The Chinati Foundation is widely considered one of the world's most important destinations for experiencing large-scale contemporary art. It was founded by Donald Judd (1928-1994), whose specific ambition was to preserve and present a select number of permanent installations that were inextricably linked to the surrounding landscape.
In these portraits, made by Christopher Makos (born 1948), the gender-transgressive themes of the 1980s collide with the spirit of Man Ray's famous "Rrose Selavy" pictures of Marcel Duchamp as a coy Parisian lady.
Eva Hesse and Sol LeWitt formed a close friendship between the late 1950s and Hesse?s death in 1970. Converging Lines celebrates this friendship and offers an illuminating look at their close-knit New York circle.
In these writings, Hirschhorn discusses the full range of his art, from works on paper to the massive Presence and Productionprojects in public spaces. "Statements and Letters" address broad themes of aesthetic philosophy, politics, and art historical commitments.
Just as Carl Andre's sculptures are "cuts" of elemental materials, his writings are condensed expressions, "cuts" of language that emphasize the part rather than the whole. Andre, a central figure in minimalism and one of the most influential sculptors of our time, does not produce the usual critical essay. He has said that he is "not a writer of prose," and the texts included in Cuts -- the most comprehensive collection of his writings yet published -- appear in a wide variety of forms that are pithy and poetic rather than prosaic.
Dan Flavin Dia artists Rainer Fuchs
Hatje Cantz Verlag
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The years 1955-1965 saw artists wreaking havoc with the parameters of painting. If Abstract Expressionists had proposed art as the manipulation of paint on a flat plane, the American artist Dan Flavin further refined art as the manipulation of light itself.
Known for his signature use of commercial fluorescent light fixtures, Dan Flavin in the early 1960s created eight wall-mounted pieces which he called Icons: monochrome wooden crates, onto which he mounted colored light bulbs or light fixtures. They bring to mind the interface between the religious mysticism of light, the illuminated billboards on Broadway and the neon shrines of popular art.