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Avec ses couleurs audacieuses, son imagerie flashy et son esprit sarcastique, le pop art dépasse les frontières traditionnelles de la culture classique. Flavia Frigeri nous présente un mouvement centré sur les objets du quotidien, depuis ses débuts dans le consumérisme américain et britannique de l ’après-guerre (Richard Hamilton, Roy Lichtenstein, Andy Warhol) jusqu’à sa fascinante ascension mondiale dans les années 1960 (le japonais Ushio Shinohara, la vénézuélienne Marisol, l’argentine Marta Minujín...). Organisé autour des grands thèmes du pop art (publicité, politique, maison, biens de consommation, histoire de l’art, culture des célébrités, guerre et course à l’espace), cet ouvrage est une introduction essentielle au mouvement qui transforme le «populaire» en art.
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Across decades of intense creative production, Alex Katz has sought to capture a state of “absolute awareness” in paint. Whether evoking a glancing exchange between friends or a shaft of light filtered through trees, he has aimed to create a record of “quick things passing,” compressing the flux of everyday life into a condensed burst of optical perception. Published on the occasion of the artist’s first US career retrospective in more than 30 years, Alex Katz: Gathering offers a definitive account of Katz’s artistic project, demonstrating both its marked coherence and restless evolution. Generously illustrated, the book features the full breadth of the artist’s work across mediums and formats, from intimate sketches of riders on the New York City subway in the late 1940s to the rapturous, monumentally scaled landscapes that have dominated his recent production. Essays by artists, writers and art historians offer fresh, authoritative overviews of the artist’s practice alongside more focused considerations of specific facets of his art, including his flower paintings, collages, prints, freestanding “cutouts” and set design collaborations with the Paul Taylor Dance Company. A sourcebook of historical reviews, essays and poems rounds out the volume, which offers an overdue reassessment of the artist’s oeuvre.
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Wayne Thiebaud’s (1920–21) iconic still lifes of pies, cakes, gumball machines and lipsticks critically reflect on the promise of the American dream: a society of plenty where supply exceeds demand. Thiebaud depicted these objects as mass-produced commodities rather than idealized entities, updating the still life genre for the modern age. He achieved this effect through serial repetition and synthetic colors and by applying his paint impasto-style; Thiebaud quite literally spread the frosting effects onto his famous cakes. This catalog, published in tandem with the exhibition at Foundation Beyeler in Switzerland, presents all aspects of the legendary American artist’s oeuvre, including his still lifes and portraits, as well as his deserted, multiperspectival cityscapes and river landscapes. All his paintings, rendered in luminous pastels, exude a peculiar flavor of summertime sadness.