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Robert Ryman - gebrauchte Farbe von Suzanne Hudson Erstdruck 2009 HB/DJ
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Standort: Austin, Texas, USA
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eBay-Artikelnr.:267242620986
Artikelmerkmale
- Artikelzustand
- Personalize
- No
- Signed
- No
- Ex Libris
- No
- Narrative Type
- Nonfiction
- Personalized
- No
- Original Language
- English
- Country/Region of Manufacture
- United States
- Inscribed
- No
- Vintage
- No
- ISBN
- 9780262012805
Über dieses Produkt
Product Identifiers
Publisher
MIT Press
ISBN-10
0262012804
ISBN-13
9780262012805
eBay Product ID (ePID)
71122879
Product Key Features
Book Title
Robert Ryman : Used Paint
Number of Pages
328 Pages
Language
English
Topic
Individual Artists / General, History / Contemporary (1945-), Criticism & Theory
Publication Year
2009
Illustrator
Yes
Genre
Art
Book Series
October Bks.
Format
Hardcover
Dimensions
Item Height
1 in
Item Weight
40 oz
Item Length
9.3 in
Item Width
7.2 in
Additional Product Features
Intended Audience
Trade
LCCN
2008-029435
Dewey Edition
22
Reviews
"This is an indispensable study of Ryman's painting, distinguished by its brilliant and original analysis of Ryman's pragmatism. Hudson pries Ryman's work from the silent critical interstices to which it has too often been relegated-stuck between warring critical parties; pinched between postwar art movements that cannot securely encompass it. In doing so, she reveals the non-interchangeable specificity of each and every Ryman painting, showing how each emerges from its own procedural and material moment, how each has a history even as each refuses to contribute to traditional art-historical narrative." -Jennifer L. Roberts, Gardner Cowles Associate Professor of History of Art and Architecture, Harvard University
Grade From
College Graduate Student
Dewey Decimal
759.13
Synopsis
This first book-length study of Robert Ryman argues that his work is a continuous experiment in the possibilities of painting. 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., This first book-length study of Robert Ryman argues that his work is a continuous experiment in the possibilities of painting.
LC Classification Number
ND237.R83H83 2009
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