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Color-Field Painting

 - 88 items found in your search
Movements:Color-Field Painting
   -Postcards

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Topics in American Art Since 1945, Alloway, Lawrence
1 Alloway, Lawrence
Topics in American Art Since 1945
New York W. W. Norton & Company, Inc. 1975 0393092372 / 9780393092370 1st Paperback Very Good 8vo - over 7¾" - 9¾" tall 
283 pp., illus., bib. notes, index; 22 cm. Firm binding, with one spine crease. Clean inside copy. Light edgewear to wraps, age toning. First paperback edition. A collection of Alloway's articles from various magazines, including Artforum, Arts, Art International, Studio International and The Nation. The British art curator and critic, who coined the phrase "pop art," was married to painter Sylvia Sleigh and lived in New York. 
Price: 19.95 USD
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2 Baber, Alice; Dodge, Norton T. (Edited by), and Ingersoll, Jonathan (Introduction by)
Alice Baber: Color, Light and Image
Mechanicsville, MD Cremona Foundation 1977 1st Paperback Very Good Exhibition Catalogue Oblong 
[24] pp., illus. (some col.), ports.; 21 x 27 cm. Exhibition held at the St. Mary's College of Maryland, St. Mary's City, MD, 28 February through 18 March, 1977. Near fine. Firm binding, clean inside copy. Age toning. 
Price: 29.95 USD
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Minimalism: Art of Circumstance, Baker, Kenneth
3 Baker, Kenneth
Minimalism: Art of Circumstance
New York Abbeville Press 1989 089659887X / 9780896598874 Hardcover Very Good Very Good 4to - over 9¾" - 12" tall 
Cloth, 144 pp., illus. (some col.), biblio., index; 29 cm. Firm binding, clean inside copy. Small remainder mark/tail edge. Dust jacket, with moderate edgewear/closed tear, protected in a mylar book cover. Another copy available. OVERSIZE! No priority/international, except by special arrangement. 
Price: 24.95 USD
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Minimalism: Art of Circumstance, Baker, Kenneth
4 Baker, Kenneth
Minimalism: Art of Circumstance
New York Abbeville Press 1989 089659887X / 9780896598874 1st Hardcover Very Good Very Good Collectible 4to - over 9¾" - 12" tall 
Cloth, 144 pp., illus. (some col.), biblio., index; 29 cm. Near fine. Firm binding, clean inside copy. Age toning. Stated "First edition." Dust jacket, with light edgewear, protected in a mylar book cover. OVERSIZE! No priority/international, except by special arrangement. 
Price: 34.95 USD
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Minimal Art: A Critical Anthology, Battcock, Gregory (Edited by)
5 Battcock, Gregory (Edited by)
Minimal Art: A Critical Anthology
New York E. P. Dutton & Co., Inc. 1968 0525472118 / 9780525472117 Paperback Very Good 8vo - over 7¾" - 9¾" tall 
448 pp., illus., bib. notes, index; 20 cm. Tight, clean copy. A little rippling on a few pages, upper right corner (moisture). Age toning. Essential reading for anyone interested in Minimalism and the art of the 1960s. All the seminal writings, including Michael Fried's "Art and Objecthood", are included. 
Price: 17.95 USD
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Minimal Art: A Critical Anthology, Battcock, Gregory (Edited by)
6 Battcock, Gregory (Edited by)
Minimal Art: A Critical Anthology
New York E. P. Dutton & Co., Inc. 1968 0525472118 / 9780525472117 Paperback Good 8vo - over 7¾" - 9¾" tall 
448 pp., illus., bib. notes, index; 20 cm. Good+. Firm binding, clean inside copy. Sticker remnant on front cover. Dust spotting/top edge, age toning. Another copy available. Essential reading for anyone interested in Minimalism and the art of the 1960s. All the seminal writings, including Michael Fried's "Art and Objecthood", are included. 
Price: 11.95 USD
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Karl Benjamin and the Evolution of Abstraction, 1950-1980, Benjamin, Karl; Muchnic, Suzanne (Essay by); Benjamin, Beth (Poem by)
7 Benjamin, Karl; Muchnic, Suzanne (Essay by); Benjamin, Beth (Poem by)
Karl Benjamin and the Evolution of Abstraction, 1950-1980
West Hollywood, CA Louis Stern Fine Arts 2011 0983787107 / 9780983787105 1st Hardcover Very Good Exhibition Catalogue 4to - over 9¾" - 12" tall 
Pictorial boards, 144 pp., col. illus., biblio.; 25 cm. Published in conjunction with an exhibition held at Louis Stern Fine Arts, West Hollywood, CA, September 24 to December 24, 2011. Firm binding, clean inside copy. Top right corners bumped. Another copy available. 
Price: 24.95 USD
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Karl Benjamin and the Evolution of Abstraction, 1950-1980, Benjamin, Karl; Muchnic, Suzanne (Essay by); Benjamin, Beth (Poem by)
8 Benjamin, Karl; Muchnic, Suzanne (Essay by); Benjamin, Beth (Poem by)
Karl Benjamin and the Evolution of Abstraction, 1950-1980
West Hollywood, CA Louis Stern Fine Arts 2011 0983787107 / 9780983787105 1st Hardcover Fine Exhibition Catalogue 4to - over 9¾" - 12" tall 
Pictorial boards, 144 pp., col. illus., biblio.; 25 cm. Published in conjunction with an exhibition held at Louis Stern Fine Arts, West Hollywood, CA, Sept. 24-Dec. 24, 2011. Firm binding, clean inside copy. 
Price: 39.95 USD
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Sam Gilliam: A Retrospective, Binstock, Jonathan P.; Hopps, Walter, and Serwer, Jacquelyn D. (Foreword by)
9 Binstock, Jonathan P.; Hopps, Walter, and Serwer, Jacquelyn D. (Foreword by)
Sam Gilliam: A Retrospective
Washington, D.C. and Berkeley, CA Corcoran Gallery of Art; University of California Press 2005 0520246454 / 9780520246454 1st Paperback Fine Exhibition Catalogue 4to - over 9¾" - 12" tall 
xv, 221 pp., illus. (chiefly col.), biblio., index; 29 cm. Firm binding, clean inside copy. OVERSIZE! No priority/air, except by special arrangement. A major publication on the African-American color-field painter. "In 1968 Sam Gilliam made an indelible impression on the history of art when he jettisoned the wooden stretcher bars that had previously determined the shape of his paintings and allowed his vivid, sometimes ecstatic, rushes of color-stained canvas to hang, billow, and swing through space. Yet Gilliam's contributions to art history extend far beyond these often monumental and always dramatic works. In this volume, the first in-depth book devoted to this major figure, Corcoran Gallery of Art Curator of Contemporary Art Jonathan P. Binstock explores four decades of work and establishes Gilliam's place in the history of post-1960s art. Binstock's wide-ranging and provocative critical examination of Gilliam's development, innovations, and contributions both as a modernist and as an African American artist are supported with a wealth of beautifully produced illustrations--both full-color and black-and-white--as well as an annotated and illustrated chronology and an exhaustive bibliography. This fresh and insightful assessment of Gilliam's lifetime achievement places the artist at the forefront of American abstract art. / Jonathan P. Binstock is Curator of Contemporary Art at the Corcoran Gallery of Art in Washington, D.C. He is the author of Atomic Time: Pure Science and Seduction (2003), The 47th Corcoran Biennial: Fantasy Underfoot (2002), and Andy Warhol: Social Observer (2000). Walter Hopps was Curator of Twentieth-Century Art, The Menil Collection, Houston, and Adjunct Senior Curator of Twentieth-Century Art, Solomon R. Guggenheim Museum of Art, New York. Jacquelyn D. Serwer is Chief Curator, Corcoran Gallery of Art." - Publisher. 
Price: 24.95 USD
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Modernism's Masculine Subjects: Matisse, the New York School, and Post-Painterly Abstraction, Brennan, Marcia
10 Brennan, Marcia
Modernism's Masculine Subjects: Matisse, the New York School, and Post-Painterly Abstraction
Cambridge, MA MIT Press 2004 026202571X / 9780262025713 1st Hardcover Very Good Fine 8vo - over 7¾" - 9¾" tall 
Cloth, xi, 213 pp., illus., biblio., index; 24 cm. Near fine. Tight, clean copy. Remainder mark/top edge. First Edition. Dust jacket protected in a mylar book cover. "In the era of The Man in the Gray Flannel Suit--when social pressures on men to conform threatened cherished notions of masculine vitality, freedom, and authenticity--modernist paintings came to be seen as metaphorical embodiments of both idealized and highly conflicted conceptions of masculine selfhood. In Modernism's Masculine Subjects, Marcia Brennan traces the formalist critical discourses in which work by such artists as Henri Matisse, Willem de Kooning, and Jackson Pollock could stand as symbolic representations that at once challenged and reproduced such prevailing cultural conceptions of masculinity. Rejecting the typical view of formalism's exclusive engagement with essentialized and purified notions of abstraction and its disengagement from issues of gender and embodiment, Brennan explores the ways in which these categories were intertwined, historically and theoretically. Brennan makes new use of writings by Clement Greenberg and other powerful critics describing the works of Matisse, the postwar New York School abstract expressionists, and their successors, the post-painterly abstractionists. The paintings of Matisse, she argues, were represented in part as intellectually engaged and culturally respectable centerfolds. Brennan examines de Kooning's Woman series —perhaps the most significant effort to incorporate feminine presence within abstract expressionist imagery--as extended cultural metaphors for bourgeois masculinity's conflicted relationship with its feminine 'others.' She also shows how the aggressive energy of Pollock's nonfigural painterly idiom became domesticated in the press by the repeated pairing of his work with images of Pollock in the studio and at home with his wife, the artist Lee Krasner. Finally, discussing the rise of the post-painterly abstractionists in the sixties, Brennan shows how, both despite and because of the critical presence of Helen Frankenthaler, formalist responses to the works of Morris Louis and Kenneth Noland provided an opportunity to promote idealized conceptions of masculine creativity. / Marcia Brennan is Associate Professor of Art History at Rice University. She has previously taught art history at Brown University and the College of the Holy Cross." - Publisher. CONTENTS: A "straight theory" of bourgeois pleasure in later modernist painting; Still lifes and centerfolds: the negation of the feminine in Greenberg's reading of Matisse; Fragmented bodies and canonical nudes: painting and reading de Kooning's Woman series; Pollock and Krasner: touching and transcending the boundaries of abstract expressionism; How formalism lost its body but kept its gender: Frankenthaler, Louis, and Noland in the sixties. 
Price: 34.95 USD
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Modernism's Masculine Subjects: Matisse, the New York School, and Post-Painterly Abstraction, Brennan, Marcia
11 Brennan, Marcia
Modernism's Masculine Subjects: Matisse, the New York School, and Post-Painterly Abstraction
Cambridge, MA MIT Press 2004 0262524686 / 9780262524681 Paperback Very Good 8vo - over 7¾" - 9¾" tall 
xi, 213 pp., illus., biblio., index; 22 cm. First paperback edition. Near fine. Tight, clean copy. Remainder mark/top edge. "In the era of The Man in the Gray Flannel Suit--when social pressures on men to conform threatened cherished notions of masculine vitality, freedom, and authenticity--modernist paintings came to be seen as metaphorical embodiments of both idealized and highly conflicted conceptions of masculine selfhood. In Modernism's Masculine Subjects, Marcia Brennan traces the formalist critical discourses in which work by such artists as Henri Matisse, Willem de Kooning, and Jackson Pollock could stand as symbolic representations that at once challenged and reproduced such prevailing cultural conceptions of masculinity. Rejecting the typical view of formalism's exclusive engagement with essentialized and purified notions of abstraction and its disengagement from issues of gender and embodiment, Brennan explores the ways in which these categories were intertwined, historically and theoretically. Brennan makes new use of writings by Clement Greenberg and other powerful critics describing the works of Matisse, the postwar New York School abstract expressionists, and their successors, the post-painterly abstractionists. The paintings of Matisse, she argues, were represented in part as intellectually engaged and culturally respectable centerfolds. Brennan examines de Kooning's Woman series —perhaps the most significant effort to incorporate feminine presence within abstract expressionist imagery--as extended cultural metaphors for bourgeois masculinity's conflicted relationship with its feminine 'others.' She also shows how the aggressive energy of Pollock's nonfigural painterly idiom became domesticated in the press by the repeated pairing of his work with images of Pollock in the studio and at home with his wife, the artist Lee Krasner. Finally, discussing the rise of the post-painterly abstractionists in the sixties, Brennan shows how, both despite and because of the critical presence of Helen Frankenthaler, formalist responses to the works of Morris Louis and Kenneth Noland provided an opportunity to promote idealized conceptions of masculine creativity. / Marcia Brennan is Associate Professor of Art History at Rice University. She has previously taught art history at Brown University and the College of the Holy Cross." - Publisher. CONTENTS: A "straight theory" of bourgeois pleasure in later modernist painting; Still lifes and centerfolds: the negation of the feminine in Greenberg's reading of Matisse; Fragmented bodies and canonical nudes: painting and reading de Kooning's Woman series; Pollock and Krasner: touching and transcending the boundaries of abstract expressionism; How formalism lost its body but kept its gender: Frankenthaler, Louis, and Noland in the sixties. 
Price: 19.95 USD
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Modernism's Masculine Subjects: Matisse, the New York School, and Post-Painterly Abstraction, Brennan, Marcia
12 Brennan, Marcia
Modernism's Masculine Subjects: Matisse, the New York School, and Post-Painterly Abstraction
Cambridge, MA MIT Press 2004 026202571X / 9780262025713 1st Hardcover Very Good Fine 8vo - over 7¾" - 9¾" tall 
Cloth, xi, 213 pp., illus., biblio., index; 24 cm. Near fine. Tight, clean copy. Age toning. First Edition. Dust jacket protected in a mylar book cover. "In the era of The Man in the Gray Flannel Suit--when social pressures on men to conform threatened cherished notions of masculine vitality, freedom, and authenticity--modernist paintings came to be seen as metaphorical embodiments of both idealized and highly conflicted conceptions of masculine selfhood. In Modernism's Masculine Subjects, Marcia Brennan traces the formalist critical discourses in which work by such artists as Henri Matisse, Willem de Kooning, and Jackson Pollock could stand as symbolic representations that at once challenged and reproduced such prevailing cultural conceptions of masculinity. Rejecting the typical view of formalism's exclusive engagement with essentialized and purified notions of abstraction and its disengagement from issues of gender and embodiment, Brennan explores the ways in which these categories were intertwined, historically and theoretically. Brennan makes new use of writings by Clement Greenberg and other powerful critics describing the works of Matisse, the postwar New York School abstract expressionists, and their successors, the post-painterly abstractionists. The paintings of Matisse, she argues, were represented in part as intellectually engaged and culturally respectable centerfolds. Brennan examines de Kooning's Woman series —perhaps the most significant effort to incorporate feminine presence within abstract expressionist imagery--as extended cultural metaphors for bourgeois masculinity's conflicted relationship with its feminine 'others.' She also shows how the aggressive energy of Pollock's nonfigural painterly idiom became domesticated in the press by the repeated pairing of his work with images of Pollock in the studio and at home with his wife, the artist Lee Krasner. Finally, discussing the rise of the post-painterly abstractionists in the sixties, Brennan shows how, both despite and because of the critical presence of Helen Frankenthaler, formalist responses to the works of Morris Louis and Kenneth Noland provided an opportunity to promote idealized conceptions of masculine creativity. / Marcia Brennan is Associate Professor of Art History at Rice University. She has previously taught art history at Brown University and the College of the Holy Cross." - Publisher. CONTENTS: A "straight theory" of bourgeois pleasure in later modernist painting; Still lifes and centerfolds: the negation of the feminine in Greenberg's reading of Matisse; Fragmented bodies and canonical nudes: painting and reading de Kooning's Woman series; Pollock and Krasner: touching and transcending the boundaries of abstract expressionism; How formalism lost its body but kept its gender: Frankenthaler, Louis, and Noland in the sixties. 
Price: 44.95 USD
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13 Carmean, E. A., Jr.
Morris Louis: Major Themes & Variations
Washington D.C. National Gallery of Art 1976 1st Paperback Very Good Exhibition Catalogue Oblong 
[47] pp., illus. (some col.) ; 21 x 28 cm. Published on the occasion of an exhibition at the National Gallery of Art, September 12, 1976 to January 9, 1977. Firm binding, clean inside copy. Light shelfwear to wraps, spine slightly bent. An important exhibition featuring the works of the Washington Color School artist Morris Louis, the post-painterly abstractionist whose stained canvases were influenced by Helen Frankenthaler. 
Price: 29.95 USD
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Herman Cherry: A Retrospective, Cherry, Herman; Joyaux, Alain G. (Curated by), and Tully, Judd (Essay by)
14 Cherry, Herman; Joyaux, Alain G. (Curated by), and Tully, Judd (Essay by)
Herman Cherry: A Retrospective
Muncie, IN Ball State University Museum of Art 1990 0915511096 / 9780915511099 1st Paperback Very Good Collectible 4to - over 9¾" - 12" tall 
43 pp., illus. (some col.); 26 cm. Catalogue of an exhibition held Dec. 10, 1989-Feb. 11, 1990. Near fine. Firm binding, clean inside copy. Light shelfwear to wraps. 
Price: 44.95 USD
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Dan Christensen (1942-2007): Pure Painting: A Forty-Year Retrospective, Christensen, Dan; Adlmann, Jan Ernst (Essay by)
15 Christensen, Dan; Adlmann, Jan Ernst (Essay by)
Dan Christensen (1942-2007): Pure Painting: A Forty-Year Retrospective
Santa Fe, NM LewAllen Contemporary 2007 0975993259 / 9780975993255 1st Paperback Fine Exhibition Catalogue 8vo - over 7¾" - 9¾" tall 
23 pp., col. illus., ports., bib. notes; 24 cm. Catalogue of an exhibition held at LewAllen Contemporary, Santa Fe, N.M., March 2 to April 25, 2007. Firm binding, clean inside copy. 
Price: 29.95 USD
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Dan Christensen: Reflections on a Retrospective, Christensen, Dan; Crum, Katherine B. (Curated by)
16 Christensen, Dan; Crum, Katherine B. (Curated by)
Dan Christensen: Reflections on a Retrospective
Southampton, NY Parrish Art Museum 2002 1st Paperback Fine Exhibition Catalogue 8vo - over 7¾" - 9¾" tall 
20 pp., col. illus.; 23 cm. Wraps fine, clean copy. 
Price: 17.95 USD
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Abstract Art in the Late Twentieth Century, Colpitt, Frances (Edited by)
17 Colpitt, Frances (Edited by)
Abstract Art in the Late Twentieth Century
Cambridge Cambridge University Press 2002 0521004535 / 9780521004534 Paperback Fine 8vo - over 7¾" - 9¾" tall 
xix, 212 pp., illus., bib. notes, index; 24 cm. Tight, clean copy. An interesting anthology. "By the middle of the 20th century, abstraction was the accepted language of art as practiced by painters and articulated by critics, who began to investigate its historical and theoretical dimensions. Abstract Art in the Late Twentieth Century includes seminal essays on abstract painting by eleven of its most incisive critics and written over four decades, between 1960 and 2000. Tracing the post-Greenbergian development of such critical issues as hard-edge painting, deductive and serial structure, monochrome abstraction, the psychological analogy, regionalism, and the 'death of painting' in post-modernism, they examine works by Ad Reinhardt, Frank Stella, Brice Marden, Sherrie Levine, and Gerhard Richter, among others. The introduction and commentary by Frances Colpitt situates the essays historically and examines their philosophical sources and influences, from formalism and phenomenology, to structuralism and poststructuralism. What emerges is a coherent and optimistic picture of abstract painting, the definitive contribution of modern art." - Publisher. CONTENTS: Four Abstract Classicists, by Jules Langsner; Literalism and Abstraction: Frank Stella's Retrospective at the Modern, by Philip Leider; Serial Imagery, by John Coplans; The Silent Art, by Lucy R. Lippard; After the Ultimate, by Grégoire Müller; Marden, Novros, Rothko: Painting in the Age of Actuality, by Sheldon Nodelman; The End of Painting, by Douglas Crimp; Signs Taken For Wonders, by Hal Foster; The Current State of Nonrepresentation, by Jeremy Gilbert-Rolfe; The Abstract Self-Object, by Donald Kuspit; Once Removed From What?, by David Pagel; Systems of Opinion: Abstract Painting since 1959, by Frances Colpitt. 
Price: 21.95 USD
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Serial Imagery, Coplans, John
18 Coplans, John
Serial Imagery
Pasadena, CA Pasadena Art Museum 1968 1st Paperback Very Good Exhibition Catalogue 8vo - over 7¾" - 9¾" tall 
144 pp., illus. (part col.), ports., biblio.; 24 x 23 cm. Catalogue of an exhibition sponsored by the Art Alliance to be held at the Pasadena Art Museum, Sept. 17-Oct. 27, 1968; Henry Art Gallery, University of Washington, Seattle, Nov. 17-Dec. 22, 1968; Santa Barbara Museum of Art, Jan. 25-Feb. 23, 1969. Near fine. Firm binding, clean inside copy. Light edgewear to wraps, age toning. OVERSIZE! No priority/international, except by special arrangement. 
Price: 59.95 USD
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Gene Davis: A Survey, Davis, Gene; Westfall, Stephen (Essay by)
19 Davis, Gene; Westfall, Stephen (Essay by)
Gene Davis: A Survey
New York Charles Cowles Gallery 1988 1st Paperback Fine Exhibition Catalogue 8vo - over 7¾" - 9¾" tall 
[24] pp., col. illus., port.; 21 cm. Exhibition held January 30 to February 27, 1988. Firm binding, clean inside copy. Memorial exhibition of the Washington Color School painter Gene Davis (1920-1985), known for his minimalist pinstripe paintings. 
Price: 24.95 USD
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American Art of the 1960s, Elderfield, John (Edited by)
20 Elderfield, John (Edited by)
American Art of the 1960s
New York Museum of Modern Art; Studies in Modern Art Ser., 1 1991 0870701800 / 9780870701801 1st Hardcover Very Good Very Good 4to - over 9¾" - 12" tall 
Cloth, 184 pp., illus. (part col.), bib. notes, index; 26 cm. Series edited by James Leggio and Susan Weiley. Near fine. Firm binding, clean inside copy. Small remainder mark/tail edge. Dust jacket, with light edgewear/nicked, protected in a mylar book cover. OVERSIZE! No priority/air, except by special arrangement. Essays by: Lynn Zelevansky, "Ad Reinhardt and the Younger Artists of the 1960s"; Wendy Weitman, "Jasper Johns: Ale Cans and Art"; John Elderfield, "The Precursor"; Joseph Ruzicka, "Jim Dine and Performance"; Rosalind Krauss, "Overcoming the Limits of Matter: On Revising Minimalism"; Stuart Wrede, "Complexity and Contradiction Twenty-five Years Later: An Interview with Robert Venturi"; Charles Silver, "Elia Kazan's Wild River." 
Price: 44.95 USD
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