Herbert Ferber: Calligraph Emblem of Motion

Stephen Polcari

Knoedler & Company

In the summer of 1957, Milton Avery, Adolph Gottlieb and Mark Rothko renewed a friendship that had begun in the late 1920s. All three were in Provincetown, on Cape Cod in Massachusetts, in the light and by the sea, and over the next few extraordinary summers they interacted, and advanced and accelerated radical new ideas in their individual bodies of work. The Provincetown summers witnessed Avery's largest and most abstract paintings, such as “Sunset Sea” of 1958, and the development of new directions in Gottlieb's work, including his 1957 paintings “Blast II” and “Blue at Night.” This same time marked the darkening of Rothko's palette and, in 1958, the birth of the new forms found in the Seagram Murals and the later paintings of of the Harvard commission. Coming to Light is the first publication and exhibition to focus on the works of this period by each artist.

Coming to Light: Avery Gottlieb Rothko--Provincetown Summers 1957-1961

Arts & Photography

Rothko, Christopher

Freedman, Ann

Spring, Justin

Scharf, William

Cavanaugh, Philip

Cavanaugh, Sean Avery

Sentner, Madeleine

Vevers, Tony

Weissler, Edye

History & Criticism

Markus Lüpertz: Semiramis : September 12-November 16, 2002

Markus Lüpertz

James Castle: Structures

Frank Del Deo

A lovely 30 page book filled with color reproductions of the works of Frankenthaler from his exhibition of acrylics on both paper and canvas from May-July 2003.

Frankenthaler: New paintings : [exhibition] May 1-July 18, 2003 by Helen Frankenthaler (2003) Hardcover

Helen Frankenthaler

Richard Pousette-Dart: Mythic Heads and Forms: Paintings and Drawings from 1935 to 1942

John Yau

Judith Rothschild: Abstract and Non-Objective - The 1940s

Cohen, David

Judith Rothschild: Points of Light

Judith Rothschild

Book by WESTFALL, Stephen KNOEDLER AND COMPANY

James Castle / Walker Evans: Word-Play, Signs and Symbols [exhibition: May-August 2006]

WESTFALL, Stephen & KNOEDLER AND COMPANY

The young Jasper Johns stands atop a small ladder to smooth one of the gridlines on his silver "Numbers" painting of 1964. He is wearing an oddly coordinated padded silver jumpsuit, mindless of the camera that captures him mid-gesture. Photographed the same year, Roy Lichtenstein strides thoughtfully across his studio floor while his two young sons read from dozens of comic books spread out all over the rug. In 1967, Diane Arbus leans against a tabletop at The Museum of Modern Art, New York, nonchalant in a chic white minidress and matching thigh-high boots, while her camera hangs heavily around her neck. This deluxe collection of intimate, highly compelling color and black-and-white photographs includes portraits of many of the most important and pioneering artists of the postwar period in American art. The series, which includes studies of Henri Cartier-Bresson, Lee Bontecou, Louise Bourgeois, John Chamberlain, Willem de Kooning, Helen Frankenthaler, Philip Guston, Ellsworth Kelly, Louise Nevelson, Barnett Newman, Isamu Noguchi, Claes Oldenburg, Robert Rauschenberg, Mark Rothko and many others, was, in fact, initially inspired by the work of Cartier-Bresson, from whom Budnik learned to adopt an attitude of anonymity with respect to his subjects, working--as noted photo historian James Enyeart writes in his catalogue essay--"at the periphery of their attentiveness to his camera." Features outstanding essays by Enyeart and Irving Sandler, America's premier chronicler of postwar American art, as well as a reprint of a little-known essay by the influential British art critic and curator David Sylvester, which was originally published alongside Budnik's photographs in 1964.

Dan Budnik: Picturing Artists, 1950s-1960s

SANDLER, Irving

Enyeart, James

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Books by Knoedler & Company