Published by Univ of California Press on 07/22/1968
Book details: 664 pages.
Exhibits of kinetic sculpture.
Published by Univ of California Press on 07/22/1966
Book details: 78 pages.
Traces the development of Expressionism in Dresden, Munich, and Vienna between 1905 and 1914
Published by Univ of California Press on 10/02/1974
Book details: 379 pages.
"The Art of Engagement represents a singular contribution to debates about the politics of art in California and far beyond."—Derrick R. Cartwright, author of Benjamin West: Allegory and Allegiance and co-author of Luis Gispert/Loud Image, and An Interlude in Giverny "This book's combination of California as a subject, especially the social and political components, with the visual arts, makes it of wide interest to both scholars and general readers."—Paul J. Karlstrom, editor of On the Edge of America
Published by Univ of California Press on 01/09/2006
Book details: 298 pages.
Enth. u. a.: S. 74: Concrete art (1936-49) / Max Bill. - S. 74-77: The mathematical approach in contemporary art (1949) / Max Bill. - S. 301-304: Dieter Roth.
Published by Univ of California Press on 07/22/1996
Book details: 1003 pages.
A personal account largely based on first-person perspectives traces Selz's life from his experiences as a Jewish-German immigrant from Hitler's Munich to his achievements as a pioneer historian of modern art, offering insight into the influences of historical events on his career and the controversial viewpoints that sometimes isolated him from his colleagues.
Published by Univ of California Press on 01/01/2012
Book details: 286 pages.
The life and art of American artist Nathan Oliveira is laid bare in this fascinating study of the master painter and printmaker and is accompanied by more than one hundred full-color illustrations and seventy black-and-white photographs.
Published by Univ of California Press on 03/12/2002
Book details: 238 pages.
Published by Walter de Gruyter on 02/21/2014
Book details: 991 pages.
Models of Integrity examines the relationship between contemporary art and the law through the lens of integrity. In the 1960s, artists began to engage conspicuously with legal ideas, rituals, and documents. The law—a primary institution subject to intense moral and political scrutiny—was a widely recognized source of authority to audiences inside the art world and out. Artists frequently engaged with the law in ways that signaled a recuperation of the integrity that they believed had been compromised by the very institutions entrusted with establishing standards of just conduct. These artists sought to convey the social purpose of an artwork without overstating its political impact and without losing sight of how aesthetic decisions compel audiences to see their everyday world differently. Addressing the role that law plays in enabling artworks to function as social and political forces, this important book fills a gap in the field of law and the humanities, and will serve as a practical “how-to” for contemporary artists.
Published by University of California Press on 02/12/2019
Book details: 320 pages.
Conceived as a challenge to long-standing conventional wisdom, Creating the Future is a work of social history/cultural criticism that examines the premise that the progress of art in Los Angeles ceased during the 1970s—after the decline of the Ferus Gallery, the scattering of its stable of artists (Robert Irwin, Ed Kienholz, Ed Moses, Ed Rusha and others), and the economic struggles throughout the decade—and didn’t resume until sometime around 1984 when Mark Tansey, Alison Saar, Judy Fiskin, Carrie Mae Weems, David Salle, Manuel Ocampo, among others became stars in an exploding art market. However, this is far from the reality of the L.A. art scene in the 1970s. The passing of those fashionable 1960s-era icons, in fact, allowed the development of a chaotic array of outlandish and independent voices, marginalized communities, and energetic, sometimes bizarre visions that thrived during the stagnant 1970s. Fallon’s narrative describes and celebrates, through twelve thematically arranged chapters, the wide range of intriguing artists and the world—not just the objects—they created. He reveals the deeper, more culturally dynamic truth about a significant moment in American art history, presenting an alternative story of stubborn creativity in the face of widespread ignorance and misapprehension among the art cognoscenti, who dismissed the 1970s in Los Angeles as a time of dissipation and decline. Coming into being right before their eyes was an ardent local feminist art movement, which had lasting influence on the direction of art across the nation; an emerging Chicano Art movement, spreading Chicano murals across Los Angeles and to other major cities; a new and more modern vision for the role and look of public art; a slow consolidation of local street sensibilities, car fetishism, gang and punk aesthetics into the earliest version of what would later become the “Lowbrow” art movement; the subversive co-opting, in full view of Pop Art, of the values, aesthetics, and imagery of Tinseltown by a number of young and innovative local artists who would go on to greater national renown; and a number of independent voices who, lacking the support structures of an art movement or artist cohort, pursued their brilliant artistic visions in near-isolation. Despite the lack of attention, these artists would later reemerge as visionary signposts to many later trends in art. Their work would prove more interesting, more lastingly influential, and vastly more important than ever imagined or expected by those who saw it or even by those who created it in 1970’s Los Angeles. Creating the Future is a visionary work that seeks to recapture this important decade and its influence on today’s generation of artists.
Published by Counterpoint on 08/18/2014
Book details: 400 pages.