Average customer rating:
- should have been better
- Don't waste your money!
- DRAWING from the MODERN
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Drawing From The Modern
Agnes Martin ,
Gary Garrels ,
Carl Andre ,
Willem de Kooning ,
Eva Hesse ,
Jasper Johns ,
Ellsworth Kelly ,
Sol Lewitt ,
Roy Lichtenstein ,
Brice Marden ,
Barnett Newman ,
Claes Oldenburg ,
Jackson Pollock ,
Robert Rauschenberg ,
Richard Serra ,
Cy Twombly , and
Dan Flavin
Manufacturer: The Museum of Modern Art, New York
ProductGroup: Book
Binding: Hardcover
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Similar Items:
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Vitamin D: New Perspectives in Drawing (Themes)
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Drawing Now: Eight Propositions
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Vitamin P: New Perspectives in Painting
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Infinite Possibilities: Serial Imagery In 20th-Century Drawings
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Experimental Drawing
ASIN: 0870706640
Release Date: 2005-03-15 |
Book Description
Visual art in the period following World War II witnessed landmark transformations. Today, drawing provides a powerful and vigorous device for reexamining the art of that period, and for renewing appreciation of the extraordinary achievements of well-known artists--and for discovering others. Even though the art of these years saw radical departures and shifts, drawing, which is among the most traditional of media, played a crucial and consistent role in the work of a great majority of the most significant artists. Drawing from the Modern, 1945-1975, surveys the drawing of the period through the unparalleled holdings of the drawings collection of The Museum of Modern Art. The postwar period saw the development of Abstract Expressionism in New York, followed by Pop art, Minimal art, and Conceptual art, and the Museum's collection has exceptional strength in these areas. Abstract drawings by Jackson Pollock, Willem de Kooning, and Barnett Newman open this volume, followed by works by such key figures as Jasper Johns, Ellsworth Kelly, and Cy Twombly. Next, drawings by Roy Lichtenstein, Claes Oldenburg, and Andy Warhol signal the arrival of a new figurative art at the forefront of creativity. But reductive and abstract art kept pace, and the Museum's collection offers a breathtaking array of drawings by Carl Andre, Dan Flavin, Eva Hesse, Sol LeWitt, Brice Marden, Agnes Martin, Richard Serra, and numerous others. What constitutes "progress" in art is questioned today, and it is no longer possible to see the development of art as a straight line, with synchronicity among places and geographies. But drawing, by its very nature, encourages established understandings to be examined and accepted values to be reappraised. Many of the artists represented here defy easy categorization, including Lee Bontecou, Louise Bourgeois, Vija Celmins, Bruce Conner, Ray Johnson, Jim Nutt, and Myron Stout. The resurgence of European art is represented by drawings by Georg Baselitz, Joseph Beuys, Marcel Broodthaers, Piero Manzoni, Henri Michaux, Mario Merz, and Sigmar Polke, among others. A number the most important artists working in Latin America in the postwar period are also represented, including Jorge de la Vega, Gego, LeAn Ferrari, Halio Oiticica, and Mira Schendel. While neither the collection nor this volume is encyclopedic, the spirit and achievements of postwar art are distilled and amply celebrated here.
Customer Reviews:
should have been better.......2007-09-13
I purchased book 1 & 2 from Amazon. The illustrations are far too small to be a professionally represented art book from MOMA I've decided to save my money rather than pay out for the 3rd edition. It sounds a good buy from its description but I don't consider this trilogy to be very satisfactory.
Don't waste your money!.......2007-08-09
This is not a good artbook. The images are way too small to be satisfying. This book could have been great, but falls way short of its potential. Don't buy it, you will be disappointed.
DRAWING from the MODERN.......2006-12-27
DRAWING from the MODERN is the first of a three part series published by MOMA as catalogue to accompany the chronologically arranged exhibitions of their drawing collection; in part, celebration of the seventy fifth anniversary of the founding of the Museum.
This first book looks at the late nineteenth century through the beginning of the twentieth. Care and preservation of these drawings dictate that they are displayed infrequently, paper being a delicate medium, subject to fading, discoloration and brittleness. The publication of this series then allows us to have at hand a history of drawings seldom seen, and a visual education demonstrating how problems of that era both evolved and worked themselves out.
The introduction by Jodi Hauptman is broad and well worth reading. Aside from her entertaining "end of art" stories, she addresses artists and process leading to the dissolution of prevalent notions: relationship of "mark" to "ground", took new form; spatial notions of an orderly page, questioned; the element of chance, explored as process; the ego relationship of an artist to work, dissolving. New imagery happened: collage, abstraction, grids, enhanced emotions, metaphors of feeling, the sublime re-imaged. New subjects explored brutalities of war, notions of "city", identity, the spiritual, and the abstract.
As perhaps with all process of art, the uncertainty of change brought forth much that is new. The 139 plates of drawings both demonstrate and give testimony by leading artists of the time to new era in process. Drawing as subject matter is fascinating. To be expected, the book is well printed. Of course, what is book one without book two and three?
Nancy Gutrich
Average customer rating:
- Great study of a master of drawing
- Good Book
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Willem de Kooning: Tracing the Figure
Cornelia H. Butler ,
Paul Schimmel , and
Willem de Kooning
Manufacturer: Princeton University Press
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Binding: Hardcover
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Willem De Kooning: Paintings 1960-1980
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de Kooning: An American Master
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Franz Kline (1910-1962)
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Willem De Kooning: Reflections in the Studio
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The Ultimate Picasso
ASIN: 069109618X |
Amazon.com
At the forefront of modern art during the 1950s, painter Willem de Kooning secured his place in art history with the unveiling of his "Woman" series. Colorful, brash paintings composed of bold, violent brush strokes were seen by critics and viewers as vulgar and problematic but unfailingly important in their merging of abstract and representational forms. The Museum of Contemporary Art in Los Angeles presents, in conjunction with an exhibition of the same name, Willem de Kooning: Tracing the Figure, a collection of drawings and studies that led up to the famous "Woman" paintings. Seen as completed works in their own right, these drawings bear de Kooning's distinctive draftsmanship of powerful lines, erasures, scrapings, and strong color. Blurred images of the figure coming apart at the seams, the works look as if they were made during an emotional explosion, though de Kooning's work process was known to be rather laborious. Four insightful essays complement the arresting images, including a remarkable discussion on the social ramifications of de Kooning's vision of the female form by curator Cornelia H. Butler. This well-crafted book is perfect for any fan of modern painting. --J.P. Cohen
Book Description
Willem de Kooning, one of the great pioneers of Abstract Expressionism, experimented with the human form throughout his career. An artist deeply skeptical about Western ideals of beauty, he focused on anatomical fragmentation and spatial ambiguity to express the fleeting nature of the individual. This strikingly designed book, published in conjunction with an exhibition originating at The Museum of Contemporary Art, Los Angeles, explores de Kooning's drawings of the female form between 1940 and 1955. It reveals an artist who struggled to eliminate traditional barriers between drawing and painting as he explored ambiguities between the figure and its background.
De Kooning relied on early-twentieth-century abstraction in his initial attempts to redefine the figure, drawing and re-drawing the same line until he resolved the image. Beginning in 1947-49, he synthesized abstraction and figuration, dismembering figures and rearranging them with seeming randomness. As his figural compositions developed, geometric configurations transformed into architectural elements (suggesting windows, doors, mirrors, paintings, and furniture) to create ambiguous space. In 1951, de Kooning abruptly returned to depictions of women. Using turbulent brushwork, he turned female figures into monumental, intentionally vulgar, wildly distorted images whose parts read alternately as flat pattern and fully rounded forms. The effect is an almost violent sensuality.
The artist's later style differed dramatically from that of earlier decades. Familiar shapes and hues suggest that women remain in his works, yet they are distorted beyond recognition as if seen from underwater. As put by Thomas Hess, the artist's friend and critic, "Woman, for de Kooning, is the human equivalent of water; more than a vessel, she embodies it in planes of rippling flesh.
June 15 - September 8, 2002
Customer Reviews:
Great study of a master of drawing.......2007-04-09
If you don't like De Kooning, maybe you should rethink and stop to look at his wonderfully traced drawings which exhude life, violence and passion. This book is the first such publication and it may be the only opportunity to see so many drawings together (drawings do not like daylight and therefore are rarely exhibited). Definitely worth it.
Good Book.......2005-06-05
I bought this book as a gift for my girlfriend's birthday and I was shocked by the size of the book. There are tons of images in the book, most seem to span his career from pencil drawings of his wife to the more familiar works like the one on the cover (which take up most of the works in the book, thank goodness.) The images are laid out with great focus, my only complaint is that some of the images aren't bigger, but then they would have to cut across the seam more.
The book is big, it weighs a lot, it has mostly pictures of his works, there is only 1 picture per page (no distracting, busy design), and a small biography in the back. A very good deal for the price, you get your money's worth.
Average customer rating:
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The Artist's Hand: Willem de Kooning Drawings, 1937 to 1954
Amy Schichtel , and
Willem de Kooning
Manufacturer: Mitchell-Innes & Nash
ProductGroup: Book
Binding: Paperback
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De Kooning, Willem
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ASIN: 0971384436
Release Date: 2002-10-02 |
Book Description
The early development of Willem de Kooning is explored here through a focus on his early drawings, many of which have never before been published, most of which have not been on public view in decades. An accompanying text and chronology provide insight into the thoughts of de Kooning and the exhibitions and artists that might have influenced him during the 1930s-1950s.
Average customer rating:
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De Kooning Drawings
Willem de Kooning
Manufacturer: Walker, New York
ProductGroup: Book
Binding: Hardcover
De Kooning, Willem
| ( D-F )
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ASIN: B000H6XE4Q |
Average customer rating:
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Drawings
Willem De Kooning
Manufacturer: Walker & Co.
ProductGroup: Book
Binding: Hardcover
ASIN: B000KMBG3I |
Amazon.com
As a collection of four groups of seldom-seen sketches by Willem de Kooning, this book succeeds in showing another side of the artist most often recognized for his abstract expressionism in the 1940s. Created more recently during a period ranging from the late 1950s to the early 1980s, the collection predominantly exhibits his dexterity with raw charcoal and ink, though the last group highlights his subtle color techniques. In a hardbound binding, the collected works are preserved on pages with superior quality and unified design. An informative introductory essay provides deeper insight into the artist and his work. Perhaps the strongest group includes the rudimentary sketches of a nude in "Drawings with Eyes Closed" as well as the harrowing and compelling images in the "Crucifixion Drawings." In a style typical of abstract expressionism, these later pieces continue to show that de Kooning was interested in capturing the fluid energy and gestures of changing forms, without any intent to stabilize or focus. And since de Kooning was unwilling to state that any of his works were finished, we are left to contemplate the transformational essence of the creations by this artist fluent in reinvention. --Lucas Hilbert
Book Description
Willem de Kooning (1904-1997) regularly created series of drawings, sometimes continuing them intermittently over a decade. Despite de Koonings renown as a painter and draftsman, there have been no publications to look at selected groups of his drawings in depth. This book, and the traveling exhibition organized by The Drawing Center, New York, presents four of his drawing series, affording a closer view of de Koonings working process and his constant reinvention of mark-making.
The earliest series to be included, Folded Shirt on Laundry Paper, 1958, is figured by a calligraphic spareness and openness that lays bare a panoply of mark-making possibilities with brush and ink. The second series are twenty-four drawings from 1966 which the artist created with eyes closed. These works make clear just how totally interdependent de Koonings memory and drawing hand were. But for their documentation, they are indistinguishable from his drawings made with eyes open. Several of the drawings are of the Crucifixion, and this subject, unique for de Kooning, comprises the third group of drawings executed in the mid- and late-1960s. These drawings take fullest advantage of charcoals lush flexibility. The fourth group, almost never seen, is comprised of tracings made on large sheets of vellum of painting configurations that might be employed in subsequent works. Done from the late-1960s through the 1970s, these double-sided drawings are made startlingly complete by de Koonings subsequent improvisations added to them.
Each series will be discussed in relation to the artists contemporaneous painting and will explicate his constantly changing but interrelated means. No other artist of his generation produced drawings so regularly and so superbly. Drawing is the crucible of de Koonings art.
Book Description
Children's printed handkerchiefs have a rich two hundred year history going all the way back to America's beginnings. Along with delighting generations of children with their colorful designs, these highly collectible items have also served a social and educational role. The earliest reflected Puritan influences, tending to be instructional, religious, and moralistic in nature. As industrial growth and prosperity changed, the very nature of childhood, sports and games, nursery rhymes, and fairy tales became more common subject matter. By the early twentieth century, storybook and comic strip characters began to appear, soon joined by such popular figures of mass culture as Mickey Mouse, Raggedy Ann, Davy Crockett, and Howdy Doody.
Customer Reviews:
A Must for the Serious Children's Hanky Collector!.......2003-03-10
What a great book for the serious hanky collector! It is very complete and the interesting and progressive history of children's hankies will keep you captivated to the very last page. The pictures are awesome and the descriptions are just perfect. The only small complaint is that I wish the price guide would have been with each hanky. I loved it and highly recommend it to anyone interested in collecting hankies!
Book Description
Nine issues of what Brian Michael Bendis does best are collected here! Features the acclaimed "Udaku Hunter" story arc, an Ashley Wood gallery and other special bonuses. A must-have collection for any fan!
Amazon.com
It should come as no surprise that The Neal Pollack Anthology of American Literature is the inaugural title from McSweeney's Books, the publishing arm of Dave Eggers's literary quarterly McSweeney's. There appears to be two Neal Pollacks at work in the literary world. There's the legendary award-winning writer who has covered such global crises as the Spanish Civil War and 1999's "Battle in Seattle"; who has been married multiple times and romantically linked to Lara Flynn Boyle and Zadie Smith; and who counts Bishop Desmond Tutu and the Utah Jazz's Karl Malone among his closest friends. Then there's the real Neal Pollack, the young writer responsible for this comical tribute to the hard-drinking, fistfighting, wounded White Male egos behind the banged-up typewriters of first-person journalism. The high jinks begin in the table of contents, with such bloated chapter headings as "The Burden of Internet Celebrity" and "Why Am I So Handsome?"--hinting at what's to come. There's a detailed chronology included ("1959: Goes to Hollywood. Blacklisted.") and a nifty Zelig-like collection of photographs capturing Pollack (shirtless, more often than not, in his khaki photojournalist vest and aviator shades) yachting with J.F.K.; posing with a mud-caked platoon in Vietnam; and tuxedoed, escorting Mia Farrow to Truman Capote's Black and White Ball. Highlights include a transcript of Pollack's surprise appearance during a 1996 taping of Oprah's "other favorite author," Toni Morrison, where he offers this nugget to readers: "Oprah expanded my readership like no television program ever; not even my brief stint on Laugh-In gave me such wide exposure to Ma and Pa United States." Despite the one-joke tone of this slim volume, Pollack's clever wit prevails throughout, leaving a highly entertaining satire in its wake. --Brad Thomas Parsons
Book Description
Neal Pollack has been the Greatest Living American Writer across six decades, seven continents, and ten wives. He has won the Pulitzer Prize, the Booker Prize, the PEN/Faulkner Award (twice), and the Premio Simon Bolivar for contributions to the people's struggle in Latin America. In 1985, Pollack's writing was declared "beyond our meager standards" by the Swedish Academy
With the publication of The Neal Pollack Anthology of American Literature, the definitive collection of his work in English, a new generation of readers is set to discover nothing less than the ultimate meaning of human existence on earth. This astonishing work of fictitious nonfiction, the funniest and most creatively styled postmodernist confection of its time, has been universally praised as the best book ever written except for maybe Don Quixote and The Shipping News. The Anthology -- now expanded, updated, and thoroughly repaginated -- answers, once and for all, the question that has plagued American society in general, and literary critics in particular, since Neal Pollack was born: "Who is Neal Pollack?" At last, we know.
Customer Reviews:
Hutzpah... Pah!!.......2007-09-25
Pollack proves that the only thing necessary to be an artist in this society is the audacity to call oneself such. I've slogged through a couple of his self-indulgent works now, and from what I can see, he's an author because he says so. Unfortunately he's not alone; the people with egos big enough to believe they are something are granted celebrity or at least book contracts just because they have the hutzpah to tell the world what every person's mama made him or her believe for a while: I'm special. Most people grow up and realize that everyone is special but nobody's really THAT special. Pollack seems to still believe that he is not one of the very folk he attempts so weakly to satirize, a pompous bag of air who should be penalized for every tree that dies in the service of his vanity. He's an average writer with average opinions and really should take a breath and realize he's OK without being "special." Then he should give the reading public a break and get a real job.
Good Comedy, Not a Good Book.......2005-06-06
If you read enough books, especially enough books of a certain sort, and enough literary criticisum, again of a certain sort, you end up with a trove of amusing observations. If you put all of your observations together in a book, though, and your readers have read many of the same sources you have, their observations may be funnier than yours. So, after a while, your book becomes very, very tedious.
Puh-lease!.......2005-02-24
This is not post-grad humor, whatever that is (I'll tell you what it is, it's an oxymoron). This is not lacerating satire, nor a vicious attack on self-indulgent journalism, nor on Great White Authors (in whose company Neal Pollack rightly counts himself), nor--least of all is it this--is it a post-modern manifesto (post-modern??? think about how stupid you sound before you indulge your egotistical ear with literary jargon--you might start forgetting that words like "post" and "modern" have real meanings which, like nerds and prom queens, don't congeal when placed side by side)... nor is it anything else you people might come up with in the dark, lonely basements of your profound intellects!!!! Let the rest of the world (those lucky ignorant souls who've seen the sun within the past year) know the truth about Pollack: he's a pretty funny guy... at least he advocates onanism, which makes him totally legit in my eyes.
Starts funny, ends embarassing..........2004-07-28
Neal can be funny. I laughed out loud the first couple of tracks. His humor relies mostly on name dropping and rattling off absurd fads we've indulged. He is fairly astute when satrizing coffeehouse pseudo-intellectuals and vacuous hipsters...but...the joke gets old.
I read a couple of reviews claiming you have to be a grad. student to appreciate his humor. You must be kidding.
The only jokes that lie outside the realm of the average TV sitcom, are references to world authors and poets.
Even then, you're not missing much.
The last CD, his LIVE poetry performance is a session of pain. I was tortured by 27 tracks of egregious poetry. Because, it was recorded live, you could feel the tension in his audience. The nervous silence, couples on the edge of their seats listening for something funny to laugh at, just to make Pollack feel better. You might be wondering why I kept listening, am I a masochist?
No. Well, except for that week I was stuck in a Motel 6 on an acid binge, with two Brazilian soccer players and a tazer. But, not usually. No, I kept listening because I bought the audio CD's purely from their glowing reviews and his affliation with Eggers and gang and all the other current literary intellgentsia. I would be a masochist.... if I listened to it again.
Meh..........2004-02-15
When I first started reading The Neal Pollack Anthology, I was really into it. I recommended it to everyone I was reading (as I sheepishly hid the fleshy cover behind my hand), laughed a bit, especially at the time line, study guide, pictures, and oher "extras," and thought it was pretty hysterical, especially "I Am Friends With a Working Class Black Woman." But after a while, I stopped laughing and recommending it to people, deciding that, on a whole, the book is pretty "meh" (say the word aloud to know what I mean) and exactly as a three star book should be: good, but inconsistant. His Heraldo-like antics are funny for a while - yeah, he sleeps with hot, ethnic women, yes, he went to Ivies, uh huh, he's really old - but after a while it gets spread really thin over 200 odd pages. I definately agree with the reviewer who compares the literary refrences to Simpsons allegories. When Pollack mentions Norman Mailer for the upteenth time, you think, "yeah, he knows a lot about books, in a smug, McSweeneys sort of way..." (and don't get me wrong, I love McS) "...but I feel like I'd really have better spent my time reading just a few stories and then abandoning the book to read some real Mailer."
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- Frameworks for Modern Art (Art of the Twentieth Century)
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