Joan Mitchell: Paintings: 1979–1985

Arts & Photography

Otsuka, Julie

MICHAUD, YVES

Mitchell, Joan

Smith, Shinique

Stockman, Lily

History & Criticism

David Zwirner Books

L'art à l'état gazeux (Pluriel) (French Edition)

Literature & Fiction

Essays & Correspondence

PLURIEL

Les Authentiques: Dans les ateliers d'artistes du XXIe siècle

Panchout, Catherine

Flammarion

LA VIOLENCE (6ED) QSJ 2251 (QUE SAIS-JE ?)

QUE SAIS JE

Ceci n'est pas une tulipe: Art, luxe et enlaidissement des villes

Politics & Social Sciences

Sociology

FAYARD

Etel Adnan. Découverte de l’immédiat

GALERIE LELONG

L'artiste et les commissaires: Quatre essais non pas sur l'art contemporain mais sur ceux qui s'en occupent (Rayon art) (French Edition)

Genre Fiction

Editions J. Chambon

Hardcover with DJ, without slipcase, in shrink wrap.

Sam Francis

Biographies & Memoirs

Francis, Sam

Professionals & Academics

Editions Daniel Papierski

"Lots of painters are obsessed with inventing something," American painter Joan Mitchell (1925–92) said in 1986. "When I was young, it never occurred to me to invent. All I wanted to do was paint." Throughout her life Mitchell remained committed to totally autonomous abstract painting, always driven by this fundamental love for the craft and technique of painting. In a career spanning more than four decades, Mitchell's painting style married the dynamic gesture of the Abstract Expressionists, her generational peers, to a keen sensitivity to natural phenomena such as light and water. Characterized by an intense color palette and fresh gestural energy, often applied on a very large scale, Mitchell’s paintings both sensually seduce and intellectually stimulate viewers. Published to accompany a large-scale survey of Mitchell's painting, Joan Mitchell: Retrospective draws from Mitchell's entire oeuvre, from her early work of the 1950s to her late, multipart works painted in her last years. Both catalogue and exhibition insist on the importance of biography to any retrospective account of Mitchell’s work, and a large part of the exhibition is dedicated to the first extensive public presentation of archival materials from the Joan Mitchell Foundation. Photographs, correspondence and ephemera from the archives are reproduced here, along with an illustrated timeline that relates Mitchell's life to her work. Born in Chicago in 1925, Joan Mitchell studied at Smith College before training at The Art Institute of Chicago. After a fellowship in Paris, Mitchell lived in New York, where she became part of the community of Abstract Expressionist painters. She spent increasing amounts of time in France, eventually moving to Paris in 1959, and remaining there until her death in 1992.

Joan Mitchell: Retrospective: Her Life and Paintings

Morris, Laura

Dziewior, Yilmaz

Graw, Isabelle

Okiishi, Ken

Koether, Jutta

Individual Artists

Kunsthaus Bregenz

En esta obra el autor plantea que en la era contemporánea se da una paradoja: mientras la estética triunfa hasta en los objetos más cotidianos y triviales, el mundo del arte se va apartando de las obras para proponer procedimientos, instalaciones, performances. "Es como si a más belleza, menos obra de arte, o como si al escasear el arte, lo artístico se expandiera y lo coloreara todo, pasando de cierta manera al estado de gas o de vapor, y cubriera todas las cosas como si fuese vaho. El arte se volatilizó en éter estético." Con un profundo conocimiento del arte contemporáneo, el autor analiza lo que implica el triunfo de la estética, expone las principales teorías estéticas actuales y su capacidad para explicar esta evolución del arte, y señala cuál es el porvenir para éste, su producción y recepción.

El arte en estado gaseoso. Ensayo sobre el triunfo de la estética (Breviarios Del Fondo De Cultura Economica, 555) (Spanish Edition)

Philosophy

FONDO DE CULTURA ECONOMICA*

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