Robert Ryman: Used Paint

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9780262012805: Robert Ryman: Used Paint

In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his recent gallery shows. Ryman's largely white-on-white paintings represent his careful working over of painting's conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting was conducted as a continuous personal investigation. Ryman's method--an act of "learning by doing"--as well as his conception of painting as "used paint" sets him apart from second-generation abstract expressionists, minimalists, or conceptualists.Ryman (born in 1930) is a self-taught artist who began to paint in earnest while working as a guard at the Museum of Modern Art in New York in the 1950s. Hudson argues that Ryman's approach to painting developed from quotidian contact with the story of modern painting as assembled by MoMA director and curator Alfred Barr and rendered widely accessible by director of the education department Victor D'Amico and colleagues. Ryman's introduction to artistic practice within the (white) walls of MoMA, Hudson contends, was shaped by an institutional ethos of experiential learning. (Others who worked at the MoMA during these years include Lucy Lippard, who married Ryman in 1961; Dan Flavin, another guard; and Sol LeWitt, a desk assistant.)Hudson's chapters--"Primer," "Paint," "Support," "Edge," and "Wall," named after the most basic elements of the artist's work--eloquently explore Ryman's ongoing experiment in what makes a painting a painting. Ryman's work, she writes, tests the medium's material and conceptual possibilities. It signals neither the end of painting nor guarantees its continued longevity but keeps the prospect of painting an open question, answerable only through the production of new paintings.

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Hudson, Suzanne P.
Editore: The MIT Press
ISBN 10: 0262012804 ISBN 13: 9780262012805
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Descrizione libro The MIT Press. Hardcover. Condizione libro: New. 0262012804 Brand New Book. Ships from the United States. 30 Day Satisfaction Guarantee!. Codice libro della libreria 4730398

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Suzanne P. Hudson
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Descrizione libro MIT Press. Condizione libro: New. Brand New. Codice libro della libreria 0262012804

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Suzanne P Hudson
Editore: MIT Press (2009)
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Descrizione libro MIT Press, 2009. HRD. Condizione libro: New. New Book.Shipped from US within 10 to 14 business days. Established seller since 2000. Codice libro della libreria IB-9780262012805

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Descrizione libro MIT Press Ltd, United States, 2009. Hardback. Condizione libro: New. 236 x 188 mm. Language: English . Brand New Book. In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist s production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his recent gallery shows. Ryman s largely white-on-white paintings represent his careful working over of painting s conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting was conducted as a continuous personal investigation. Ryman s method -- an act of learning by doing -- as well as his conception of painting as used paint sets him apart from second-generation abstract expressionists, minimalists, or conceptualists. Ryman (born in 1930) is a self-taught artist who began to paint in earnest while working as a guard at the Museum of Modern Art in New York in the 1950s. Hudson argues that Ryman s approach to painting developed from quotidian contact with the story of modern painting as assembled by MoMA director and curator Alfred Barr and rendered widely accessible by director of the education department Victor D Amico and colleagues. Ryman s introduction to artistic practice within the (white) walls of MoMA, Hudson contends, was shaped by an institutional ethos of experiential learning. (Others who worked at the MoMA during these years include Lucy Lippard, who married Ryman in 1961; Dan Flavin, another guard; and Sol LeWitt, a desk assistant.) Hudson s chapters -- Primer, Paint, Support, Edge, and Wall, named after the most basic elements of the artist s work -- eloquently explore Ryman s ongoing experiment in what makes a painting a painting. Ryman s work, she writes, tests the medium s material and conceptual possibilities. It signals neither the end of painting nor guarantees its continued longevity but keeps the prospect of painting an open question, answerable only through the production of new paintings. Codice libro della libreria AAS9780262012805

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Suzanne P. Hudson
Editore: MIT Press Ltd, United States (2009)
ISBN 10: 0262012804 ISBN 13: 9780262012805
Nuovi Rilegato Quantità: 1
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Descrizione libro MIT Press Ltd, United States, 2009. Hardback. Condizione libro: New. 236 x 188 mm. Language: English . Brand New Book. In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist s production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his recent gallery shows. Ryman s largely white-on-white paintings represent his careful working over of painting s conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting was conducted as a continuous personal investigation. Ryman s method -- an act of learning by doing -- as well as his conception of painting as used paint sets him apart from second-generation abstract expressionists, minimalists, or conceptualists. Ryman (born in 1930) is a self-taught artist who began to paint in earnest while working as a guard at the Museum of Modern Art in New York in the 1950s. Hudson argues that Ryman s approach to painting developed from quotidian contact with the story of modern painting as assembled by MoMA director and curator Alfred Barr and rendered widely accessible by director of the education department Victor D Amico and colleagues. Ryman s introduction to artistic practice within the (white) walls of MoMA, Hudson contends, was shaped by an institutional ethos of experiential learning. (Others who worked at the MoMA during these years include Lucy Lippard, who married Ryman in 1961; Dan Flavin, another guard; and Sol LeWitt, a desk assistant.) Hudson s chapters -- Primer, Paint, Support, Edge, and Wall, named after the most basic elements of the artist s work -- eloquently explore Ryman s ongoing experiment in what makes a painting a painting. Ryman s work, she writes, tests the medium s material and conceptual possibilities. It signals neither the end of painting nor guarantees its continued longevity but keeps the prospect of painting an open question, answerable only through the production of new paintings. Codice libro della libreria AAS9780262012805

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Suzanne P Hudson
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Descrizione libro MIT Press, 2009. HRD. Condizione libro: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Codice libro della libreria BB-9780262012805

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Descrizione libro The MIT Press, 2009. Hardcover. Condizione libro: New. Codice libro della libreria 0262012804

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Suzanne P. Hudson
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Descrizione libro MIT Press Ltd 2009-03-03, Cambridge, Mass., 2009. hardback. Condizione libro: New. Codice libro della libreria 9780262012805

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Hudson, Suzanne Perling
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Descrizione libro Condizione libro: New. Depending on your location, this item may ship from the US or UK. Codice libro della libreria 97802620128050000000

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Suzanne Perling Hudson
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Descrizione libro Hardcover. Condizione libro: New. 185mm x 28mm x 234mm. Hardcover. In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or repro.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 315 pages. 1.111. Codice libro della libreria 9780262012805

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