationaux/Musªe Picasso and the Musªe national d'art moderne/Centre Georges Pompidou, Paris; Matisse Picasso is the first major examination of the fascinating relationships between their art, their careers, and their lives. Thirty-four essays, each by a member of the exhibition's curatorial team, focus on a particular moment in the artists' evolving relationship. The authors present in-depth analyses of specific aspects of the unique artistic dialogue between Matisse and Picasso as reflected in selected juxtapositions of each artist's works. These texts are accompanied by an introductory history, commentary on the public perception of important artistic relationships, and an extensive chronology.
Published by The Museum of Modern Art, New York. Edited by John Elderfield, Peter Reed, Mary Chan and Maria del Carmen Gonzalez. Essays by Starr Figura, Beatrice Kernan, Judith B. Hecker, Elizabeth Levine and M. Darsie Alexander, Magdalena Dabrowski, Wendy Weitman, Peter Reed, Susan Kismaric, Sarah Ganz, Mary Lea Bandy and Deborah Wilk. Foreword by Glenn D. Lowry.
A challenging exploration of the visual arts from 1880 through 1920, Modern Starts is an unconventional guide to the beginnings of modernism. Deliberately abandoning customary labels--such as Fauvism, Cubism, and Futurism--and accepted chronological ordering, Modern Starts offers many pathways, each independent and self-sufficient, intended to suggest fresh modes of looking at and thinking about works both very familiar and quite unfamiliar. Loosely organized into three thematic sections, the book begins with "People," treating the great period of early modern figurative art from Rodin and Matisse to Munch. "Places" features landscapes and cityscapes by such artists as Atget, Cªzanne, de Chirico, and Lªger. "Things" addresses the importance of object-like works, such as Duchamp's "Readymades" and Brancusi's sculptures; and representations of things from Picasso's still lifes to Lucian Bernhard's advertising posters. Provocative juxtapositions, new contexts, and inventive interplays of mediums provide a stimulating look at the beginnings of modernism. Published to coincide with MoMA2000, an 18-month series of exhibitions at The Museum of Modern Art, New York drawn from the Museum's incomparable collection. Modern Starts is the first in a series of three volumes focusing on distinct periods: 1880-1920, 1920-60, and 1960-2000.
Published by Dia Art Foundation. Essays by Lynne Cooke, John Elderfield. Foreword by Michael Govan.
This book documents Bridget Riley's current exhibition at New York's Dia Center for the Arts, Reconnaissance, which brings together seminal paintings from the early 1960s, landmark works esteemed via word-of-mouth but not often seen. These works are shown together with others from the later 60s and 70s to chart the early career of this highly influential but--especially in the US--all-too-little-known artist. Riley's dynamically abstract paintings from the 1960s and 1970s long ago secured her a permanent place in the history of postwar art. Despite this widespread acclaim, Riley's work has been exhibited in the US only on a few occasions. In Reconnaissance, the artist's first solo exhibition to originate in the US in decades, the public will be able to examine a selection from Riley's compelling body of early work. Additionally, Riley has executed a wall drawing for Dia's galleries, which is documented here.