Carter Ratcliff Knihy

This substantial new catalogue is a major addition to existing scholarship on the important American artist James Rosenquist. Featuring numerous gatefold images, different papers and a silk ribbon, it contains commissioned essays by Carter Ratcliff--who argues that to label Rosenquist a Pop artist is to deny the complexity of his oeuvre and diminish his achievement--and Sarah Bancroft, who suggests that the notion of abstraction is key to understanding all of Rosenquist's work, from 1960 onward, and not just the "overtly abstract" paintings of the past seven years. In addition, in a wide-ranging interview with Scott Rothkopf, the artist discusses the place of political engagement in his work, the importance of collage, his ongoing fascination with time and the element of "It's like taking drugs. It has to be exciting to be able to paint it. You have to feel it's worthwhile doing it, to really pull it off."

Traces the history of Abstract Expressionism, and examines its political implications and the cultural context in which it developed

Featuring over 300 images, including many unpublished works, this comprehensive monograph explores the evolution of Alex Katz's unique American style. Accompanied by an insightful profile from a seasoned art historian who has studied Katz for over fifty years, the book offers an in-depth look at the artist's iconic paintings and their impact on contemporary art.

One of the greatest American painters of the 20th century, Georgia O'Keeffe is beloved by a broad audience that ranges from the most erudite art historian to the twelve-year-old girl next door. Her monumentally sensuous oil paintings of flowers hang in the best museum collections but are known as well via mass-produced posters, greeting cards and calendars; her weathered, elegant, fierce self has long been mythicized through Alfred Stieglitz's classic black-and-white photographs of his wife. This large-format monograph on O'Keefe renews her place in the modern canon and encourages an intensive encounter with her work. Her radical departures from imitative realism, the style that was prevalent when she began to study art making, eventually led to an idiosyncratic painting style characterized by a state of suspension. Over the course of her lengthy career--she worked up until two years before her death at age 98--she discovered and developed a personal language through which to express her own feelings and ideas, creating bold picture conceptions and spatial designs that hover somewhere between the real and the abstract, the close-up and the monumental, natural representation and artificiality.