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Aaron
Fink
OUT
OF THE ORDINARY
$65 $42.25
Essay
by Eleanor Heartney
203
color plates, 12 x 10", hardcover
This beautiful, deluxe 230-page art book
features the work of major artist, Boston-born painter Aaron
Fink. Eleanor Heartney, features writer for Art in America,
has written the definitive essay on Aaron Fink's work around
which the book is fashioned. The book contains 203 color
plates each exhibiting Fink's expertise with paint, color,
stroke and texture. The strength of this painterly skill
in creating evocative illusions of form of ordinary commonplace
objects draws a wide range of audience. Finks art appeals
to a broad audience because of its subject matter while
his technique and execution are widely regarded as masterful.
Aaron Fink has gained recognition through the masterful
painting of objects we all know, use and see daily. The
universality of this subject matter i.e.: fruit, flowers,
sandwiches, matrches, light bulbs, coffee cups, etc. coupled
with his widely recognized artistic virtuosity within different
media draws the viewer into a personal and intimate relationship
with each work.
Fink is in major museum collections such as the Metropolitan
Museum of Art, NY; Museum of Fine Arts, Boston; Museum of
Modern Art, NY; Philadelphia Museum of Art; Fogg Museum,
Harvard University, Cambridge, MA; National Gallery of Art,
Washington DC and the Denver Museum of Art. Fink's work
is also in collections of the New York Public Library, Sundance
Institute, Paine Webber, Chase Bank, Citizens Bank, and
Wellington Corporation.
Eleanor Heartney is an independent art critic. A
recipient of the Frank Jewett Mather Award for Distinction
in Art Criticism, she is a contributing editor to Art in
America and Artpress. Her previous books are Critical Condition:
American Culture at the Crossroads (Cambridge University
Press) and Postmodernism (Tate Modern and Cambridge University
Presses).
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Marjorie
Strider
DRAMATIC
GESTURES
$60
$39
Introduction
by Raphael Rubinstein
Essay
by Donald Kuspit
181
pp, 125 color plates, 12" x 9" Hardcover
Before
Pop art, before Feminist art, before "Performance..."
there was Marjorie Strider, who heralded them all but refused
to be pigeonholed into any one. Her "Triptych"
(1963) inspired the infamous International Girlie Show at
Pace Gallery which, alongside works by such artists as Warhol
and Lichenstein, signaled the beginning of Pop art.
But as Raphael Rubinstein notes in his introduction to Dramatic
Gestures, "while her Pop paintings of the early
1960's certainly deserve the renewed attention they are
receiving, this should be a mere prelude to an appreciation
of Strider's work as a whole, and a wider recognition of
her substantial, continuing artistic achievement."
Showing
at New York galleries before female artists were yet to
be embraced, her signature urethane Ooze was,
as Donald Kuspit notes in the book's essay, "an inspired
example of woman's insurgency...as artistically radical
as the Women's Movement was socially radical."
And when she proclaimed the Art world narrow and elitist,
she took her work to the streets, creating site-specific
installations and three-dimensional "Framing"
performances that spoke directly to the public en masse.
Marjorie has even been credited with coining the term "Performance
art" as it is used today.
Though
Strider is represented in books on Pop, Minimalist, Realist,
Conceptual and Feminist art, critic Jon Perrault says, "it
is my contention that she has carved out a unique place
of her own...To paraphrase Rauschenberg's famous saying
about working in the gap between art and life, Strider works
in the gap between painting and sculpture." Michael
Kirby called it "work that accepts both the two-dimensional
and three-dimensional visions and, in fusing them, exists
'interdimensionally.'" The result, said Phyllis
Braff in the New York Times, "is sculpture that bursts,
thrusts and generally astounds with its originality and
wit."
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