35 artists lovingly describe their relationships with their cats. Whether they have common names or royal ones, serve as muses or companions, there is no doubt that these cats play very important studio roles.

Artists And Their Cats in their own Words

Moore, S.

Children's Books

Midmarch Arts Press

On-the-spot reports, interviews and panel discussions capture artists’, curators’, dealers’ and collectors’ perspectives as they wrangle with ideas and each other. It’s the real history of contemporary art.

Mutiny and the Mainstream: Talk That Changed Art, 1975-1990

History

Seigel, Judy

Americas

The Heart of the Question: The Writings and Paintings of HOWARDENA PINDELL

Pindell,Howardena

A Holocaust portfolio (Midmarch arts books)

Neyer, Jeanie E

artist and wife of F. T. Marinetti, the leader of the italian futurist movement. she produced novels, essays and lectures, stage design and verbal-visual experiments of free word composition.

Benedetta Capa Marinetti: Queen of Futurism

Zoccoli, Franca

Recaptures the high period of american modernism using Milton Resnick as a means of gaining entry to the period. talks and free-wheeling panels at the Artists' Club and the Studio School include include leading intellectuals and artists such as Leo Steinberg, Ad Reinhardt, and De Kooning.

Out of the Picture: Milton Resnick and the New York School

Dorfman, Geoffrey

Arts & Photography

History & Criticism

The art controversies emerging in the Culture War in the U.S, involved artists from Catholic roots like Mapplethorpe, Serrano, Finley, and Gober; additionally, those who avoided notoriety with responses ranging from belief to outright rejection also reflect a sense of body and sexuality that is distinctly Catholic.

Postmodern Heretics: Catholic Imagination in Contemporary Art

Heartney, Eleanor

Religious

Product Description 
The Journals appear here in their most complete form to date . . . the first entries made in 1950, three years after he enrolled in the art school run by Hans Hofmann, whose teaching so profoundly affected Stout's thinking and practice. Stout used his writings to define his aesthetic ideas. The last entires are from 1966, by which time all the fundamental elements of the artist's approach had come sharply into focus, and many of his most important works were behind him. The Journals are the most articulate writings by an artist since those of Delacroix. They reflect an artist's evolution and refelect aspects of the inner worlds of all artists: investigations into philosophy, politics, literature, the inter-relationships of art forms; the history of aesthetics; the visual expression of balance. torque and tension; the relationship of abstract art to the natural world. Myron Stout (1908-1987) studied intermittently with Hans Hofman for several years in New York and Provincetown, Mass., and was mentored and befriended by him. He started exhibiting in the early 1950s at the height of th Ab-Ex movement, pursuing his own style of small scale, geometric, purist (although deeply colored), unemotional paintings, following in the tradition of Mondrian. By 1954 his focus had changed to black and white iconic shapes which established his place in American art. He had a retrospective in 1980 at the Whitney Museum of American Art (NY); his works have been widely exhibited in the U.S. and Europe. 
 Review 
Myron Stout's Journals is a book that every art student should read—and that many artists would profit from. --Hilton Kramer, The New York Observer. April 4, 2005\nArtists and other interested parties should take comfort in the publication of selections from Stout's Journals. --Roberta Smith, The New York Times, April 1,2005 
 From the Inside Flap 
"The Journals appear here in their most complete form to date. . . the first entries date from 1950, three years after he enrolled in the art school run by Hans Hofmann, whose teaching so profoundly affected Stout's thinking and practice. . . . He used his writings to define his aesthetic ideas. The last entries are from 1966, by which time all the fundamental elements of the artist's approach had come sharply into focus, and many of his most important works were behind him."

Selections from the Journals of Myron Stout

Tina Dickey

Dickey, Tina

Individual Artists

The Journals appear here in their most complete form to date . . . the first entries made in 1950, three years after he enrolled in the art school run by Hans Hofmann, whose teaching so profoundly affected Stout's thinking and practice. Stout used his writings to define his aesthetic ideas. The last entires are from 1966, by which time all the fundamental elements of the artist's approach had come sharply into focus, and many of his most important works were behind him. The Journals are the most articulate writings by an artist since those of Delacroix. They reflect an artist's evolution and refelect aspects of the inner worlds of all artists: investigations into philosophy, politics, literature, the inter-relationships of art forms; the history of aesthetics; the visual expression of balance. torque and tension; the relationship of abstract art to the natural world. Myron Stout (1908-1987) studied intermittently with Hans Hofman for several years in New York and Provincetown, Mass., and was mentored and befriended by him. He started exhibiting in the early 1950s at the height of th Ab-Ex movement, pursuing his own style of small scale, geometric, purist (although deeply colored), unemotional paintings, following in the tradition of Mondrian. By 1954 his focus had changed to black and white iconic shapes which established his place in American art. He had a retrospective in 1980 at the Whitney Museum of American Art (NY); his works have been widely exhibited in the U.S. and Europe.

Selections from The Journals of Myron Stout

Stout, Myron

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Books by Midmarch Arts Press