Search results for ""Author Barbara Rose""

Larry Poons (b. 1937) shot to fame while still in his twenties, on the strength of his dot paintings, in which dots or ellipses were meticulously arranged on brightly coloured fields, creating a rhythmic, pulsating effect. But within a few years, Poons first loosened the hard-edged precision of the dot paintings and then abandoned them entirely for an organic mode of abstraction based on vertical drips of flung paint. This marked the beginning of an uncompromising five-decade evolution that has finally led the artist back to a more intimate mode of painting with brushes and his own hands. At every stage, Poons''s career has compelled the attention of critics and, in particular, other artists.This handsome volume, the first full-length biocritical monograph on Poons, reproduces more than 140 of his most important works in full colour, some as spectacular gatefolds. The incisive text a collaboration between four leading critics and historians traces the development of the ar

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Ad Reinhardt is probably best known for his black paintings, which aroused as much controversy as admiration in the American art world when they were first exhibited in the 1950s. Although his ideas about art and life were often at odds with those of his contemporaries, they prefigured the ascendance of minimalism. Reinhardt's interest in the Orient and in religion, his strong convictions about the value of abstraction, and his disgust with the commercialism of the art world are as fresh and valid today as they were when he first expressed them.

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Painting after Postmodernism: Belgium - USA investigates why so many believed Marcel Duchamp when he made his infamous statement of 1918: that painting was dead. After all, as this book goes on to show, Duchamp was wrong. In the decades before and after World War II, Picasso, Matisse, Miro and the New York School continued to make monumental mural scale paintings on the level of the greatest art of the past. However, in the politically radical 1960s and 1970s it once again became fashionable to toll the death knell for painting, now perceived as the product of bourgeois culture. In its place galleries and museums defined the avant-garde as conceptual art, video, mixed media and installations, all of which denied painting its position of pre-eminence. Painting was reduced to just another form of Postmodernist endeavour. Barbara Rose investigates how contemporary artists rediscovered the art of painting, juxtaposing works from Belgian and American artists to create a cross-cultural dialogue.

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Breaking the Mold focuses on paintings from a pivotal time, one of transition from postwar abstract expressionism to new artistic developments. It includes works on paper, paintings, and sculpture by fifty artists including Josef Albers, Richard Diebenkorn, Ellsworth Kelly, Morris Louis, and Marcel Duchamp.The Washington Gallery of Modern Art (WGMA) was founded in Washington, DC, on October 28, 1961, to increase the national and international attention given to contemporary art in the nation's capital, with an expressed purpose to exhibit and collect contemporary works of art. In 1968, the museum's collection was sold to the Oklahoma Art Center.This historically important collection from the former Washington gallery played an important role in the collection and cultivation of contemporary American art movements from the 1950s and 1960s, including late abstract expressionism, color field painting, minimalism, and pop art.

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