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Books : Search |
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Laura Owens»rank: 1270825by: Rod Mengham, Gloria Sutton, Alex Katz, Elizabeth Peyton, Mary Heilmann, Scott Rothkopf, Laura Owens
: :Laura Owens once said of more doctrinaire painters that 'the weight of art history is what gets you that crusty, stodgy feeling, when you look at a work of art and you feel that the person hasn't stepped outside, hasn't looked in other wings of the Met, hasn't gone to a natural history museum.' There is no danger of that in her own good-natured and elegant works, which seem to emulate Rousseau, Grandma Moses and the aesthetics of the 1960s and of vintage decorative arts at once. Robots in the garden, lions, hunters, romance and war are some of the subjects parading through, under passing influences as wide ranging as Dada performance, ... |
Mary Heilmann: Save the Last Dance for Me (One Work)»rank: 650095by: Terry R. Myers
: :'You want beauty? I’ll give you beauty!' —Mary Heilmann Mary Heilmann is one of the most important abstract painters of her generation. Her distinctively fluid, humorous, and bright canvases combine the modes of Abstract Expressionism with a vibrant Pop sensibility. Heilmannn's 1979 painting in hot pink and black, evocatively titled Save the Last Dance for Me, marked a shift in the artist's perspective. Heilmann describes it: 'Now the work came from a different place. Instead of working out of modernist non-image formalism, I began to see that the choices in the work depended more on content for their meaning.' This beautifully illustrated study of Save the Last Dance for Me explores the ... |
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Shape Of Color: Excursions In Color Field Art, 1950-2005, The»rank: 1220310by: Christian Eckart, Mark Cheetham, Sarah Rich, Raphael Rubinstein, Robert Hobbs, Polly Apfelbaum, Mary Heilmann, Peter Halley
: :Color field art covers more acreage than you might expect. In this major reappraisal cataloguing an exhibition at the Art Gallery of Ontario in Toronto, the definition is extended to include both contemporaneous works in media other than painting and recent iterations by younger artists. Thus, artists more often deemed Minimalist, such as Dan Flavin, Sol LeWitt, Fred Sandback, and Robert Irwin, are seen as responding to ambitions expressed in color field painting, and contemporary works, such as those by Peter Halley and Polly Apfelbaum, resonate from proximity to masterworks from an earlier generation. Apfelbaum's Gun Club from 2002, for example, dances meaningfully with Helen Frankenthaler's Tutti Fruitti, 1966. In addition, you'll ... |
Mary Heilmann: The Architecture of Heaven»rank: 2071449by: Mary Heilmann
: :Color field art covers more acreage than you might expect. In this major reappraisal cataloguing an exhibition at the Art Gallery of Ontario in Toronto, the definition is extended to include both contemporaneous works in media other than painting and recent iterations by younger artists. Thus, artists more often deemed Minimalist, such as Dan Flavin, Sol LeWitt, Fred Sandback, and Robert Irwin, are seen as responding to ambitions expressed in color field painting, and contemporary works, such as those by Peter Halley and Polly Apfelbaum, resonate from proximity to masterworks from an earlier generation. Apfelbaum's Gun Club from 2002, for example, dances meaningfully with Helen Frankenthaler's Tutti Fruitti, 1966. In addition, you'll ... |
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Loveworks : Coming to Terms with Intimacy and Equality»rank: 3876084by: Ronald W. Heilmann, Mary Ann Massey
: :SYNOPSIS Contemporary men and women live in an extraordinary time. In North America during the last years of the twentieth century, a sweeping psycho-social-cultural change took place in America. A select group of white middle class people, who became known as the Baby Boomer Generation, began a noble experiment: They espoused the notion of equality between men and women while at the same time pursued intimacy as the focal point of male/female relationships. Neither the men nor the women actually chose to realize these ideals. They simply were responding to their own needs as they confronted them deep within their souls. They wanted a more profound relationship. They looked at their parent’s ... |
Mary Heilmann: Color And Passion (Reihe Cantz)»rank: 2477472by: Mary Heilmann
: :Artwork by Mary Heilmann. Contributions by John Yau, Christa Hausler. |
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Mary Heilmann: The All Night Movie»rank: 2310273by: Mary Heilamnn, Mary Heilmann, Jutta Koether
: :Artwork by Mary Heilmann. Contributions by John Yau, Christa Hausler. |
Mary Heilmann: All Tomorrow's Parties»rank: 2176111by: Martin Prinzhorn, Matthias Herrmann, Mary Heilmann
: :Featuring 30 of Heilmann's works from the late 70s to the present, including paintings, ceramic pictures, and a series of specially designed wooden chairs with colorfully woven seats. Throughout, Heilmann's particular way of dealing with abstract paintings becomes evident. Dedicated to Pat Hearn and Colin de Land. |
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Mary Heilmann: [exhibition] February 26-March 26, 1988»rank: 2176111by: Mary Heilmann
: :Featuring 30 of Heilmann's works from the late 70s to the present, including paintings, ceramic pictures, and a series of specially designed wooden chairs with colorfully woven seats. Throughout, Heilmann's particular way of dealing with abstract paintings becomes evident. Dedicated to Pat Hearn and Colin de Land. |
Mary Heilmann: [exhibition] October 10-November 9, 1986»rank: 2176111by: Mary Heilmann
: :Featuring 30 of Heilmann's works from the late 70s to the present, including paintings, ceramic pictures, and a series of specially designed wooden chairs with colorfully woven seats. Throughout, Heilmann's particular way of dealing with abstract paintings becomes evident. Dedicated to Pat Hearn and Colin de Land. |