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The Art of Tomorrow Today
"The Art Centre was founded in 1968 as a result of a unique donation by Sonja Henie and Niels Onstad. Part of their donation was their art collection, expanding over a period of fifty years from 1912 throuqh to the 1960s. For the first time this Core Collection of the Henie Onstad Art Centre is the focus of a publication, presented here together with a small selection of other artworks that have been chosen over the years." "From the very start the Henie Onstad Art Centre has played an important role as a national and international arena for the development of new forms of expression within the fields of music and performance, as well as the visual arts. However, the collection has always played a major role, and this book gives an exciting insight into this crucial aspect of the Art Centre." --Book Jacket.
Making Time
Between March and October of 1968 Picasso produced 347 etchings in varying sizes and techniques. Uncharacteristically, he did very little drawing and almost no painting during that year. He abandoned sculpture altogether. Instead he turened his gaze almost entirely in the direction of the etchings. His concentration on them to the exclusion of other media marks Suite 347 as a particularly condensed site for the construction of meaning. One of the aims of this book is to establish how and under what conditions he contructed that meaning.
Contemporary Artists
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Encyclopedia of Interior Design
First published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
On the Road
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Joseph Beuys
Joseph Beuys was an influential thinker and teacher among artists of his generation. His dictum 'Everyone is an artist' belied a singular talent for merging media and ideas. This book highlights a selection of his posters and includes a catalog of his entire oeuvre in the field.
人+間
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Brice Marden
Linda Shearer penned the feature essay for this catalogue, published on the occasion of Brice Marden's first solo museum exhibition which explores the artist's early education as a painter in New York, his modulations of color, and the elusive question of meaning in his canvases. The essay is paired with installation views from previous exhibitions, followed by images of works in black and white and a technical statement on process provided by Marden. The catalogue also includes an exhibition checklist, short biography, and an extensive bibliography of works by and on the artis.
