David zwirner gallery (6 risultati)

Hardcover. Condizione: VG. Illustrated boards. 94 pages : illustrations (chiefly color). Published on the occasion of the exhibition: Al Taylor, Early Paintings, held at David Zwirner, 537 West 20th Street, New York, February 24-April 15, 2017. New scholarship by poet and art critic John Yau examines the visual relationships that connect Taylor's paintings, drawings, and sculptural objects, while also reflecting on the art world in New York City during the 1970s. In addition, a conversation conducted by Mimi Thompson between renowned painters Stanley Whitney and Billy Sullivan -- all of whom knew Taylor well during his lifetime -- provides insight into his reputation as an 'artist's artist.' Twenty-six paintings are at the heart of this catalogue -- embodying the subtleties of reduction and restraint, they nonetheless have hints of the idiosyncratic playfulness that would come to characterize Taylor's later works. In some canvases, the artist delineates spatial perspectives by incorporating the wall in shaped compositions where a single color often dominates; elsewhere, it is the interaction of his color juxtapositions and fluid paint application that energize the canvas. Both painterly and sculptural in their address, these works deviate from the usual tropes of abstraction to uniquely engage space, perception, and possess a lyrical rhythm. Contents: Interesting phenomenon / John Yau -- Plates -- Stanley Whitney and Billy Sullivan in conversation with Mimi Thompson : New York, September 26, 2016 -- Biographical chronology / compiled by Debbie Taylor.…

New York. David Zwirner Gallery. KERRY JAMES MARSHALL: History of Painting. 96 pages with 39 color plates. 4to, boards. New York, David Zwirner Books, 2019.

New York, David Zwirner Gallery. YAYOI KUSAMA: I Spend Each Day Embacing Flowers. 168 pages with 103 color and b&w plates. 4to, cloth. New York, David Zwirner Books, 2024. Celebrating the visitor experience, this publication offers an immersive tour of Kusama's 2023 exhibition at David Zwirner New York. Illustrating thirty-five paintings, a gigantic sculptural maze of pumpkin walls, a lush garden of towering flowers, and a fan-favorite Infinity Mirror Room, the result is a book that offers the sense of experiencing the work in person for readers who have not had the chance. New scholarship by Robert Slifkin looks at how Kusama innovates and complicates art historical traditions of image production and how her art seeks to connect humans with the greater cosmos. An essay by Lynn Zelevansky reflects on her own long-standing engagement with Kusama's work and the ways in which it, across the decades, can be seen as a record of love in all its complexity: full of humanity, generosity, affection, sadness, and pain.…

No Binding. Condizione: Very Good. SMALL EXHIBITION CARD, circa 2by3, vv2/0/51.

VG.near fine. hardcovers. no dj. without cuts or rubbings to any edges. collectable condition. no inscriptions or marginalia. delightful clean copy. from the personal collection of a dealer/collector. This catalogue presents numerous large paintings on canvas from the 1960s to the early 1980s, as well as small-scale paintings on paper, to which James Bishop turned exclusively in 1986 and which he continues to produce today. Throughout his career, James Bishop has engaged with European and American traditions of postwar abstraction while developing a subtle, poetic, and highly unique visual language of his own. Alternating between-and at times interweaving-painting and drawing, Bishop's works explore the ambiguities and paradoxes of material opacity and transparency, flatness and spatiality, as well as linear tectonics and loosely composed forms. Privileging the nuanced and expressive qualities of color and scale, Bishop's luminous works have been described by American poet and art critic John Ashbery as "half architecture, half air." Published to coincide with James Bishop's first solo presentation in New York since 1987, which was held at David Zwirner in New York in 2014, this volume includes works spanning the artist's prolific career. In addition, the book includes details and installation views, providing further context for understanding the artist's work. In the early 1960s, Bishop developed the vocabulary of color and form that would characterize his paintings on canvas for over twenty years: a reduced but rich palette, the employment of subtle architectonic abstractions, and a consistently large, square format that reinforces the viewer's sense of scale and space. By overlapping thin but radiant veils of monochrome color, Bishop creates discrete geometric frameworks that suggest doors, windows, cubes, or what the artist describes as an uncertain scaffolding.…

Condizione: Good. 4to. 140 pp. Near Fine. Soft Cover. Illustrated paper wraps. Color plates throughout. Scarce.