Addison Gallery of American Art

George Benjamin Luks

Thirty-three Drawings of Animals in the Bronx Zoo

George B. Luks, Bronx Park, May 8, 1904

Elizabeth Hutton Turner

William C. Agee

Arthur Garfield Dove

Debra Bricker Balken

in collaboration with William C. Agee and Elizabeth Hutton Turner The American artist Arthur Dove (1880-1946), purportedly the first artist to have produced an abstract painting, has always occupied a central place in writings on early American modernism. This book accompanies the first major exhibition on Dove since 1974. The exhibition, organized by the Addison Gallery of American Art and the Phillips Collection, covers the period from 1908, the year after Dove took up painting, through 1946, the year of his death. It is comprised of approximately eighty paintings, collages, pastels, and charcoal drawings.Along with Georgia O'Keeffe and John Marin, Dove was touted for more than three decades by photographer and dealer Alfred Stieglitz as an American original, one whose work was prescient in its opposition to the materialism of a newly industrialized America. Essays by Balken, Agee, and Turner discuss Dove's interactions with Stieglitz and others in his circle, including O'Keeffe, Marin, Marsden Hartley, and Paul Strand, and re-examine Dove in the context of early twentieth-century intellectual and cultural history. The book contains color plates of all the works in the exhibition; the essays are profusely illustrated with black-and-white images not included in the exhibition. Apart from an out-of-print catalogue raisonné, this book is the largest and most comprehensive publication to date on Dove's work.Copublished with the Addison Gallery of American Art in association with the Phillips Collection

A Retrospective

Arthur Dove

Lisa Hostetler

Art Institute of Chicago

Anne Tucker

Philadelphia Museum of Art

Kathleen V. Jameson

Museum of Photographic Arts (San Diego, Calif.)

"Louis Faurer was one of America's "quiet" photographers. Known for his raw, melancholy, and psychologically charged pictures of life on the street, and in particular for his evocative shots of 1940s and 1950s Times Square, New York, Faurer frequently drew on the film noir idiom to create memorable images. Photographs of moviegoers, box-office lines, ushers, and cinemas advertising B movies such as Force of Evil, Edge of Doom, and Ace in the Hole are recurrent themes." "Much of Faurer's best work, though, is of ordinary people, and he frequently haunted the streets of New York, finding poetry amid the crackle of the city. In an untitled picture taken in 1937 in Philadelphia, the trousers, jacket cuffs, and cane of a seated man are in sharp focus, as are a box of pencils and a sign announcing "I am totally blind." Hurrying past him are the blurred images of pedestrians. Other shots such as I Am Paralyzed, Daddy Warbucks, and Eddie combine a social and personal awareness that was rare for its time." "Faurer also worked as a fashion photographer for nearly thirty years, producing work for Harper's Bazaar, Vogue, and Flair, with a particular gift for highlighting his subject's ephemeral grace. He was a lasting influence on Robert Frank and other members of the New York school of photography." "This book, the first to examine Faurer's work in depth and bring it to a modern readership, draws together a great deal of previously unpublished material, as well as images not seen since they originally appeared in magazines in the 1940s and 1950s."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Louis Faurer

Maurice Berger

Museum of Art (Fort Lauderdale, Fla.)

An engaging exploration of the relationship between avant-garde art and American network television from the 1940s through the 1970s The aesthetics and concepts of modern art have influenced American television ever since its inception in the 1930s. In return, early television introduced the public to the latest trends in art and design. This engaging catalogue comprehensively examines the way avant-garde art shaped the look and content of network television in its formative years, from the 1940s through the mid-1970s. It also addresses the larger cultural and social context of television. Artists, fascinated with the new medium and its technological possibilities, contributed to network programs and design campaigns, appeared on television to promote modern art, and explored, critiqued, or absorbed the new medium in their work. More than 150 illustrations reveal both sides of the dialogue between high art and television through a selection of graphic designs, ephemera, and stills from important television programs--from The Twilight Zone to Batman to Rowan & Martin's Laugh-In, and more--as well as works by artists including Salvador Dalí, Lee Friedlander, Agnes Martin, Man Ray, Andy Warhol, and many others. Revolution of the Eye uncovers the cultural history of a medium whose powerful influence on our lives remains pervasive.

Modern Art and the Birth of American Television

Revolution of the Eye

Addison Gallery of American Art

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