Margit Rowell Knihy

Pages unmarked, tight, clean and crisp. Some shelf wear, bumping and rubbing on cover. From non smoking home.

This collection of Joan Miro's writings presents a portrait of the artist in his own words. Miro's notebooks, letters, and interviews reveal the work and life of a brilliant artist revered for his uncanny expression of the subconscious.

Ed Ruscha's relationship to photography is complex and ambivalent. The world-class painter--and author of a 1972 New York Times article called "'I'm Not Really a Photographer'"--has been known to refer to his work in this second medium as a "hobby," despite considerable, persistent critical interest. Whether he likes it or not, the small albums of plainly-shot, snapshot-sized images he produced in the 1960s and 70s, including Twenty-Six Gasoline Stations, intrigued his contemporaries and earned him an unshakable reputation. How? His subject matter was neither purely documentary nor solely artistic, in fact it was stereotypical and banal, with motifs drawn from the car-dominated western landscape. That rebellious material, along with his serial presentation, made for a mythical road-movie or photo-novel effect with Beat Generation overtones. The combination attracted artists and critics both, especially while serial logic was prominent in Pop art and Minimalism, and then retained that interest later as serial work became prominent in Conceptual art. Critics have remained attentive for decades, and Ruscha's influence remains apparent in new work in Europe and North America. Ed Ruscha, Photographer departs from earlier collections to explore how these images--and all of Ruscha's work in disciplines including painting, drawing, printmaking and photography--are guided and shaped by a single vision.

The definitive monograph on the work of sculptor, installation artist, and Arte Povera pioneer Luciano Fabro Luciano Fabro was a founding member, and later leading critic, of Arte Povera, the materials- and experience-based art movement that began in Italy in the late 1960s. He went on to be exhibited internationally, becoming the first artist from the group to receive a major US retrospective, at the San Francisco Museum of Modern Art in 1992. Fabro was a controversial artist, yet still a critical in 2018 the leading art publication The Brooklyn Rail dedicated an entire issue to Fabro; and New York Times critic Roberta Smith wrote that Fabro treated ‘artmaking less as a profession and more as a continuing experiment intended to keep himself entertained and the viewer slightly off-balance’. This comprehensive, heavily illustrated monograph is the first complete overview of Fabro’s life and career, written by esteemed critic and curator Margit Rowell, who interacted with Fabro repeatedly in his later years, and is published with the full support and participation of the artist’s estate and international galleries, Paula Cooper (New York), Christian Stein (Milan) and Simon Lee (London and Hong Kong).