Introduction by Franz Dahlem. 52 pages. 26 plates (18 color, 8 b&amp;w). Wraps. 
8 3/4 x 6 7/8 inches; 22.5 x 17.5 cm 
22 works on paper made between 1988 and 1991, with an introduction, written in letter form, by Baselitz’s friend, the critic Franz Dahlem.

Georg Baselitz: Pastels Watercolors Drawings [exhibition: May 2-June 26, 1992]

Arts & Photography

Georg Baselitz

Franz Dahlem

Drawing

Matthew Marks Gallery

A catalogue raisonné of de Kooning's 33 sculptures. Published to accompany the first exhibition of de Kooning's monumental outdoor sculptures, this book includes specially commissioned photographs by Adam Bartos of the three sculptures installed outside the artist's studio in East Hampton, New York, as well as a wealth of previously unpublished photographs from the artist's archives. 
(Texts by Andrew Forge, David Sylvester, and William Tucker. Photographs by Adam Bartos. Includes an illustrated checklist of the complete sculpture)

Willem de Kooning: Sculpture

DAVID SYLVESTER

William Tucker

Andrew Forge

Essays by Dave Hickey and James Meyer. Two volumes in a slip case. 34 color plates. 68 pages.

Ellsworth Kelly: Sculpture for a Large Wall, 1957

Dave Hickey

Ellsworth Kelly

James Meyer

Essays by John Rajchman and Ronald Jones. Softcover with dust jacket and Smythe-sewn binding. 12 color plates. 19 b&w plates.

Terry Winters: Graphic Primitives

Jones, Ronald

Rajchman, Essays by John

This book features 28 large-scale canvases, three sculptures, and two public commissions Kelly executed over three years. Benjamin H. D. Buchloh's essay explores Kelly's singular contribution to the modernist dialectic.

Ellsworth Kelly: Matrix

Benjamin Buchloh

Think of an Ellsworth Kelly: an abstract consideration of the relationship between figure and ground; a conscious questioning of the conditions that underlie perception; an exploration of the relationship of painting and wall, sculpture and space, viewer and work. Now think of Ellsworth Kelly: a man, born in the 1920s in New York state, who has been recording his own appearance in ink and graphite over the years, capturing himself as his attitudes changed, his self-perception changed, his face and body aged. Collected here are five decades of Kelly's self-portraits, drawn between 1944 and 1992. The artist sketches himself in all variety of poses: bust, standing, sitting, clothed, nude, laughing, serious, self-possessed. The style of drawing changes as frequently, from line drawing to cubist to comic to naturalistic. Taken together, they present a marvelous portrait of the artist as a man.

Ellsworth Kelly: Self Portrait Drawings 1944-1992 (MATTHEW MARKS G)

Cooper, Harry

Individual Artists

No Small Journeys relates to a series of photographs of Denver and its suburbs near the Rocky Flats Nuclear Weapons Plant, a version of which was published by Aperture under the title Our Lives and our Children in 1983. In recent years, Adams felt it was important to expand the project to emphasize the simple beauty and humanity that can be found in the seemingly improbable environments we have created for ourselves all across America. Rather than focus on some looming disaster, he composed this series as a testament to that unlikely and markedly human beauty, summing up his new reaction to the work with a quotation by Edward Dahlberg: "Homer sang of many sacred towns in Hellas which were no better than Kansas City."

Robert Adams: No Small Journeys, Across Shopping Center Parking Lots, Down City Streets

ADAMS, ROBERT

Gary Hume: Karneval/Carnival

Prenzler, Anne

Terry Winters, 1981-1986

Richard Shiff

Ever since the early 1970s, sculptor Charles Ray's protean practice has yielded some of the most memorable objects and experiences in contemporary art, causing us to confront, as Peter Schjeldahl has written, "elegant, deadpan fabrications that flip wild switches in our minds." In 1987's "Ink Line," for example, he sent a single stream of ink flowing to the middle of a gallery's floor in a slender column; outside the 1993 Whitney Biennial he parked a massive replica of a toy fire engine. His recent work is just as alluring and unsettling: a steel sculpture of a handheld bird, a poster of an ominous pumpkin, an intricate cast aluminum sculpture of a tractor. Charles Ray surveys the work the artist has made in the past dozen years; an interview by Michael Fried and an essay by John Kelsey complement texts written about each work by Ray himself.

Charles Ray

Fried, Michael

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Books by Matthew Marks Gallery