A visual celebration of one of the most renowned artists of our time, along with the extraordinary Gallery he helped to create to showcase his work American artist Cy Twombly (1928-2011) created paintings and sculptures that defied conventional classification. In his works, Twombly incorporated a wide variety of elements, from scrawls and calligraphic marks to text from poetry and mythology. Opening in 1995, the Cy Twombly Gallery at the Menil Collection was designed by Renzo Piano and has become a pilgrimage destination for the artist's avid admirers. The product of close collaboration between the Menil, Twombly, and the Dia Center for the Arts, the Gallery is one of the most extraordinary representations of any single 20th-century artist. Twombly chose the art that would be featured and worked closely with the builders to create the most appropriate venue for its presentation. This sumptuous volume showcases thirty-three paintings and eleven sculptures, including an immense 13 x 52-foot painting. Featuring large-scale, close-up details of many of the works, the book looks at paint, plaster, paintings, sculptures, and the "cues" that Twombly gave in his art about this special collection. Published in association with the Twombly Foundation and the Menil Collection
Accompanying the much-anticipated 2014 exhibition at Museo Jumex in Mexico City - the first time a comprehensive exhibition of the American artist's work has been mounted in Latin America - this celebration of Cy Twombly's career includes works on paper, paintings and sculptures, from early works of the 1950s to the Camino Real series of paintings that he completed shortly before his death in 2011.
Cy Twombly’s distinctive artworks merge drawing, painting, and symbolic gesture in the pursuit of a direct, intuitive form of expression. Much of the artist’s recent output interprets the natural world, often through references to garden and landscape. Cy Twombly: The Natural World, Selected Works, 2000–2007 features more than 30 paintings, works on paper, photographs, and sculptures. Published in full cooperation with the artist, this handsome book speaks to both continuity and innovation in Twombly’s work, underscoring the ongoing creative vitality of one of the greatest American artists of our time.
Cy Twombly (1928-2011) created art that was remarkable for its versatility, sensitivity and originality. Throughout his career, he followed his own artistic pathway, independent from contemporary trends, and for a long time his work went unnoticed by a wider audience. By the time of his death in Rome, at the age of 83, he was internationally recognized as one of the greatest and most idiosyncratic artists of the 20th and early 21st century. This book provides an authoritative overview of Twombly's complex body of work, bringing together the most important of his paintings and painting cycles, as well as a selection of his drawings, sculptures and photographs.
Winner of the T.S. Eliot Poetry Prize Dean Rader reaches beyond artistic description to engage Twombly’s work in conversation. In 2018, just a few weeks after his father’s death, Dean Rader made a pilgrimage to the Gagosian Gallery in New York to see a retrospective of Cy Twombly’s work, In Beauty It is Finished: Drawings 1951-2008. The exhibit led to a poem that would become the genesis of this book — from loss and fear to regret and beauty, Before the Borderless: The Cy Twombly Cycle reaches for the embodiment of emotion and the aesthetics of possibility. Through a range of experimental forms, including a series of octets, Rader writes to decode the gestures and energies in Twombly’s drawings and paintings. He reaches past observation and admiration to create a game of echolocation, reflecting Twombly’s infinite scrawls as “saddle stitch, spaghetti curl, white whirl.” Even as Rader searches for proximity, examining the gaps between symbols and what they signify, the collection remains unmistakably autobiographical. From the wheatfields of his Western Oklahoma upbringing to questions of loss—first his father and then his mother, who passed only weeks after Rader finished the manuscript for this book—the poems in Before the Borderless are both elegy and prayer, for Rader’s parents, for his children, for the world. Blurring the distinction between canvas and page, Twombly’s work often includes lines of poetry from many of the authors who shaped Rader’s work — John Keats, Sappho, Federico García Lorca, and Rainer Maria Rilke. As Rader’s poems are paired with 50 color images of Twombly’s paintings and drawings, the line between looking and reading is blurred. Before the Borderless awakens in the space between language and silence to pose provocative questions about art and its power to heal.
As his final creative surprise, Cy Twombly, one of the greatest 20th-century artists, has given to the world a huge body of photographic works emphasizing his unique artistic vision. Twombly's photographic work offers a new dimension for understanding the artist's patintings, drawings, and sculptures. The new book features some 120 photographic prints from the Cy Twombly Estate in Gaeta, most of them previously unpublished.
Winner of the T.S. Eliot Poetry Prize Dean Rader reaches beyond artistic description to engage Twombly’s work in conversation. In 2018, just a few weeks after his father’s death, Dean Rader made a pilgrimage to the Gagosian Gallery in New York to see a retrospective of Cy Twombly’s work, In Beauty It is Finished: Drawings 1951-2008. The exhibit led to a poem that would become the genesis of this book — from loss and fear to regret and beauty, Before the Borderless: The Cy Twombly Cycle reaches for the embodiment of emotion and the aesthetics of possibility. Through a range of experimental forms, including a series of octets, Rader writes to decode the gestures and energies in Twombly’s drawings and paintings. He reaches past observation and admiration to create a game of echolocation, reflecting Twombly’s infinite scrawls as “saddle stitch, spaghetti curl, white whirl.” Even as Rader searches for proximity, examining the gaps between symbols and what they signify, the collection remains unmistakably autobiographical. From the wheatfields of his Western Oklahoma upbringing to questions of loss—first his father and then his mother, who passed only weeks after Rader finished the manuscript for this book—the poems in Before the Borderless are both elegy and prayer, for Rader’s parents, for his children, for the world. Blurring the distinction between canvas and page, Twombly’s work often includes lines of poetry from many of the authors who shaped Rader’s work — John Keats, Sappho, Federico García Lorca, and Rainer Maria Rilke. As Rader’s poems are paired with 50 color images of Twombly’s paintings and drawings, the line between looking and reading is blurred. Before the Borderless awakens in the space between language and silence to pose provocative questions about art and its power to heal.
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