A selection of the Colombian artist's portraits, still lifes, and sculptures shows how he developed his characteristic style of elephantine sadness

Botero

Arts & Photography

Carter Ratcliff

Fernando Botero

Individual Artists

Abbeville Pr

Marilyn Monroe on cover, Warhol was Pop Art in the 1960's, held court at Studio 54 in the '70's, media star of the '80's. Comprehensive survey of his career. 1983

Andy Warhol

Graphic Design

Abbeville Press, Inc.

rare volume in beautiful condition

Komar and Melamid

History & Criticism

Abbeville Press

Book by Carter Ratcliff, Ralston Crawford

Ralston Crawford and the sea

Ralston Crawford

Hirschl & Adler Galleries

This book serves as a biographical and critical study of David Remfry's work.

David Remfrey: Dancers

Dore Aston

Alanna Heiss

edward-lucie-smith

Boca Raton Museum of Art

Suzanne Caporael : what follows Here

Suzanne Caporael

Ameringer McEnery Yohe (Gallery)

Ameringer/McEnery/Yohe

Towering large-scale painted steel forms that evoke grids, crystals, and the structural practicality of architecture, Fletcher Benton's sculptures can hold their own amid the glass and steel towers of the contemporary city while being equally compatible with the vineyards and fields where they are also often sited. His work has garnered attention and commissions from museums and collectors from California to Italy. In this career monograph, Benton's work is discussed in three different essays, each honing in on a specific period in his career. It is the first inclusive and thorough examination of this major American sculptor and how his work fits into the art timeline of the twentieth century.

Fletcher Benton: An American Artist

Collette Chattopadhyay

Jolei Leisegang

Hudson Hills

Suzanne McClelland, intersections and interruptions: March 1-April 8, 2000

Locks Gallery

Benglis, who was born in Lake Charles, Louisiana in 1941, began her career as a painter. Moving to New York in 1964, she quickly became immersed in that city's art community at a critical moment in its development. Deeply influenced by the seemingly contradictory work of Jackson Pollock, Claes Oldenburg, and Carl Andre, Benglis began making lushly-colored wax paintings on wood. At a time when most critically-acclaimed work was either dryly conceptual or overwhelmingly expressionistic, Benglis was making work that was concerned with the body, in particular the female body, and toed the thin line between beauty and repulsion.In the late 1960s, Benglis began a series of paintings made directly on the floor. Mimicking the poured paintings of Pollock and Helen Frankenthaler, these works (two of which are included in this exhibition) subverted the dry formalism of the time and led to instant celebrity. Between 1969 and 1974, Benglis was given fifteen solo shows and included in dozens of international group exhibitions. The artist, not yet thirty, was featured in Life magazine and the New York Times Magazine. Feminism became one of the competing discourses of the time and Benglis was one of a small group of female artists, including Jennifer Bartlett and Elizabeth Murray, who achieved international acclaim.Benglis's work continued to evolve during the 1970s leading to large-scale sculptures and installations made from polyurethane foam. Some of these works were cast in metal, including Eat Meat, a large pile of oozing bronze and Wing, a cantilevered aluminum piece that effortlessly flies from the wall. These works were followed by a series of wall-mounted constructions that resembled knotted arms or eruptions of pleated fabric. Most recently she has made knotted masses of bronze and glass suggesting brains or microscopic specimens. This publication surveys major pieces from her artistic history with an essay by critic Carter Ratcliff.

Lynda Benglis: Soft Off : April 8-May 31, 2002

Locks Art Publications

Over a period of four decades--from the early 1960s until his death in 1994--artist, writer, and designer Joe Brainard contributed greatly to the arts in a number of media. From his early paintings and assemblages, which built upon the work of Jasper Johns and Joseph Cornell, to his set designs for LeRoi Jone's The Dutchman and Frank O'Hara's The General Returns from One Place to Another; from his comic book collaborations with various poets, C Comics and C Comics 2, to his later drawing, collage, painting, and assemblage work, Brainard exemplified the link between avant-garde art, writing, and theater that defined the New York School. In addition to a checklist and bibliographies of work by and about Brainard, this exhibition catalogue includes the artist's published and unpublished writings, as well as interviews and letters. Also included are essays by John Ashbery, Carter Ratcliff, and Constance Lewallen, who chronicles Joe Brainard's formative years in Oklahoma and move to New York City, his involvement with Pop Art, assemblage and painting, and his literary and artistic associations.

Joe Brainard: A Retrospective (GRANARY BOOKS/U)

John Ashbery

Constance Lewallen

Granary Books/University of California, Berkeley Art Museum

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Books by Carter Ratcliff