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Drawing on the primary sources and little known publications from museum archives, collections in the region, and privately owned archives, Art and Visual Culture on the Riviera, 1956-1971 offers the first in-depth study of the Ecole de Nice. The author shows how artists indigenous to the region challenged the dominance of Paris as the national standard at this moment of French decentralization efforts, and growing internationalism in the arts.
How Yves Klein's formative period in Japan formed his dual pursuits of art and judo Yves Klein (1928-62) first traveled to Japan as a young man in 1952, motivated primarily by his interest in judo. During his 15 months abroad, Klein had numerous important creative and philosophical revelations that culminated in the launch of his artistic career upon his return to Paris. Prepared in collaboration with the Yves Klein Archives, this volume details Klein's relationship with Japan through nearly 150 archival documents, photographs and letters, inviting the reader on his journey from martial arts to fine art at the very beginning of his career. Along the way we learn of Klein's important encounters with art critic Takachiyo Uemura, painter Keizo Koyama and design professor Masaki Yamaguchi. Yves Klein: Japan provides essential insight into the origins of Klein's oeuvre as both a groundbreaking visual artist and prolific writer whose short-lived career helped to transform postwar art.
Ithell Colquhoun (1906–1988) is remembered today as a surrealist artist, writer, and occultist. Although her paintings hang in a number of public collections and her gothic novel Goose of Hermogenes (1961) remains in print, critical responses to her work have been severely constrained by the limited availability of her art and writings. The publication of her second novel, I Saw Water—presented here for the first time, together with a selection of her other writings and images, many also previously unpublished—marks a significant step in expanding our knowledge of Colquhoun’s work. Composed almost entirely of material assembled from the author’s dreams, I Saw Water challenges such ...
"In 1964, Erró created his scapes, his 'fundamental pictures', as he called them. He invented a world of flow, of all-over images, a saturation that fills every square inch of the canvas. With scissors and glue, a few carefully selected paintbrushes, and huge format canvases (200 × 300 cm), Erró was 30 years ahead of today's world of networks, emails, chats and tweets. He created the blog-collage before its time, invented a formal structure, taxonomies and a way of seeing. It wasn't until the internet revolution that we eventually 'saw' how new Erró's work was: a paradoxical visual synthesis of acceleration and 'presentism', the two gear-speeds of our perception of time. And this visual ...