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The Abstract Impulse: Fifty Years of Abstraction at the National Academy, 1956-2006by Marshall N. Price
Synopses & Reviews
This publication together with its coinciding exhibition seeks to unveil the pluralistic ways in which abstraction developed after 1950, which will be revealed by the grouping of the works stylisticallyand thematically into three general sections: gesture, geometry, and introspection. As opposed to the establishing rigorous and constricting epithets, the sections are presented here merely as a loose guide to help organise the innumerable ways in which artists have continued to create abstract art over the last fifty years. These themes should help to illuminate the pluralism that has been, and continues to be, the abstract impulse. Marshall Price's text covers the history of abstraction at the National Academy both with regard to its exhibition in the Academy's annuals and the election of abstract artists to its membership. Furthermore Price's writing also reveals the process that its members went through to finally feature modern art at the Academy. The exhibition runs at the National Academy
Book News Annotation:
The National Academy Museum and School of Fine Arts in New York presents a retrospective of Abstract and Abstract Expressionist works from 1956-2006. An introduction on the history of Abstraction ("refuge from modernism") at the Academy is followed by one-page features of works and biographies of 48 artists to come out of the school. Oversize: 9x10.25". Annotation ©2008 Book News, Inc., Portland, OR (booknews.com)
Comprised of nearly fifty paintings, sculptures and works on paper, The Abstract Impulse highlights artists in such critical movements as Abstract Expressionism, Minimalism, and Op Art. Artists who are included are such canonical figures as Robert Motherwell, Jasper Johns, Helen Frankenthaler, and Robert Mangold among others. This publication, together with its coinciding exhibition, seeks to unveil the pluralistic ways in which abstraction developed after 1950, which will be revealed by the grouping of the works stylistically and thematically into three general sections: gesture, geometry, and introspection.
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