This first ever book on the Bay Area Beat artist reveals a unique drawing style that dovetails Cocteau with Japanese and Renaissance printmaking.
"Rick Barton should have been a San Francisco legend," declared author and artist Etel Adnan in a 1998 essay. Working primarily in pen or brush and ink in a kaleidoscopic linear style, Barton (1928-92), who was born and raised in New York and settled in the San Francisco Bay Area in the 1950s, ceaselessly recorded the world around him, whether the enclosed space of his room, the cafes in which he spent his days, his lovers and friends, or the ornate churches and botanical subjects that seem to have held particular fascination for him. Flourishing in San Francisco's gay and Beat subcultures of the 1950s and '60s, Barton accrued a group of disciples who were drawn to his singular style, which synthesized sources as disparate as Renaissance and Japanese woodblock prints and the delicate line drawings of Jean Cocteau.
Bringing together more than 60 drawings, two accordion-folded sketchbooks, and printed portfolios and books, Writing a Chrysanthemum: The Drawings of Rick Barton presents for the first time the work of this unique artist who was a significant, and until now unheralded, figure of the Beat era. Rachel Federman, the curator of the exhibition at the Morgan Library & Museum, has written a deeply researched essay on the artist and his work. An excerpt of Adnan's essay--the first published account of Barton--is reprinted in the catalog.
An investigation into Saar's lifelong interest in Black dolls, with new watercolors, historic assemblages, sketchbooks and a selection of Black dolls from the artist's collection.
This volume features new watercolor works on paper and assemblages by Betye Saar (born 1926) that incorporate the artist's personal collection of Black dolls. These watercolors showcase the artist's experimentation with vivid color and layered techniques, and her new interest in flat shapes. While Saar has previously used painting in her mixed-media collages, this is the first publication to focus on her watercolor works on paper.
"Watercolor is something that children use, so I decided, maybe I'll paint something about children, maybe I'll paint the dolls," Saar says. Referencing the underrepresented history of Black dolls through Saar's artistic lens, this catalog distills several intersecting themes, imagery and objects in Saar's oeuvre, highlighting her prominent usage and reinvention of Black imagery. It contains 90 color images, including early assemblage works that feature Black dolls, such as Gris-Gris Box (1972) and Mti (1973), plus early sketchbooks and a curated selection of Saar's Black doll collection. It also includes original essays by Rachel Federman, Associate Curator of Modern and Contemporary Drawings at the Morgan Library & Museum, and Katherine Jentleson, Merrie and Dan Boone Curator of Folk and Self-Taught Art at the High Museum of Art, and an interview with the artist by her granddaughter, Maddy Inez Leeser.
Vous savez déjà que votre chien peut s'asseoir, se coucher, courir, attraper une balle... mais peut-il comprendre différentes langues étrangères ? Peut-il reconnaître la musique de Mozart ? Jouer au sudoku ? Comment fait-il ? Est-ce lié à un QI hors du commun ?
Avec une bonne dose d'humour, ce petit livre vous propose de faire passer à votre chien une batterie de tests : est-il très routinier ? Comment se conduit-il en ville ? Se prend-il pour un humain ? Quelles sont ses capacités physiques ?
Vous testerez sa mémoire à court terme, sa capacité à vous reconnaître, son sens olfactif...
Comptez les points recueillis. Votre chien est-il un génie ? Il ne s'agit pas de l'inscrire dans une grande école, mais d'adapter les jeux à mettre en place avec lui pour booster ses capacités. En tout cas, vous ne le regarderez plus jamais de la même façon !
