For more than 60 years, Jasper Johns (b. 1930) has remained a singular figure in contemporary art. His most widely influential work—depictions of everyday objects and signs such as flags, targets, flashlights, and lightbulbs—helped change the face of the art world in the 1950s by introducing subject matter that stood in contrast to the prevailing style of Abstract Expressionism. In subsequent decades, Johns’s art has increasingly engaged issues of memory and mortality, often incorporating references to admired artistic predecessors. This definitive 5-volume catalogue raisonné documents the entire body of painting and sculpture made by Johns from 1954 through 2014, encompassing 355 paintings and 86 sculptures. Each work is illustrated with a full-page reproduction, nearly all of which were commissioned expressly for this publication. A decade of research underpins the project, with thorough documentation of each object and an overarching monograph that represents the most comprehensive study of the artist’s work to date. All facets of the catalogue reflect the input of the artist, who worked closely with the author at all stages.
Under the seminal direction of Irving Blum, Ferus Gallery quickly became one of the leading galleries on the West Coast, showing important and groundbreaking works—including Andy Warhol’s Campbell’s Soup Cans, Roy Lichtenstein’s Drowning Girl, and Ed Ruscha’s Los Angeles County Museum on Fire—and helping to launch the American Pop movement. The book was first published on the occasion of the 2002 exhibition of the same name at Gagosian’s Chelsea gallery. A timeline documenting the Ferus gallery’s history opens the fully illustrated catalogue, followed by an interview with Irving Blum by Roberta Bernstein and a critical discussion of Warhol’s Campbell’s soup can paintings by Kirk Varnedoe. This hardcover edition is 148 pages, with 93 color and 67 black-and-white reproductions, including evocative documentary photography by Dennis Hopper.
Exhibition catalogue published in conjunction with show held at the Fine Arts Building, New York, May 15 – May 25, 1976. Organized by Marina Urbach. Artists include Cecile Abish, Vito Acconci, Laurie Anderson, Jacki Apple, Barbara Bloom, Jonathan Borofsky, Mary Beth Edelson, Tina Girouard, Suzanne Harris, Angels Ribe, Dennis Oppenheim, Hannah Wilke, and Martha Wilson. With an interview between Roberta Bernstein and Marina Urbach. Writing by Timothy Binkley, Lucy R. Lippard, Susan Sontag. Includes conversations between many of the artists and Urbach and other artists in the exhibition. Illustrated in black-and-white.
Red Green Blue is almost the title of a 1963 painting by Ellsworth Kelly. Red Blue Green, a monumental rectangular oil work, considered a crucial fulcrum point in the artist’s career, represents Kelly’s concerns about the tension between the figure and the ground, offering two precisely shaped and balanced red and blue forms set against a strongly contrasting green ground. Working within a strict set of limits, he created a string of similarly grand, powerful works and defined many of the ideas about line, form, and color that still drive his work today. These works, made from the late 50s to the mid-60s, established the artist’s singular style and his reputation as one of the most innovative abstract painters of the latter half of the 20th century, one who boldly broke with the strictures of the abstract expressionist movement, which dominated painting in the United States in the 50s. Exploring the complex interplay of invented and real-world inspirations that led to this body of figure/ground paintings, this volume presents a selection of 21 major paintings and 36 related drawings, collages, and photographs from that time period, as well as a new painting from 2002 that reexamines related concerns. Instead of making a picture that was an interpretation of a thing seen, or a picture of invented content, I found an object and “presented” it as itself alone. –Ellsworth Kelly Edited by Toby Kamps and Julie Dunn. Essays by Roberta Bernstein and Sarah K. Rich, Toby Kamps and Dave Hickey. Introduction by Hugh M. Davies.
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