New Perspectives in American Art: Exxon National Exhibition 1983

Arts & Photography

WALDMAN, Diane

History & Criticism

Univ of Washington Pr

This work aims to be the definitive monograph on Roy Lichtenstein, a founder of American Pop Art. It covers every phase of his career including: still lifes; landscapes; the Brushstroke, Modern, Mirror, Entablature and Interiors series; sculptures; murals; and public commissions.

Roy Lichtenstein

Abrams

MARK ROTHKO 1903-1970 (HARDBACK) /ANGLAIS

Biographies & Memoirs

Thames&Hudson

Willem de Kooning was a pioneering figure of Abstract Expressionism, one of the most influential champions of the dynamic, process-driven painting that brought New York to the center of the art world in the 1940s and 1950s. This new volume in the MoMA artist series examines ten of de Kooning's most memorable achievements as seen in pieces from The Museum's substantial collection of his work, including paintings and drawings from his Woman series and other important works produced throughout his career. An essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work.

William De Kooning (Painters and Sculptors)

Thames and Hudson Ltd.

In this major critical appraisal, Diane Waldman assesses Mark Rothko's place in the history of twentieth-century art. She writes of his childhood as an immigrant from Russia, his student days at Yale, his early career as a struggling artist, and his crucial role in the development of the New York School of Abstract Expressionism. The progression of his work is analysed in detail, from his early figurative experiments of the 1920s to the emergence of his characteristic mature abstract style, with a particularly illuminating discussion of the achievement of the late canvases. His relationship with such contemporaries as Adolph Gottlieb and Clyfford Still is also examined in some depth. A detailed chronology of Rothko's life and an exhaustive exhibitions list and bibliography are valuable ancillary features. The many illustrations include not only reproductions of oils and water-colours, but also photographs of the artist, his family and friends.

Mark Rothko, 1903-1970

Mark Rothko, 1903 to 1970: A Retrospective

Solomon R. Guggenheim Museum

Arshile Gorky, 1904-1948: A retrospective

An examination of the elusive imagery of Joseph Cornell's shadow box and collage works is based on interviews with the artist and his family as wells as excerpts from his letters and papers.

Joseph Cornell: Master of Dreams

Individual Artists

Harry N. Abrams

A critical study of a pioneer of abstract expressionism analyzes his life and the progression of his art and contains reproductions of one hundred ninety-eight oils and watercolors, ninety-six of which are in full color

Mark Rothko: A Retrospective

In 1912 Georges Braque and Pablo Picasso created the first papiers colles by gluing pieces of oak-grained faux bois wallpaper onto their drawings. In 1917 Marcel Duchamp selected a urinal, signed it R. Mutt, and presented it as an object of art under the title Fountain. In 1919 Kurt Schwitters began gathering scraps of rubbish and assembled them into a series of works that he titled Merz constructions. These acts represent three of the most significant achievements in twentieth-century art. The definitive book on its subject, Collage, Assemblage, and the Found Object offers a comprehensive and dynamic history of the mediums that revolutionized our ideas about the nature of art and influenced virtually every major art movement of the twentieth century. Made up of fragments, of debris, of rejected pieces and common artifacts of popular culture, collage and assemblage are arts of protest, of challenge, of exploration. They emphasize the everyday and commonplace over precious materials and refinement; concept and process over end product; the temporary and ephemeral over the lasting. They propose a dislocation in time and space and, by the nature of their makeup, offer multiple layers of meaning. They also furnish a compelling historical record of their time. All these currents are explored by Diane Waldman, deputy director and senior curator of the Solomon R. Guggenheim Museum, New York. In clear and cogent prose, generously illustrated with examples and comparative works, she traces collage, the found object - and the related development, assemblage - from their Cubist beginnings to the present. Waldman moves from the outrageous experiments of the Dadaists in the 1920s to the irreverent debunkings of the 1960s Pop artists to the provocative appropriation art of the 1990s; from the intricate towers and assemblages of the Russian Constructivists early in this century to the surprising piles of materials put together by such midcentury artists as Robert Rauschenberg, Jasper Johns, and John Chamberlain; from the cerebral and Freudian collages and objects of the Surrealists in the 1920s and 1930s to the probing conundrums posed by the conceptualists of the 1980s and 1990s. A lively book on lively arts, Collage, Assemblage, and the Found Object gives us a comprehensive and dynamic view of what are arguably the most important artistic developments of our time.

Collage, Assemblage, and the Found Object

Harry N.Abrams, Inc.

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Books by WALDMAN, Diane