Author name:
Amy Cappellazzo,
Stephen Mueller,
Jessica Hough,
Sidney Brien,
Franz Ackerman,
Ricci Albenda,
Pedro Barbieto,
Linda Besemer,
Alex Blau,
Greg Bogin,
Alex Brown,
Ingrid Calame,
Sharon Ellis,
Jeff Elrod,
Carl Fudge,
Wayne Gonzales,
Jim Isermann,
Monique Prieto,
John Simon,
James N. Wood,
David Travis
Discount Price: $19.95
Price fluctuation possible.
How soon does it ship: Normal ship time within one day
Type of bind: Hardcover
Dewey Decimal Number: 708
EAN num: 9781888332148
ISBN number: 188833214X
Label: The Aldrich Museum of Contemporary Art
Manufacturer: The Aldrich Museum of Contemporary Art
Quantity: 1
Page Count: 84
Printing Date: February 15, 2001
Publishing house: The Aldrich Museum of Contemporary Art
Release Date: December 02, 2000
Sale Popularity Level: 1373869
Studio: The Aldrich Museum of Contemporary Art
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Editor's Notes and Comments:
Product Description:
'Glee' is a uniquely designed volume dedicated to new developments in the world of contemporary painting--developments that engage with and reflect advances in digital technology rather than running away from them. Including such already-renowned and up-and-coming painters as Peter Halley, Franz Ackerman, Ricci Albenda, Pedro Barbieto, Linda Besemer, Alex Blau, Greg Bogin, Alex Brown, Ingrid Calame, Sharon Ellis, Jeff Elrod, Carl Fudge, Wayne Gonzales, Jim Isermann, Sarah Morris, Stephen Mueller, Albert Oehlen, Monique Prieto, John F. Simon Jr., and Yek, 'Glee' documents how these artists are innovating via the influence of styles as diverse as Op art, Pattern & Decoration, early computer graphics, and late 1960s psychedelia. The catalogue was designed by the rising young firm COMA, and features a gatefold that divides the book into two halves: the very first dedicated to the artworks themselves, which folds out, and the second devoted to essays and artist biographies.
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The design of this book is as vivacious as the works in the exhibition. Glee is a brief but striking impression of the work of twenty artists who have embraced digital technology and are using it to refresh and revitalize abstract painting. In her succinct introductory essay, Cappellazzo describes how two of the twenty artists exhibited--namely Jim Isermann and Peter Halley--have been "primary sources" for the other eighteen. Both Halley and Isermann create works that are intellectually complex, yet visually so simple they transcend the limitations of art-historical categorization. By being included in this exhibition, Halley and Isermann, come across as not only a kind of art-historical reference but more importantly as energetic contributers to abstract painting in the new millenium. With Halley and Isermann as inspiration, the other eighteen painters foreshadow energetic new directions in abstraction. For anyone apprehensive about the future of painting amid the digital revolution, Glee is assurance that abstract painting is as vigorous as ever.
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