2016, ISBN: 9781885444240

Edição encadernada

Brunswick, ME and New Haven, CT: Bowdoin College Museum of Art in association with Yale University Press, 2016. Cloth, xi, 252 pages, illustrations (chiefly colour); 29 cm. Published on t… mais…

Brunswick, ME and New Haven, CT: Bowdoin College Museum of Art in association with Yale University Press, 2016. Cloth, xi, 252 pages, illustrations (chiefly colour); 29 cm. Published on the occasion of the exhibition of the same name that took place at Bowdoin College Museum of Art, June 25 to October 23, 2016. Firm binding, clean inside copy. Dust jacket protected in a mylar cover. OVERSIZE! No priority/international, except by arrangement. Profusely illustrated. "This groundbreaking book traces the history of portraiture as a site of radical artistic experimentation, as it shifted from a genre based on mimesis to one stressing instead conceptual and symbolic associations between artist and subject. Featuring over 100 colour illustrations of works by artists from Charles Demuth, Marcel Duchamp, Marsden Hartley, and Georgia O'Keeffe to Janine Antoni, Felix Gonzalez-Torres, Roni Horn, Jasper Johns, and Glenn Ligon, this timely publication probes the ways we think about and picture the self and others. With particular focus on three periods during which non-mimetic portraiture flourished - 1912-25, 1961-70, and 1990-the present - the authors investigate issues related to technology, sexuality, artist networks, identity politics, and social media, and explore the emergence of new models for the visual representation of identity. Taking its title from a 1961 work by Robert Rauschenberg - a telegram that stated, 'This is a portrait of Iris Clert if I say so' - this book unites paintings, sculpture, photography, and text portraits that challenge the genre in significant, often playful ways and question the convention, as well as the limits, of traditional portrayal." - Publisher. CONTENTS: Director's foreword; This is a portrait if I say so: identity in American art, 1912 to today, by Anne Collins Goodyear, Jonathan Frederick Walz, and Kathleen Merrill Campagnolo; An American prelude to the abstract portrait, by Dorinda Evans; Portraiture "at the service of the mind": American modernism, representation, and subjectivity from the armory show to the Great Depression, by Jonathan Frederick Walz; In the company of cultural provocateurs: radical portraiture in the 1960s, by Kathleen Merrill Campagnolo; On the birth of the subject and the defacement of portraiture, by Anne Collins Goodyear; Catalogue.. 1st. Hardcover. Fine/Fine. 4to. Collectible., Bowdoin College Museum of Art in association with Yale University Press, 2016, 5, New York: American Federation of Arts, 2003. 189 pages, illustrations (chiefly colour); 23 cm. Exhibition held at the Georgia O'Keeffe Museum, Santa Fe, NM, January 24 to April 20, 2003; Des Moines Art Center, Des Moines, IA, May 9 to August 1, 2003; Terra Museum of American Art, Chicago, IL, August 29 to November 30, 2003. Tight, clean copy. "When Duchamp moved from Paris to New York in 1915, he was disappointed by the predominantly nature-based abstraction he observed, publicly proclaiming that American artists were too dependent on outmoded European traditions and had overlooked their greatest subjects--the skyscraper and the machine. Meanwhile, the artists associated with Alfred Stieglitz and his '291' gallery remained loyal to their belief in nature as a source of ongoing renewal for visual culture, and emphasized the crucial role that intuition and spirituality played in their creation of art. The crossfire between Duchamp and Stieglitz and their respective circles defined a critical moment in early twentieth-century American art. Debating Modernism includes reproductions of work by artists from both camps, from Charles Demuth, Georgia O'Keeffe, and Paul Strand to Man Ray, Francis Picabia, and Marsden Hartley. An essay by curator Debra Bricker Balken traces the threads of the debate through the 1910s and 20s, and also addresses the appearance of sexualized imagery in nearly all of these artists' works, a phenomenon that ironically unifies the two seemingly opposed camps. Jay Bochner's essay focuses on the artists' respective violations of American expectations about art." - Publisher.. 1st. Paperback. Fine. 8vo. Collectible., American Federation of Arts, 2003, 5<

2003, ISBN: 1885444249

Livro de bolso

[EAN: 9781885444240], Gebraucht, guter Zustand, [PU: American Federation of Arts, New York], COLLECTIBLE, 189 pages, illustrations (chiefly colour); 23 cm. Exhibition held at the Georgia … mais…

[EAN: 9781885444240], Gebraucht, guter Zustand, [PU: American Federation of Arts, New York], COLLECTIBLE, 189 pages, illustrations (chiefly colour); 23 cm. Exhibition held at the Georgia O'Keeffe Museum, Santa Fe, NM, January 24 to April 20, 2003; Des Moines Art Center, Des Moines, IA, May 9 to August 1, 2003; Terra Museum of American Art, Chicago, IL, August 29 to November 30, 2003. Tight, clean copy. "When Duchamp moved from Paris to New York in 1915, he was disappointed by the predominantly nature-based abstraction he observed, publicly proclaiming that American artists were too dependent on outmoded European traditions and had overlooked their greatest subjects--the skyscraper and the machine. Meanwhile, the artists associated with Alfred Stieglitz and his '291' gallery remained loyal to their belief in nature as a source of ongoing renewal for visual culture, and emphasized the crucial role that intuition and spirituality played in their creation of art. The crossfire between Duchamp and Stieglitz and their respective circles defined a critical moment in early twentieth-century American art. Debating Modernism includes reproductions of work by artists from both camps, from Charles Demuth, Georgia O'Keeffe, and Paul Strand to Man Ray, Francis Picabia, and Marsden Hartley. An essay by curator Debra Bricker Balken traces the threads of the debate through the 1910s and 20s, and also addresses the appearance of sexualized imagery in nearly all of these artists' works, a phenomenon that ironically unifies the two seemingly opposed camps. Jay Bochner's essay focuses on the artists' respective violations of American expectations about art." - Publisher. Size: 8vo, Books<

2003, ISBN: 9781885444240

Livro de bolso

New York: American Federation of Arts. Octavo, 192 pages, colour illustrated. A Fine copy. . Fine. Soft cover. 1st Edition. 2003., American Federation of Arts, 2003, 5