Douglas Dreishpoon - Böcker

Helen Frankenthaler’s (1928–2011) radical approach to paint and material creates images pulsating with colour. During the postwar period in the United States, she was a leading figure in abstract art. This volume brings together nearly fifty works, providing a comprehensive overview of the world’s largest private collection of Helen Frankenthaler’s works – on display at the recently opened Museum Reinhard Ernst in Wiesbaden. In Frankenthaler’s works, paint and canvas become one. The soak-stain technique she developed allows the paint to seep directly into unprimed fabric. The result is a pictorial effect like no other: colour spaces open up, flowing into one another, sometimes saturated, sometimes transparent. Above all, the pictures show an artist willing to take risks: by setting no limits to her artistic work, Frankenthaler was able to create liberated, large-scale paintings full of radiance. Her groundbreaking body of work remains highly relevant today.

This tapestry of primary sources is an essential primer on sculpture and its makers.  Modern Sculpture presents a selection of manifestos, documents, statements, articles, and interviews from more than ninety sculptors, including a diverse selection of contemporary sculptors. With this book, editor Douglas Dreishpoon defers to artists, whose varied points of view illuminate sculpture’s transformation—from object to action, concept to phenomenon—over the course of more than a century. Chapters arranged in chronological sequences highlight dominant stylistic, philosophical, and thematic threads uniting kindred groups. The result is an artist-centric history of sculpture as a medium of consequence and character.

Presents new scholarship, images, and primary sources that explore the art and legacy of a critical yet under-recognized figure in Abstract Expressionism and twentieth-century American art."The gentleman Abstract Expressionist," in the words of poet John Ashbery, Bradley Walker Tomlin was known for his elegance in both painting style and personal comportment. The book includes over forty paintings, works on paper, and printed materials, charting Tomlin's development from art nouveau illustrations of the 1920s to large-scale Abstract Expressionist paintings of the 1950s. The exhibition explores his formative years in Syracuse, early patronage by Condé Nast, and the important role played by the Woodstock art colony. Tomlin is best known as a key figure in the New York School and had close friendships with Adolph Gottlieb, Philip Guston, and Robert Motherwell. Unlike most of his peers, Tomlin focused on the impersonal possibilities of art. His carefully orchestrated paintings resonate with our time's renewed interest in abstraction and design.