The exuberant paintings and sculptures of maverick Texas artist David Bates (born 1952) combine modernist ideas about visual representation with American eclecticism, resulting in a body of work that is at once sophisticated, soulful and accessible.
Recognized as of the greatest artists of the mid-twentieth century, David Milne (1882-1953) was the first to develop the multiple-plate colour drypoint. Decades later, John Hartman (b. 1950) was inspired to take up the technique and has produced a remarkable body of prints that shares much in common with Milne’s oeuvre, in aesthetic, geographic, and spiritual terms.
Evolving from a series of road trips along the Mississippi River, Alec Soth’s Sleeping by the Mississippi captures America’s iconic yet oft-neglected “third coast.” Soth’s richly descriptive, large-format color photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie.
This book presents three decades of artwork by John Alexander (b. 1945), who draws upon the rich imagery of his East Texas heritage to create art with a national impact.
World renowned artist, Dale Chihuly has developed many techniques during three decades as one of the most successful glassworkers in the world – primary among them is the role of teamwork in artistic creation.
Cities, the driving forces behind the economic and cultural engines of a country, are very much on the minds of Canadians in the first decade of the 21st century. The new paintings of John Hartman, one of Canada’s major contemporary painters, offer an artistic vision of cities as living organisms, deeply intertwined with the natural terrain of a geographic site.
This is a stunning portfolio of glass artist Dale Chihuly’s awesome creations, including his critically acclaimed Baskets, Seaforms, Chandeliers and Towers.
In a powerful new body of photographs, sculpture and installation, John Waters continues his investigations of film history and contemporary politics. Primarily known as the filmmaker behind such cult classics as Pink Flamingos, Polyester and Pecker, Waters has been making “fine” art since the early 1990s. In it, he tackles both cinematic themes and political events by building narratives, frame by frame, from early commercial films. In this publication, Waters shares the method by which he constructs each work as if he were making a personal guidebook, so that his snapshots, color photographs and handwritten notes indicating composition are re-created as if in their original plastic organizational sleeves. Neither the art world, celebrity miscreants, politicians or Waters himself are spared in these incisive new works. An essay by Brenda Richardson examines Waters’s history, as well as each work, in brief and brilliant detail.
For the past ten years, Birch has been documenting the African American culture of his native New Orleans in large-scale sculpture and drawings that emphasize body language, dress codes, and everyday rituals. His guileless polychrome sculptures evoke both social history and emotion. His use of talismans give the viewer a window to another time, be it through old construction nails symbolizing power and strength to a small West African paper mach, stool that stands apart as a symbol of nobility. Dedicated to the children of New Orleans, this is the first publication to examine Birch’s career whose re-imagining of African and Southern folk art inspires thought provoking discussions as well as contemporary sculpture and design. It includes two essays and an interview with the artist, as well as color reproductions of key works dating from 1968-2004.
This beautifully illustrated book, which accompanies an exhibition of the same name at the Blaffer Gallery, the Art Museum of the University of Houston, captures an extraordinarily creative period in Surls’s career-the two decades he lived and worked in Splendora, Texas.
A retrospective of lively work from the New Orleans artist. Ida Rittenberg Kohlmeyer became one of the most prominent abstract artists in the South and started her career late, turning to art in her late thirties in search of a deeper meaning and purpose in life. She was primarily known as a New Orleans artist. She moved from an early figurative style in paintings of children to Abstract-Expressionism, influenced by a summer’s study in Provincetown, Massachusetts, with Hans Hofmann. In her lifetime she had major exhibitions at the National Museum of Women, the Mint Museum (Charlotte, NC), New Orleans Museum of Art and the High Museum of Art.
A lush appreciation of the African American printmaker, sculptor, and painter acclaimed as one of New Orleans’s finest living artists.
