James Sampson Meyer Livres

Artists, architects, art historians, critics, and curators explore the work of Donald Judd as both artist and critic in essays spanning all of Judd's career.Donald Judd (1928-1994) is one of the most influential American artists of the postwar era. Beginning in the 1960s, he developed new ideas about art--in both his works and writings--that challenged many of modernism's core tenets by resisting the categories of painting and sculpture. Judd described this work as specific objects. Critics labeled it minimalism. Perhaps because Judd's own critical writings provide a discursive framework for his work, some of the monographic essays on his work are not widely known. This volume collects critical and scholarly writings on Judd, examining his work as both artist and critic.

Minimalism offers the first straightforward and useful summary of the output and outlook of the artists associated with minimalism in its heyday, as well as its subsequent development into more nuanced visual forms and its relationship to postmodernism. Editor James Meyer is a specialist who has written extensively on Carl Andre, Donald Judd, Dan Flavin, and Sol LeWitt, four of the seminal minimalists (the fifth is Robert Morris). Despite the intellectual thorniness of this art, Meyer avoids the turgidity that marks much of the writing associated with it. Tracing the origins of minimalism primarily to Frank Stella's "Black Paintings" of 1959, Meyer outlines the shifting, often warring definitions of this new kind of art. Once sculptors Andre and Judd had made their mark, there was doubt that painters could be minimalists. Brice Marden and Robert Ryman made the cut because their work was believed to be purely about the process of painting. Interestingly, although this was overwhelmingly a male club, curators also initially embraced the work of several women artists (including Agnes Martin and Anne Truitt) who retained such minimalist no-noes as irregular, handmade marks, color that could be perceived independently of form, and a belief in transcendent meaning.

Exploring the concept of the "double," this book delves into its significance in modern and contemporary art. It analyzes how artists utilize this motif to reflect themes of identity, duality, and perception, offering insights into the psychological and cultural implications of the double. Through various artworks and critical perspectives, the text reveals the complexities of representation and the ways in which the double challenges traditional notions of self and reality in artistic expression.

The narrative follows a character grappling with guilt and the weight of impending execution, only to encounter a mysterious hooded figure offering freedom instead of death. As he navigates complex spiritual battles, he faces the challenge of leading his followers against powerful ideologies while embodying love and grace. The story intertwines themes of intrigue, suspense, and spiritual warfare, reflecting the author's experiences as a retired consultant and active member of his community, drawing parallels between biblical teachings and contemporary issues.

Focusing on the restoration of ancient language, this version of the Scriptures emphasizes the intricacies often lost in modern translations. The text, titled Zikarown, highlights the importance of rehearsal as a means of instruction for eternal life. It incorporates the original names of Yahweh and Yahshua, presented in the Bora Paleo Hebrew font, enriching the reading experience. This memorial book aims to connect readers to the deeper meanings and traditions of the Scriptures.

This is the catalogue for an exhibition organized by the National Gallery of Art in Washington, DC, which explores the considerable contributions of Virginia Dwan and her legendary gallery to post-WWII American art.It is being carefully curated by Press author James Meyer. Founded by Virginia Dwan in 1959, the Dwan Gallery was a leading avant-garde space with locations in Los Angeles and New York, presenting the art of Franz Kline, Robert Rauschenberg, Claes Oldenburg, Sol LeWitt, and Robert Smithson, among others. Where the Los Angeles gallery featured abstract expressionism, neo-dada, and Pop, the New York branch reflected the emerging movements of minimalism, conceptualism, and land art. The activities of the Dwan Gallery transpired not just in and between Los Angeles, New York, and Paris, but also in the wilderness of the American West, where Dwan fostered a new genre of art known as earthworks (land art). A keen follower of the Parisian art scene, Dwan also gave many nouveaux realistes such as Yves Klein their debut shows in the United States."