WANDA GAG


Book Description

"One of the most praised printmakers of the 1920s and 1930s, Wanda Gag (1893-1946) produced an inventive body of work dealing with the forces of nature and infusing everyday objects with special character and energy. Her work reflects her Minnesota childhood, her Bohemian immigrant roots, and her self-image as a New Woman. Continually struggling with the financial and personal demands of her artistic career, Gag was, ironically, most famous for Millions of Cats (1928), one of her illustrated children's books." "Presenting the first catalogue raisonne of Gag's prints, Audur H. Winnan includes 196 lithographs, wood engravings, linoleum cuts, etchings, and study drawings. Among the featured prints are the well-known Lamplight, Elevated Station, Grandma's Kitchen, Grandma's Parlor, and Stone Crusher. Gag's media and methods are described, often in the artist's own words, including her unusual use of sandpaper as a matrix for lithographs and as a support for brush-and-ink drawings and watercolors. Also featuring many of her watercolors and drawings, the book traces each step of Gag's career and her role in the New York art world." "Winnan completes her portrait with selections from Gag's expressive diaries and letters. With extraordinary candor the artist describes her intimate personal thoughts and experiences and her friendships and encounters with many notable artists and other personalities, including Adolf Dehn, Lewis Gannett, Howard Cook, Rockwell Kent, John Marin, Georgia O'Keeffe, Diego Rivera, Alfred Stieglitz, John Taylor Arms, and Carl Zigrosser. Throughout her personal writings, Gag reflected on her career, the restrictions placed on women by society, and her sexual desires. Wanda Gag reveals both the internationally recognized artist who drew inspiration from van Gogh and Cezanne, and the vibrant, erotic woman who admitted to being amazed by her own passions."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved




Hilma Af Klint: the Complete Catalogue Raisonné


Book Description

Hilma af Klint became known to a wider audience in 2013, nearly 70 years after her death, in conjunction with Moderna Museet's Stockholm exhibition Hilma af Klint: Abstract Pioneer. Six years later, her work was exhibited at the Guggenheim Museum in New York. Both exhibitions saw record numbers of visitors, and today she is one of the world's most acclaimed artists. Hilma af Klint has become incredibly popular and beloved throughout the world, notes Daniel Birnbaum, co-editor with Kurt Almqvist. What makes her art interesting is that the works are highly interconnected. A catalogue raisonné is necessary in order to see the different cycles, motifs and symbols that recur in a fascinating way. If people want to truly understand how Hilma af Klint's works function, they need these books. The paintings in the catalogue raisonné are presented in the same order as Olof Sundström, also a follower of anthroposophy, numbered them in 1945, based on Hilma af Klint's notes. The forewords to the volumes are short and concise. They present facts about the works rather than interpretations. The works are printed in an exclusive edition designed by Patric Leo housed in a specially produced slipcase to hold all seven volumes. These books will be essential in all future research on Hilma af Klint's artistry --- Daniel Birnbaum. Today Hilma af Klint is recognised as one of the world's most esteemed artists - an unprecedented triumph. Hilma af Klint's time is now. Her art has become an important part of our Swedish cultural heritage. Few artists have been given the privilege of a catalogue raisonné. Thanks to Bokförlaget Stolpe's comprehensive work, we now have the opportunity to become acquainted with the entirety of Hilma af Klint's artistry. This would not have been possible without the support of the Axel and Margaret Ax:son Johnson Foundation for Public Benefit. As chairman of The Hilma af Klint Foundation, I would like to convey my warmest thanks. -- Ulrika af Klint, Chair, The Hilma af Klint Foundation.













Selected Reference Books


Book Description




Gary Hill


Book Description

"Time, this is what is central to video, it is not seeing as its etymological roots imply. Video's intrinsic principle is feedback." -- Gary Hill (From "Inter-view") For more than twenty years Gary Hill has been at the cutting edge of video, often setting the terms for its development and pointing it in new, exciting directions. Since the mid-eighties, Hill has established himself as one of the major voices in the medium. His work has been the focus of major exhibitions and retrospectives at museums in Europe and the United States, including the Guggenheim Museum in Soho, the Whitney Biennial, and the Lyon Museum in France. He has received numerous awards, including the coveted MacArthur Award (1998). Hill's work focuses on the poetic and philosophical implications of temporal perception. Tall Ships, for example, is a large-scale video installation that presents haunting images of isolated human figures in a darkened corridor, seen from a distance, then close up. Hill's representation of time in videos is partly informed by his adolescent experiences as a surfer in Southern California: his Learning Curve series invites the viewer to sit at the end of a long table and watch a black-and-white projection of a wave folding and unfolding upon itself. Other themes in Hill's work include meditations on the self-referentiality of the medium and explorations of the connections and conflicts between language and image. This new volume in PAJ's Art + Performance series is the first critical edition devoted to Hill's work. Edited by Robert C. Morgan, it anthologizes a number of critical essays tracing Hill's reception from the mid-seventies to today, a series of informative interviews, aswell as a selection of Hill's writings -- revealing him as an original and articulate thinker. The book also offers a detailed chronology of Hill's career, a bibliography and videography, and twenty-five photos from his installations. Morgan's introduction traces Hill's emergence as an artist out of the sixties' counter-culture and explores how his work creates dialogues with philosophers as diverse as Heidegger, Blanchot, Derrida, and Marshall McLuhan.







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