Handsomely illustrated and engagingly written, New York Modern documents the impressive collective legacy of New York's artists in capturing the energy and emotions of the urban experience.
Sacramento has enjoyed baseball since the Gold Rush. As early as 1869, the first professional baseball team in America, the Cincinnati Red Stockings, came to Sacramento and played against a locally organized team. A few years later, the Sacramento team joined the California League to compete against those from San Francisco and Oakland, becoming a charter member of the newly formed Pacific Coast League in 1903. All the while, children and adults alike were picking up the sport in the many parks, sandlots, and schoolyards throughout the city. In the 1920s, 1930s, and 1940s, amateur and sponsored teams competed against each other for trophies and bragging rights. Then, in the 1950s, Little League, Babe Ruth League, and American Legion Baseball flourished.
This book examines Davis?s life and art in the context of their colorful, disturbed times. Thirty-six color plates mark his development from social realist to cosmopolitan Parisian expatriate and sophisticated distiller of the American spirit. In the 1920s and 1930s Davis welded the discoveries of the avant-garde school of Paris to the slangy realism of the Yankee Ashcan painters. The resulting style (which he called---with tongue in cheek---?Colonial Cubism?) embodied the rhythm, sass, and ebullience of that most original art form, jazz. Davis made the sound of jazz visible in compositions of hard staccato lines and crisp colors.
Cubism, widely regarded as the most influential style to emerge at the advent of modernism, had a home in New York and a leading figure in Max Weber. Max Weber studied under Matisse, associated with influential figures including Apollinaire, Picasso, and Delaunay, and is credited with bringing firsthand knowledge of the Parisian avant-garde to Alfred Stieglitz’s modernist circle in New York, inspiring a generation of artists. While his works are in important collections, they have not yet received the close study of the artist’s peers, such as Picasso, Braque, and Leger. William C. Agee, a veteran museum curator and renowned scholar of twentieth-century American art, and scholar Pamela N. Koob take up the challenge in a lavishly illustrated volume, gathering together a selection of Max Weber’s best cubist works. Close readings of Weber’s paintings open the most complete survey to date of American cubism, with entries on key cubist works by Marsden Hartley, Stuart Davis, Hans Hofmann, Charles Sheeler, Morgan Russell, Stanton Macdonald-Wright, Alice Trumbull Mason, and David Smith, among many others. Filling in a missing piece of one of the twentieth century’s most influential movements, this critical reevaluation is long overdue.
Pace Gallery is pleased to present 'Kenneth Noland. Into the Cool', a survey of never before exhibited works from the end of the groundbreaking artist?s life. These paintings, completed in a subtle color palette, present a new approach to both material and technique. An extension of his earlier work, the artist?s last series shows him having achieved a mastery of his medium. The catalogue includes a reproduction of the entire series of 18 paintings and an essay by William C. Agee. 0Together these works reveal the emotional effects and expressive potential of color and form, while outlining the artist?s commitment to the possibilities of abstraction. Returning to his use of the circle, emphasis on the center, and expressive, gestural brush strokes, the paintings show Noland focused on his application of paint. Continuing to use his technique, established in the 1950s, of staining unsized raw canvas with acrylic paint, here Noland has expanded upon it by not only painting the front surface of the canvas, but also working from behind. This modification in process highlights the artist?s painterly abilities, as well as his constant experimentation. 00Exhibition: Pace Gallery, New York, USA (26.01.-04.03.2017).
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