Not exact matches
Art historian Daniel S. Palmer writes in the show's
catalogue essay, «He uses the formal characteristics of the medium — intense
color, powdery luminosity, and a rapid, direct process — to materialize the mysterious landscape of his mind and achieve a more
complete understanding of himself.»
The exhibition is accompanied by a
catalogue edited by Klaus Biesenbach, with essays by Susan Sontag and Rainer Werner Fassbinder as well as 570
color film stills, the
complete screenplay, biography, bibliography, and filmography.
planographic
color lithograph 33 x 42 1/2 inches Edition of 60 Numbered and titled lower left, «Woman in the Sun» Signed and dated lower right, «James Rosenquist 1991» Tyler Graphics Ltd., blind stamp, lower right Workshop number on verso in pencil, lower left: «TR91 - 1068» Published by Tyler Graphics Ltd, Mount Kisco, New York Literature Constance Glenn, James Rosenquist
Complete Graphics 1962 - 1992, Rizzoli, NY,
Catalogue Number 225.
D. Upright, Morris Louis: The
Complete Paintings: A
Catalogue Raisonné, Harry N. Abrams, Inc., New York, 1985, no. 303, p. 160, illustrated in
color.
It presents 85
color plates with
complete catalogue entries and an essay by Katz scholar David Cohen, critic for the New York Sun, publisher and editor of artcritical.com and curator at the New York Studio School.
Diane Upright's Morris Louis: The
Complete Paintings (1985) is a
catalogue raisonné which, along with a full
color catalogue, provides an interesting commentary on chronology and technique.
Including full -
color plates of over sixty works spanning York's career, a new essay by poet and art critic Bruce Hainley, plus earlier essays by Fairfield Porter and Calvin Tomkins, an extensive chronology, a
complete bibliography, and a detailed
catalogue of works, this publication is a testament to, as Hainley puts it, York's «pursuit of lyric intensity while negotiating a point - blank confrontation with history — all in stealth relation to the leopard - alive instant at the end of the brush.»