BOOK FORMAT Hardcover, 8.25 x 9.75 in. / 144 pgs / 75 color / 11 bw.
PUBLISHING STATUS Pub Date 3/31/2012 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 84
PRODUCT DETAILS ISBN 9780982974735TRADE List Price: $35.00 CDN $47.50
AVAILABILITY Not available
TERRITORY NA LA ASIA AU/NZ AFR
"There is a pressing need to reintroduce Nicholas Krushenick's work into the discourse. Throughout his career he had a penchant for doing the unthinkable. In 1957, when many artists were still wrestling with the legacy of Cubism and Pablo Picasso, he concluded that Henri Matisse was the greatest artist of the 20th century. When it seemed as if there were no other options than Minimalism or Pop, he rejected both the former's self-purity and the latter's mass-media imagery. In the early 1960s, he was the first artist to make abstract Pop paintings. In 1977, at the height of his fame, he severed his connections to Pace Gallery, and pulled back from the New York art world."
- John Yau, excerpted from the essay, "Portrait of the Artist as a Lone Wolf.
GARY SNYDER GALLERY
Nicholas Krushenick: A Survey
Text by John Yau, Tom Burckhardt, Kathy Butterly, Mary Heilmann, Thomas Nozkowski, David Reed.
Where some painters emerging in the late 1950s struggled with the disparities between Abstract Expressionist and Pop styles, often electing to choose one or the other, Nicholas Krushenick (1929–1999) solved the problem by choosing both--that is, by evolving his own unique style, in his own resolutely independent trajectory. This monograph--the first since 1972--offers a retrospective view of Krushenick’s work from the 1960s to the 1990s, from the loose geometries and web-like forms of his early paintings to the artist’s groundbreaking experiments in Pop abstraction, which have lost none of their relevance, freshness and energy. Also included is a selection of collages and preparatory drawings, many of which have never been reproduced, plus essays by critics and admirers. The volume is published on the occasion of a survey exhibition at Gary Snyder Gallery in September 2011.
Featured image, "Greensboro" (1975), by Nicholas Krushenick, is reproduced from A Survey.
STATUS: Out of stock indefinitely.
FROM THE BOOK
"There is a pressing need to reintroduce Nicholas Krushenick's work into the discourse. Throughout his career he had a penchant for doing the unthinkable. In 1957, when many artists were still wrestling with the legacy of Cubism and Pablo Picasso, he concluded that Henri Matisse was the greatest artist of the 20th century. When it seemed as if there were no other options than Minimalism or Pop, he rejected both the former's self-purity and the latter's mass-media imagery. In the early 1960s, he was the first artist to make abstract Pop paintings. In 1977, at the height of his fame, he severed his connections to Pace Gallery, and pulled back from the New York art world."
- John Yau, excerpted from the essay, "Portrait of the Artist as a Lone Wolf.
FORMAT: Hbk, 8.25 x 9.75 in. / 144 pgs / 75 color / 11 b&w. LIST PRICE: U.S. $35.00 LIST PRICE: CANADA $47.5 ISBN: 9780982974735 PUBLISHER: Gary Snyder Gallery AVAILABLE: 3/31/2012 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: NA LA ASIA AU/NZ AFR
Published by Gary Snyder Gallery. Text by John Yau, Tom Burckhardt, Kathy Butterly, Mary Heilmann, Thomas Nozkowski, David Reed.
Where some painters emerging in the late 1950s struggled with the disparities between Abstract Expressionist and Pop styles, often electing to choose one or the other, Nicholas Krushenick (1929–1999) solved the problem by choosing both--that is, by evolving his own unique style, in his own resolutely independent trajectory. This monograph--the first since 1972--offers a retrospective view of Krushenick’s work from the 1960s to the 1990s, from the loose geometries and web-like forms of his early paintings to the artist’s groundbreaking experiments in Pop abstraction, which have lost none of their relevance, freshness and energy. Also included is a selection of collages and preparatory drawings, many of which have never been reproduced, plus essays by critics and admirers. The volume is published on the occasion of a survey exhibition at Gary Snyder Gallery in September 2011.
