Traces the origin, character and significance of rock music and studies individual performances and styles

The Story of Rock, 2nd Edition

Arts & Photography

Belz, Carl

Music

Harper&Row

The Story of Rock (Harper Torchbooks)

Literature & Fiction

HarperCollins, Publishers

The Story of Rock

Oxford University Press

William Beckman (b. 1942) paints himself, loved ones, and the land he has lived upon, creating edgy portraits and landscapes. His subjects, whether mother or lover, are delivered to the viewer with gripping details, without embelishment. 
He creates his figurative art using a unique method. He applies paint, then shaves of layer after layer from the surface with a razor, repainting and polishing the canvas to create lustrous, absorbing images. His realism is stripped of sentiment, his idealized portraits scrupulously rendered, and his expansive tracts of Minnesota farmland theatrically scaled. Each painting is epic in significance and matter-of-fact at the same time. 
This is the first book that offers a comprehensive view of Beckman’s art and career. Essays--Boxes, Diana, Couples, Self Portraits, Landscapes, and Drawings and Studies--cluster the work according to subject matter, describing the many ways Beckman has found to bond form and content and enabling the reader to grasp the unfolding shape of his artistic thought.

William Beckman

History & Criticism

Frye Art Museum

A survey of paintings from the 1970s to the present by artist William Beckman are found in this catalog, which accompanied an exhibition at the Frye Art Museum in Seattle in 2002. Using an intensely realistic style, Beckford paints portraits, self-portraits, and rural landscapes, featuring farms in the painter's native Minnesota as well as New York. Belz's essays describe the artist's biography and stages of his career. Distributed by the U. of Washington Press. Annotation (c) Book News, Inc., Portland, OR (booknews.com)

Color field painting, which emerged in the United States in the 1950s, is based on radiant, uninflected hues. Exemplified by the work of Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, Larry Poons, and Frank Stella, among others, these stunningly beautiful and impressively scaled paintings constitute one of the crowning achievements of postwar American abstract art. Color as Field offers a long-overdue reevaluation of this important aspect of American abstract painting.
The authors examine how color field painting rejects the gestural, layered, and hyper-emotional approach typical of Willem de Kooning and his followers, yet at the same time develops and expands ideas about all-overness and the primacy of color posited by the work of other members of the abstract expressionist generation, such as Adolph Gottlieb, Hans Hofmann, Robert Motherwell, Jackson Pollock, and Mark Rothko. 
From the fresh historical standpoint of the 21st century, this fascinating reassessment ranges across the artists’ individual approaches and their commonalities, concluding with insights into the ongoing legacy of post-1970s color field painting among present-day artists.

Color as Field: American Painting, 1950-1975 (American Federation of Arts)

Wilkin, Karen

American Federation of Arts/Yale University Press

A Unique American Vision accompanied the Georgia Museum of Art's career-spanning and comprehensive exhibition of Gregory Gillespie's work. Gillespie's close friend, Carl Belz, contributed an essay that examines the artist's philosophy of painting and his rejection of the simplistic term "realism" as a label for his work. The catalogue also contains an enlightening interview with Gillespie by Donald D. Keyes, curator of paintings at the GMOA, a selected chronology of Gillespie's life and work, and a checklist of the exhibition. All works are illustrated in beautifully-reproduced color.

A Unique American Vision: Paintings by Gregory Gillespie

Georgia Museum Of Art

Gillespie, Gregory

Keyes, Donald D.

Carr, Rani M.

Collections, Catalogs & Exhibitions

Univ of Georgia Georgia Museum

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Books by Belz, Carl