Tiffany Bell Livres

Canadian-born Agnes Martin was one of the pre-eminent painters of the second half of the twentieth century, whose work has had a significant influence both on artists of her own time and for subsequent generations.

"Well known for his radical "anarchitectural" interventions throughout the 1970s, Gordon Matta-Clark (1943-78) was always deeply, though less publicly, committed to drawing. His works on paper - which span three-dimensional reliefs, calligraphy and notebook entries - capture the interdisciplinary spirit that defined the art world in the 1970s, testifying to his interest in the crossovers between visual and performance arts. This book documents his extraordinary accomplishment as a draftsman. Organized by theme, the catalogue presents selections from Matta-Clark's Cut Drawings, Energy Rooms, Energy Trees and his own "calligraphy," many of which have never been published. Perhaps the best known of the group, the Cut Drawings explore smaller-format versions of his architectural interventions; slicing meticulously through several layers of paper, gesso or cardboard, Matta-Clark created flat sculptural works that emphasized the voids created by extracting matter. Drawings with Matta-Clark's own "calligraphy" emphasize the medium of drawing as an independent form. Some of the most elaborate and colorful compositions include trees, several of which refer to Matta-Clark's Tree Dance performance at Vassar College in 1971. Near-abstract tree shapes also incorporate his calligraphic marks, with branches constructed from imaginary letters. Matta-Clark's Notebooks, which combine elements of Surrealist automatic drawing with an interest in choreography, appealed to performance artists, including Laurie Anderson and Trisha Brown. This unparalleled presentation of Matta-Clark's drawings is accompanied by new scholarship by Briony Fer, as well as an interview with artist Sarah Sze by Jessamyn Fiore, co-director of the Estate of Gordon Matta-Clark."--Amazon.com

Published by The Fruitmarket Gallery to accompany the exhibition, this major book by curator Briony Fer focuses on the themes and ideas in the exhibition. Placing the work, The Eye of Go, at the centre of her thought, Fer asks how far it is possible to think with the work rather than about it. Fully illustrated with many images published here for the first time and new photography made by the artist specially for the book, this is an important addition to current scholarship on Orozco's work.

Published in conjunction with the exhibition in Venice, held at Palazzo Pisani (S. Marina), 4 June-27 November 2011.

Not only did Flavin produce numerous sketches for his light installations, he also regularly drew in the open air, mostly riverscapes and beach scenes. He found drawing “an intensely concentrated personal form of artistic relief.” Flavin’s passion for drawing extended to collecting the works of other artists. From the 19th century, he was particularly attracted to the light and atmosphere of the drawings of the Hudson River school painters, and also Japanese drawings. His drawings by 20th century artists ranged from Piet Mondrian to Donald Judd. His late years are represented by a group of pastels of sails, a subject he turned to in the mid-1980s. Flavin rarely sold or gave away his drawings. Most of the works in the book remained in his studio until the end of his life. Many have never been shown publicly and are being published here for the first time.

Ted Stamm’s paintings, drawings and performative works show the New York artist’s constant engagement with his time and his tireless experimental way of working. He developed a minimalist visual language that often appears strictly geometric and simple, yet conveys a great sense of freedom. His iconic works and cross-media conceptual approaches went on to influence a wide range of artists in the generation that followed. This new monograph on the work of this American artist is the most comprehensive published to date. Examining Ted Stamm’s series and artistic language through essays by renowned scholars that place his work in the context of its time and discuss his contribution to the art historical canon, it provides an in-depth insight into Stamm’s multifaceted oeuvre.

Dan Flavin (1933–1996) kommt aus der Tradition des abstrakten Expressionismus. Bekannt ist er jedoch für seine Skulpturen aus Leuchtstoffröhren. Erstmals werden nun Zeichnungen aus dem Nachlass in einer umfassenden Publikation veröffentlicht, die aus Flavins Sammlung stammen und damit seine enge Bindung an die Tradition bis zurück in das 19. Jahrhundert bewusst machen. Nach einem Ausstellungserfolg in New York ist die seit 1974 erste und in Europa umfassendste monografische Zeichnungsschau von Dan Flavin nun in Bielefeld zu sehen, wo sie um einige repräsentative Lichtskulpturen ergänzt wird.