For the past thirty years Judy Pfaff's challenging and imaginative installations have set the pace during a dynamic and changing period in contemporary art. This richly illustrated book offers the first thorough look at the career of this influential artist who helped bring the revolutionary liveliness of the late 20th century to the walls and spaces of galleries and museums.
On the history of a pioneering installation-art space Long before it became commonplace, Rice Gallery was one of a handful of spaces in the US devoted to commissioning site-specific installation art. This book documents works by artists including El Anatsui, Shigeru Ban, Tara Donovan, Nicole Eisenman, Yayoi Kusama, Sol LeWitt and Judy Pfaff.
"Why Have There Been No Great Women Artists?" asked the prominent art historian Linda Nochlin in a provocative 1971 essay. Today her insightful critique serves as a benchmark against which the progress of women artists may be measured. In this book, four prominent critics and curators describe the impact of women artists on contemporary art since the advent of the feminist movement.
This facsimile edition collects all 19 issues of 'Art-Rite' magazine, edited by art critics Walter Robinson and Edit DeAk from 1973 to 1978. Robinson, DeAk and a third editor, Joshua Cohn, met as art history students at Columbia University, and were inspired to found the magazine by their art criticism teacher, Brian O'Doherty. 'Art-Rite', cheaply produced on newsprint, served as an important alternative to the established art magazines of the period. 'Art-Rite' ran for only five years, and published only 19 issues. But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's-who of 1970s art: Yvonne Rainer, Gordon Matta-Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing. Through its single-artist issues and its thematic issues on performance, video and artists' books, 'Art-Rite' championed the new art of its era.
What was your earliest childhood artwork that received recognition? When did you first consider yourself a professional artist? How has your studio's location influenced your work? How do you choose titles? Do you have a favorite color? Joe Fig asked a wide range of celebrated artists these and many other questions during the illuminating studio visits documented in Inside the Artist's Studio—the follow-up to his acclaimed 2009 book, Inside the Painter's Studio. In this remarkable collection, twenty-four painters, video and mixed-media artists, sculptors, and photographers reveal highly idiosyncratic production tools and techniques, as well as quotidian habits and strategies for getting work done: the music they listen to; the hours they keep; and the relationships with gallerists and curators, friends, family, and fellow artists that sustain them outside the studio.
"Balancing intense planning with improvisational decision-making, Judy Pfaff creates exuberant, sprawling sculptures and installations that weave landscape, architecture, and synthetic color into a tense yet organic whole. A pioneer of installation art in the 1970s, Pfaff synthesizes sculpture, painting, and architecture into dynamic environments in which space seems to expand and collapse, fluctuating between two and three dimensions." - Text from Art Babble (see link).
What would a visual image of a philosophical idea look like? Aren't philosophical concepts, by virtue of their very abstractness, incapable of being rendered visually? These are some of the questions raised in this catalogue of an exhibition at the Mount Holyoke College Art Museum, Mel Bochner: Illustrating Philosophy, which examines a specific project by the renowned conceptual artist. Curator and author Thomas E. Wartenberg explores Bochner's prints and drawings inspired by the writings of philosopher Ludwig Wittgenstein, a suite of which was published as illustrations to the 1991 Arion Press edition of On Certainty. Through his sensitive analysis, Wartenberg shows how Bochner translates Wittgenstein's revolutionary claims about knowledge and doubt into visual images. Bochner's work presents an important corrective to a view of book illustrations as a crutch for understanding an author's meaning. Illustrations, in fact, can provide an alternative means of access to complex, even abstract ideas. This book will interest an academic audience, particularly in the areas of philosophy, art and art history, linguistics, and word and image studies.
