A catalogue of the exhibition from March 5 to April 19, 1977, Heiner Friedrich, Inc., New York.
Published by Lone Star Foundation, 1977.
Drawings by Donald Judd. Architectural Drawings by Alessandra Latour.
Like no other sculptor today, Donald Judd has informed our understanding of art and its relationship to space. Documented here for the first time is this very crucial development, from the early work of the 1950s to 1968, the point at which Judd's artistic vocabulary reached its complete formation. Numerous works, including previously unrecorded paintings, sculptures, sketches, and works on paper, appear here alongside unpublished documents and texts by Judd himself.
Fluxus-from the Latin, meaning "to flow"-was a radical, international network of artists, composers, and designers in the 1960s and 1970s noted for blurring the boundaries between what we term "art" and what makes up everyday life. Following the work of American Fluxus founder George Maciunus, Fluxus and the Essential Questions of Life presents a variety of objects that express the Fluxus mission, while empowering readers to challenge the presumptions we bring to the concept and practice of art making.
From the elegant embossed cover through hundreds of stunning color photographs,
this volume is a fitting tribute to the contemporary Mexican architect J. Francisco Serrano, whose career began in 1959 and, 40 years later, shows no sign of slowing down.
In addition to a selection of drawings, the works documented in this well-edited monograph range from smaller-scale metal works made while Sandback was a student at Yale to later installations that engage entire rooms, demonstrating the development of his signature vocabulary of forms from 1969 to 2001.
A catalogue featuring American artist Fred Sandback (1943-2003) with works dating from 1967 to 2003. Known for sculptures that outline imaginary planes and volumes in space with colored yarn, Sandback's work is informed by a rigorously minimal artistic vocabulary.
Lawrence Weiner's art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual art of the late 60s, yet he does not see his own work as "conceptual." The "space" he works within is the entire cultural context, and his works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and outdoors, and more.