Kategoria BISAC: Art >> Individual Artists - General

In The New York Times, Wendy Steiner named Joseph E. Yoakum (1890-1972) one of the six masters among American outsider artists. John Perreault wrote in The Village Voice, -The discovery of an authentic 'naive' artist such as Yoakum does not happen very often so it is cause for some celebration.-

With 50 color and 145 black-and-white reproductions, Traveling the Rainbow: The Life and Art of Joseph E. Yoakum is a fitting tribute to this fascinating...

Mildred Nungester Wolfe (b. 1912) is among Mississippi's most prominent artists. Her portrait of Eudora Welty hangs in the National Portrait Gallery in Washington, D.C., and her paintings and sculptures are included in the collections of the Mississippi Museum of Art, Millsaps College, Montgomery Museum of Art, and the Library of Congress. From the wrought-iron gates of Methodist Children's Home, to the terra cotta statue of St. Anthony at St. Dominic's Hospital (both in Jackson, Mississippi), to the mosaic fountain plaque in First Methodist Church in Richton, Wolfe's art has been enjoyed...

Das kunstlerische Schaffen wahrend der 60er und 70er Jahre in Wien, Bali und Australien Beleuchtet die musikalischen Seite des Kunstlers - Mitbegrunder der Free-Jazz-Bewegung in Wien, inklusive einem entfaltbaren Leporello vom Monumentalgemalde "The Big Bang."

Trained at the University of South Florida, Robert Stackhouse was born in Bronxville, New York in 1942. By the 1980s Robert Stackhouse was regarded as one of America's most prominent young sculptors and his massive, ribbed installations were known nationwide. He taught at the Corcoran gallery and later returned to live in New York; by the 1990s his installations were going in large public places nationwide, then worldwide.

--Covers the first thirty years of Stackhouse's rise to prominence 1969-1999

--Provides an early biography along with a progression of his work

--Offers family...

Aby Warburg (1866-1929) is best known as the originator of the discipline of iconology and as the founder of the institute that bears his name. His followers included such celebrated art historians of the twentieth century as Erwin Panofsky, Edgar Wind, and Fritz Saxl. But his heirs developed, for the most part, a domesticated iconology based on the interpretation of symbolic material. As Phillippe-Alain Michaud shows in this important book, Warburg's own project was remote from any positivist or neo-Kantian ambitions. Nourished on the work of Nietzsche and Burckhardt, Warburg fashioned a...