The 1980s art criticism landscape was heavily shaped by market dynamics, leading to an imbalance in media coverage. Wealthy investors and collectors could elevate mediocre exhibitions, resulting in disproportionate attention from influential New York publications reliant on advertising from galleries and luxury brands. This focus on market-driven art often overshadowed more innovative or meaningful works of the decade, raising questions about the true value and significance of art during this period.
Set in the contemporary Deep South of Blasingame County, Alabama, the story weaves an unexpected narrative involving an ancient Chinese wizard's curse and mythological creatures from the underworld. The plot thickens with the introduction of a sharp-tongued Japanese national holding State Department credentials, creating a unique blend of cultural elements and supernatural intrigue against a rural backdrop.
Focusing on Victor Vasarely's pioneering role in Op Art, this book showcases a selection of his most significant geometric paintings, highlighting his influence on the intersection of art and science. It explores his rise to prominence, particularly after the 1965 "The Responsive Eye" exhibition at MoMA, and his contributions to digital imagery in art. Robert C. Morgan's insightful text examines Vasarely's artistic evolution and legacy, positioning him as a key innovator in design and architecture. The book features 65 color illustrations and 15 in black and white.
The book showcases previously unseen early drawings by internationally acclaimed artist Will Barnet, highlighting their significant impact on his artistic journey. These works provide insight into the foundational influences that shaped his career and offer a unique glimpse into the evolution of his creative process.
The Fusion Caskets were begun in 1972 and completed in 1983. The series is comprised of 9 sculpturally painted wooden boxes. Each box was created using oils and acrylics on wood and resin casts, sculptural found objects and more than 100 internal and external lights. Shalom Neuman is an unprecedented phenomenon.
Die Bilder Jon Grooms überraschen: Zunächst sieht man flächige geometrische Formen, die in vielen Farbschichten aufgetragen wurden. Je nach Standpunkt und Lichteinfall verändern sich die Farben, und aus den Flächen ergeben sich Räume und Körper. Aus diesem Grund sieht sich Jon Groom auch eher als Bildhauer denn als Maler. Jon Groom, der Maler „wider Willen“, ist ein Magier, der uns auf eine Reise in die Welt der Farbe mitnimmt. Betrachtet man die Werke Jon Grooms in Katalogen, so wird die Begrenzung auf ein geometrisches Format evident. In der direkten Konfrontation in Ausstellungen tritt dieser formale Aspekt völlig zurück, der Betrachter erlebt einen vielschichtigen Farbraum-Kosmos von starker Präsenz und suggestiver Strahlungsenergie, welche die Ausstellungsräume verändert, doch gleichzeitig wirken die Werke wie für diese Räume geschaffen. Seine Bilder haben Tiefe und Räumlichkeit, die ohne perspektivische Mittel, nur mit Farbe und Geometrie erzeugt werden, wobei die geometrische Form nicht abstrakt, sondern architektonisch wirkt.
