This highly illustrated book celebrates both the 110th anniversary of the Modern Art Museum of Fort Worth and the inauguration of the new building, designed by the famous Japanese architect, Tadao Ando.A wide range of artistic movements is ...
Author: Modern Art Museum of Fort Worth
Publisher: Third Millennium Information Ltd
This book accompanies and celebrates the inaugural exhibition at the new Modern Art Museum of Fort Worth, designed by the Japanese architect Tadao Ando. The central subject of and impetus for this building from the beginning has been art, with particular emphasis on the display of the permanent collection. Of the 153,000 square feet of space to support space that emphasizes art like few museums in the world. That the first exhibition in these pristine galleries is devoted to the collection is a testament of pride and priority. Works by approximately 150 artists, covering a wide range of movements, especially postwar Abstract Expressionism, Pop art, and Minimalism, are currently displayed over the Museum's three two-story gallery pavilions. Together they present a broad range of styles and media, from oil, acrylic, and mixed-media paintings and drawings to photography, sculpture, installation art, and video and digital imagery. In honor of the Museum's 110th anniversary, 110 of these artists have been chosen for inclusion in this publication. Each artist's work is presented in the form of a large color plate and a detailed text entry, together with footnotes and key artist information. A selection of the artists - notably Philip Guston, Anselm Kiefer, Gerhard Richter, and Robert Motherwell - are presented in the form of extended monographic essays, accompanied by up to eight works, as a reflection of their importance in the Museum's permanent collection and their wider importance in the development of postwar art.
American Art since 1945. New York: Oxford Univ. Press, 1982. Auping, Michael,
Andrea Karnes, and Mark Thistle- thwaite. Modern Art Museum of Fort Worth: 110
. Fort Worth and London: Third Millennium, 2006. Baigell, Matthew. Artist and ...
Author: Katie Robinson Edwards
Publisher: University of Texas Press
Before Abstract Expressionism of New York City was canonized as American postwar modernism, the United States was filled with localized manifestations of modern art. One such place where considerable modernist activity occurred was Texas, where artists absorbed and interpreted the latest, most radical formal lessons from Mexico, the East Coast, and Europe, while still responding to the state's dramatic history and geography. This barely known chapter in the story of American art is the focus of Midcentury Modern Art in Texas. Presenting new research and artwork that has never before been published, Katie Robinson Edwards examines the contributions of many modernist painters and sculptors in Texas, with an emphasis on the era's most abstract and compelling artists. Edwards looks first at the Dallas Nine and the 1936 Texas Centennial, which offered local artists a chance to take stock of who they were and where they stood within the national artistic setting. She then traces the modernist impulse through various manifestations, including the foundations of early Texas modernism in Houston; early practitioners of abstraction and non-objectivity; the Fort Worth Circle; artists at the University of Texas at Austin; Houston artists in the 1950s; sculpture in and around an influential Fort Worth studio; and, to see how some Texas artists fared on a national scale, the Museum of Modern Art's "Americans" exhibitions. The first full-length treatment of abstract art in Texas during this vital and canon-defining period, Midcentury Modern Art in Texas gives these artists their due place in American art, while also valuing the quality of Texan-ness that subtly undergirds much of their production.
A catalog produced in December 2002 , Modern Art Museum of Fort Worth 110 ,
marks the museum's noth anniversary and the opening of its new galleries and
features 110 of the artists whose work appeared in the inaugural exhibit in the ...
Author: Rebecca S. Cohen
Publisher: University of Texas Press
Texas is an art lover's paradise. More than one hundred venues located within the state welcome visitors to experience the visual arts. These include internationally recognized collections such as the Chinati Foundation, the Kimbell Art Museum, the Menil Collection, and the Nasher Sculpture Center; renowned encyclopedic institutions such as the Museum of Fine Arts, Houston, the Dallas Museum of Art, and the San Antonio Museum of Art; and dozens of first-rate art centers, alternative spaces, and university galleries. In addition to delighting the eye with a wide-ranging assortment of exhibitions, many of these museums and galleries are housed within architectural gems. To enhance the reader's visits to familiar destinations and to encourage the exploration of lesser-known venues, Art Guide Texas presents the only in-depth survey devoted exclusively to the state's nonprofit visual arts institutions. Rebecca Cohen organizes the book regionally. Individual entries for museums and galleries give essential contact information, including phone numbers and Web sites, as well as a description of the collection(s) and past exhibitions, a brief history of the institution, significant architectural details about the building, and assorted practical tips. Black-and-white photographs accompany many of the entries, as well as notable quotes on art and architecture. In addition, Cohen's essays on the phenomenal late-twentieth-century growth of the arts in Texas and on arts activity in the different regions of the state provide a helpful context for exploring the arts in Texas.
Philadelphia : Philadelphia Museum of Art . Gifts in Honor of the 125th
Anniversary of the Philadelphia Museum of Art . September 29 – December 8 .
Fort Worth : Modern Art Museum of Fort Worth . 110 Years : The Permanent
Collection of the ...
Author: John Elderfield
Publisher: The Museum of Modern Art
Over the last 30 years, Martin Puryear has created a body of work that defies categorization, creating sculpture that looks at identity, culture & history. This book accompanies an exhibition at The Museum of Modern Art that follows Puryear's development from his first solo show to works being presented for the first time.
... In association with the Modern Art Museum of Fort Worth Clare through the
Twentieth Century : Portrait of a Cambridge ... Falls NY 12590 USA Modern Art
Museum of Fort Worth 110 Michael Auping , Andrea Karnes and Mark
Author: Eliza E. Rathbone
Publisher: Third Millennium Information Ltd
The Phillips Collection in Washington, D.C., was the first museum of modern art in the United States. Today it stands as a legacy to its founder and creator, Duncan Phillips. Art Beyond Isms was published to accompany a major travelling exhibition and features over 60 of the most important European works from the Collection.Phillips primarily collected work by French and American artists, and the collection's holdings include work by leading impressionist, post-impressionist, abstract and abstract expressionist artists, as well as works by earlier artists. The focus of the book is mainly 19th and 20th century French paintings, including Renoir's The Luncheon of the Boating Party, as well as five important paintings by Cézanne and Monet.Among the non-French artists, van Gogh, Picasso, Kokoscha, Klee and Modigliani are represented and important proto-modern works by such artists as Constable, El Greco and Goya are also included. The beautifully represented works are shown individually and in groups accompanied by engaging narrative entries.
Modern Art Museum of Fort Worth 110. Fort Worth , Texas : Modern Art Museum
of Fort Worth , 2002 . Harris , Paul Rogers . The Texas Printmakers . Dallas ,
Texas : The Meadows Museum , Meadows School of the Arts , Southern
Author: Scott Grant Barker
Publisher: Texas A & M University Press
The art critic Dave Hickey once identified the Forth Worth Circle as "Texas' first indigenous group of consciously cosmopolitan and irrefutably modern artists," Their work, he wrote, "represents the fruit of a special time in the culture of the western United States" (Artspace, winter 1986 -87). This book chronicles the Forth Worth Circle's distinctive output during the 1940s, the decade of their genesis and greatest innovation. These "genuine citizens of the world," as Hickey called them, possessed an unconventional vision that radically sidestepped the traditional art of post-Depression Texas. The members of the Circle responded to modern art by created a unique aesthetic based on contemporary surrealism and abstraction, and they did so drawing from their own fertile imaginations. In his essay on the Circle, Scott Grant Barker relates the personal and captivating history of these eleven young artists fro whom the standards of the day were no longer acceptable. Jane Myers writes to the aesthetic evolution of their work, including their artistic techniques and influences. The catalogue also includes succinct biographies, accompanied by photographs, of each fop the artists. Among the legends and legendary figures in Forth Worth's past - and there are many - the artists of the Fort Worth Circle occupy a special place as pioneers of modern art in a city that is today one of the preeminent art meccas in the United States. This catalogue, published by the Amon Carter Museum to coincide with an exhibition by the same title, will remain the definitive source of their art and history for years to come.
Heaven and Earth Anselm Kiefer, Michael Auping Modern Art Museum of Fort
Worth ... 2003 Oil , acrylic , and emulsion on canvas with polyhedron 74 % x 110'
4 inches ( 190 x 280 cm ) Private Collection Page 135 Die Milchstrasse ( The
Author: Anselm Kiefer
Publisher: Prestel Pub
A retrospective volume of Anselm Kiefer's work, this book addresses the artist's entire career through the lens of one compelling theme. From his earliest sculptures to his recent highly textured paintings, Anselm Kiefer has woven themes of heaven and earth into his work, exploring the polarities of these ideas while struggling to define the transcendent quality that places art squarely in between. Destruction and rebirth, glory and shame, sin and redemption all figure largely in Kiefer's often controversial depictions of Germany's physical and cultural landscape. This book of more than fifty reproductions includes Kiefer's first work, The Heavens, as well as numerous other rare early works and recent works being presented for the first time. It features an interview with the artist, which is accompanied by rich black-and-white photographs of his ongoing monumental installations on his property in Barjac, France.
The Barrett Collection : the Art of Texas and Switzerland Richard R. Brettell
Edmund P. Pillsbury ... 91 , 93 Modern , The ( Fort Worth ) , 95 Modern Art
Museum of Fort Worth , 110 Nabis Group , 141 , 144 National Academy of Design
( New York ) ...
Author: Richard R. Brettell
Publisher: Southern Methodist University Press
This catalogue is occasioned by the first exhibition of the ground-breaking art collection of Nona and Richard Barrett of Dallas, on display November 21, 2004 - January 30, 2005 at the Meadows Museum. The Barretts’ collection is one of the best in the Southwest, featuring Texas art and that of Switzerland. The volume contains 95 color plates of works in their collection and another 23 black and white photographs of other works referenced in the essays. Richard R. Brettell’s brilliant essay, "Provincial Cosmopolitanism” (describing Swiss art and its analogues in Texas art), and Michael Ennis's "Texas Visions: Through the Looking Glass of History" (describing the history of an indigenous Texas art) anchor the volume, which also contains an appreciation of the Barretts as his patrons by Texas artist Bill Komodore, a member of the SMU Meadows art faculty, and an essay by Kate Sheerin, associate curator of the exhibition, who grapples with a definition of Texas art. In addition, the volume contains brief biographies of 126 Texas artists and 7 Swiss and European artists.
... by the Amon Carter Museum, 1990, from the Modern Art Museum of Fort Worth
through grants and donations from the Amon G. Carter Foundation, the Sid W.
Richardson Foundation, the Anne Burnett and Charles Tandy Foundation,
Author: David Lauer
Publisher: Cengage Learning
DESIGN BASICS is a best-selling text for the two-dimensional design course. DESIGN BASICS presents art fundamentals concepts in full two- to four-page spreads, making the text practical and easy for students to refer to while they work. This modular format gives instructors the utmost flexibility in organizing the course. Visual examples from many periods, peoples, and cultures are provided for all elements and principles of design. The diversity of illustrations now includes more examples from visual culture encouraging students to see these principles in the world around them. Icons appearing throughout the book prompt students to access ArtExperience Online (a dynamic Web site integrated with the textbook), which contains studio art demonstrations and interactive exercises that help students explore the foundations of art. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
... 34B Cengage Learning; 34C Amon Carter Museum, Fort Worth, Texas.
Purchased by the Friends of Art, Fort Worth Art Association, 1925; acquired by the
Amon Carter Museum, 1990, from the Modern Art Museum of FortWorth through
Author: Stephen Pentak
Publisher: Cengage Learning
A national bestseller, DESIGN BASICS presents art fundamentals concepts in full two- to four-page spreads, making the text easy for students to refer to while they work and giving instructors the utmost flexibility in organizing the course. The authors provide diverse, two-dimensional visual examples from many periods, peoples, and cultures for all elements and principles of design. This updated edition features an exciting array of stunning new examples of painting, graphic design, architecture, and new media to help students recognize the language of design in everyday life. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
This generously illustrated volume is the first comprehensive publication devoted to the powerfully expressive work of David Park (1911–60).
Author: Janet Bishop
Publisher: University of California Press
This generously illustrated volume is the first comprehensive publication devoted to the powerfully expressive work of David Park (1911–60). Best known as the founder of Bay Area Figurative art, Park moved from Boston to California at the age of seventeen and spent most of his adult life in and around San Francisco. In the immediate postwar years, like many avant-garde American artists, he engaged with Abstract Expressionism and painted non-objectively. In a moment of passion in 1949, he made the radical decision to abandon nearly all of his abstract canvases at the Berkeley city dump and return to the human figure, in so doing marking the beginning of the Bay Area Figurative movement. The astonishingly powerful paintings he made in the decade that followed brought together his long-held interest in classic subjects such as portraiture, domestic interiors, musicians, rowers, and bathers with lush, gestural paint handling and an extraordinary sense of color. In 1958–59 Park reached his expressive peak, reveling in the sensuous qualities of paint to create intensely physical, psychologically charged, and deeply felt canvases. This fertile period cut short by illness in 1960, Park transferred his creative energy to other mediums when he could no longer work on canvas. In the last months of his life, bedridden, he produced an extraordinary thirty-foot-long felt-tip-pen scroll and a poignant series of gouaches. Published to accompany the first major museum exhibition of Park’s work in more than thirty years, David Park: A Retrospective traces the full arc of the artist’s career, from his early social realist and cubist-inspired efforts of the 1930s to his mature figurative paintings of the 1950s and his astounding final works on paper. An overview of Park’s full body of work by Janet Bishop, SFMOMA’s Thomas Weisel Family Curator of Painting and Sculpture, will be joined by approximately ninety full-color plates of paintings and works on paper; an essay by Tara McDowell on the figure drawing sessions held by Park, Richard Diebenkorn, Elmer Bischoff, Frank Lobdell, and others in their studios starting in 1953; short essays on Park’s scroll, his gouaches, and the portraits that Imogen Cunningham and Park made of each other; and an illustrated chronology. Published in association with the San Francisco Museum of Modern Art. Exhibition schedule: Modern Art Museum of Fort Worth: June 2–September 8, 2019 Kalamazoo Institute of Arts: December 21, 2019–March 15, 2020 San Francisco Museum of Modern Art: April 11–September 7, 2020
226 - 28 , 260 Elgin marbles , 47 Elliott , Donald H . , 154 Enlightenment ,
museums of , 46 environmental art , 223 Erasmus , 24 ... Dan , 114 Forster , Kurt ,
209 , 218 Fort Worth , Tex . ... 116 ; Modern Art Museum , 12 . ... 38 Guyer , Mike ,
87 - 89 : Museum of Fine Arts ( Winterthur , Switzerland ) , 87 , 110 - 11
Author: Victoria Newhouse
The last thirty years of the twentieth century saw the birth of more than six hundred art museums in the United States alone, with equal proliferation in much of Europe. Such projects as Frank Gehry's Guggenheim in Bilbao and Richard Meier's Getty Center in Los Angeles have dominated television newscasts and newspaper headlines worldwide. The success or failure of these new museums, in aesthetic, educational and financial terms, results from a variety of factors, none more important than their architecture. In this unique investigation, architectural historian Victoria Newhouse challenges many hitherto accepted premises of museum design. She demonstrates that new museums are often based on old concepts that no longer apply. This unvarnished analysis is informed by interviews with museum directors and curators, collectors, artists and the architects themselves. Newhouse divides her discussion according to the dominant characteristics of the museums: private collections, single-artist museums, sacred spaces, artists' self-created sites, and museum additions. In addition to the Getty and the Guggenheim Bilbao, the author discusses the Menil Collection in Houston, Texas; the Andy Warhol Museum in Pittsburgh; the Kiasma Museum for Contemporary Art in Helsinki; Donald Judd's Chinati Foundation in Marfa, Texas; the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Grand Louvre and the Centre Georges Pompidou in Paris; and many more.