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Al Held
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Hans Hofmann
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Hans Hofmann
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David Hockney
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Kenneth Noland
American abstract painter Kenneth Noland (1924-2010) was one of the primary exponents of Color Field painting. In the late 1950s and early 1960s, Noland began using two central motifs that would have enduring significance in his work: the circle and the chevron. These seemingly reductive forms also conjured military badges, corporate logos for cars and other consumer products that were omnipresent in postwar America. Kenneth Noland: Paintings 1958-1968 is the first major publication on the artist since his recent death. In it, art historian Paul Hayes Tucker explores Noland's history as a soldier in the United States Army and his subsequent re-entry into a burgeoning American consumer society, portraying his art as inextricable from atomic age America. The book also features rare photographs of the artist as a young man and full-color reproductions of Noland's early formative work.
Inside New York's Art World
"...[P]rovides a rare opportunity to understand the city's artistic momentum through a series of interviews with some of the leaders of that world" --Back cover.
John McLaughlin Paintings
This long-overdue retrospective book on a pioneer of West Coast abstraction considers John McLaughlin’s body of work and his unique influence on the Los Angeles postwar art scene. For decades before his death in 1976, John McLaughlin steadily produced some of the most fascinating paintings coming out of Southern California. Minimal geometric abstractions characterized by clean lines, bold colors, and flat, intersecting forms, McLaughlin’s paintings investigate symmetry and composition, and are largely informed by the Japanese notion of ma—the special emptiness between forms. Generously illustrated with more than 80 images, the book features reproductions of the self-taught artist’s works and celebrates their simple beauty and precision. In addition, insightful essays explore McLaughlin’s relative obscurity in the pantheon of 20th-century American artists, his influence on contemporaries and later artists, and the role of Asian art and philosophy in McLaughlin’s practice.
