As an immigrant artist of Jewish background, who borrowed freely from Christology, Jewish, mystical, and modernist motifs, David Aronson has been an equally acclaimed controversial figure in the Boston Expressionist school and beyond. Defying all clear categorization, his highly evocative art moves precariously between the realms of the religious the secular, between Judaism and humanism, tradition and modernity. This book includes rich reproductions of Aronson's works done in encaustic, pastel, coal and bronze. It also contains Aronson's 1967 lecture Real and Unreal: The Double Nature of...
As an immigrant artist of Jewish background, who borrowed freely from Christology, Jewish, mystical, and modernist motifs, David Aronson has been an e...
The painter and poet, in a death-wrestle, try to disentangle their protean identities, or at least to maintain a numerical tally of the limbs, heads, and torsos their shifting persons comprise.
As in Family Romance (Jaded Ibis Press), Tom Bradley has accepted the challenge posed by a stack of preexisting art. In this case the ekphrasis is in verse, and the images have sprung from the cranium of David Aronson.
Publisher Jonathan Penton says, "This is the most peculiar book of erotica, and the weirdest book of poetry outside of psychoses outright, I've ever seen. This...
The painter and poet, in a death-wrestle, try to disentangle their protean identities, or at least to maintain a numerical tally of the limbs, head...
Bless me, curse me. For better or worse, my fallopian fall into matter. . . After making careful preparations to ensure himself a proper reincarnation, the dying ALEISTER CROWLEY flubs one syllable of the magickal incantation . . . and comes back as ELMER FUDD.
Bless me, curse me. For better or worse, my fallopian fall into matter. . . After making careful preparations to ensure himself a proper reincarnation...
