Essential source book of documentation of the Conceptual Art, Land Art, Earth Art, Arte Povera, Minimal Art, Performance Art, Video Art movements. Documents the activities, day by day, month by month, year by year of artists including Vito Acconci, Bas Jan Ader, Dennis Adrian, Carl Andre, Eleanor Antin, Keith Arnatt, Art-Language, Richard Artschwager, Michael Asher, David Askevold, John Baldessari, Robert Barry, Frederick Barthelme, N. ... [details]
Artists' book edited by Richard Hamilton of Polaroid portraits taken of Hamilton by fellow artists Roy Lichtenstein, N.E. Thing Co. Ltd., Dieter Rot [Roth], George Brecht, Barry Flanagan, Jim Dine, Joe Tilson, Jim Rosenquist, Claes Oldenburg, Robert Creeley, Francis Bacon, Wolf Vostell, Bill Dopley, Brigid Polk, Andy Warhol, Robert Morris, Jasper Johns, Bob Benson, La Monte Young, Ron Kitaj, Christo, Joseph Beuys, David Hockney, Larry Bell, Bob [Robert] Irwin, Gilbert & George, Henri Cartier-Bresson, Rita Donagh, William [Bill] Katz, Man Ray, Jean Tinguely, Emmett Williams. ... [details]
Set of four exhibition catalogues for the yearly show "Art in Process" at Finch College Museum of Art, Contemporary Study Wing, New York, New York. Each show was organized and curated by Elayne Varian. ... [details]
Issue no. 10/12 of Das Kunstwerk covering the New York art scene, with snapshots of the New York contemporary art and gallery scene in the mid-60s featuring photos of artists at work in their studios and work on display. ... [details]
Exhibition catalogue published in conjunction with show of the personal art collection of Juliana Force held at the Whitney Museum of American Art, September 24 - October 30, 1949. Text by Juliana Force, Herman More, Lloyd Goodrich, John Sloan, Guy Pène du Bois, Alexander Brook, Forbes Watson. ... [details]
Exhibition catalogue for exhibition held at Museum Fodor, Amasterdam, March 20 - April 25, 1971. Stedelijk Museum catalogue #499. "Until 1945 painting in Iceland was almost solely comfined to landscapes and portraits. ... [details]
Reference book for the Herbert F. Johnson Museum of Art Collection. Contributions by Sarah D. Benson, Franklin W. Robinson, Anthony H. Sarmiento, Faith Short, Steven Ames, Warren Bunn, Robert G. Calkins, Nancy E. ... [details]
Critical theory by Andrew Graham-Dixon. "... Graham-Dixon argues decisively against the preconception that the British are not a visual people. Starting with a revelatory account of the almost unknown masterpieces of the Catholic Middle Ages, [Dixon] celebrates the beauty and the brilliance of Britain's artistic heritage - from Thomas Gainsborough to Damien Hirst, William Hogarth to David Hockney, John Constable to Henry Moore. ... [details]
Anthology of critical essays by André Breton. Artists, philosophers, and other figures mentioned in the text include André Breton, Corneille Agrippa, Guillaume Apollinaire, Apulee, Louis Aragon, Alexander Archipenko, Hans Arp, Gaston Bachelard, Honoré de Balzac, Hans Bellmer, Bleuler, Umberto Boccioni, Jérôme Bosch, Constantin Brancusi, Georges Braque, Victor Brauner, Bettina Brentano, Jean-Paul Brisset, Charles de Brosses, Robert Browning, Giordano Bruno, Alexander Calder, Leonora Carrington, Blaise Cendrars, Paul Cezanne, Marc Chagall, Giorgio de Chirico, Cimabue, Joseph Cornell, Piero di Cosimo, Georges Courteline, Charles Cros, Salvador Dali, Paul Delvaux, André Derain, Denis Diderot, Oscar Dominquez, Enrico Donati, Isidore Ducasse, Marcel Duchamp, Raymond Duchamp-Villon, Eckhardt, Albert Einstein, Paul Eluard, Max Ernst, Serge Essenine, Joachim de Flore, Théodore Flournoy, Jean Fouquet, Charles Fourier, Esteban Frances, James George Frazer, Sigmund Freud, von der Gabelentz, Alberto Giacometti, Giotto, Goethe, Arshile Gorky, Mathias Grunewald, Gutenberg, David Hare, S. ... [details]
"How can an art exhibition function as a stand-in for the artists and their studios? How can a gallery project provide greater insight into an artist's practice, the way the formality of a slide lecture or the intimacy of a studio visit can? How can the back-story of the work on display be understood, without being solely reliant on a curatorial statement, catalogue essay or press release? This exhibition allows art to be understood as an ongoing and slippery practice, and less the finite, linear and object-oriented one assumed by the standard exhibition format. ... [details]