B000QXPTYI New York, 1965. Quarto, wraps, 194 pp. A scarce title on modern sculpture, with profiles on David smith, Anthony Caro, Fritz Wotruba and others. This copy has some wear and two small tape repairs to covers and a small closed tear to wraps at head of spine. Slight creasing to corners of pages. Very good minus condition overall, well preserved and attractive. Bookseller Inventory #
Title: Contemporary Sculpture : Arts Yearbook 8
Publisher: The Art Digest, Inc.
Book Condition: Very Good
Edition: First Edition.
Book Description Arts Yearbook, New York, 1965. Paper. Book Condition: Fine. Dust Jacket Condition: Issued Without Jacket. 16-page offprint circulated by Avnet Shaw, a Long Island, New York, foundry, with an article on the Shaw process by Margaret Buhler featuring Lipchitz work, one on a group of figures by Clivia Morrison, and another on the Lester Avnet collection. Illustrated with black and white plates of work by Lipchitz, Morrison, and many other artists associated with the foundry. Fine in paper. Book. Bookseller Inventory # 7474
Book Description Art Digest; New York, 1965. Soft cover. Book Condition: Very Good. No Jacket. 1st Edition. Art Digest. New York. 1965. Oversized SOFTBOUND in VERY GOOD Condition w/ covers showing minor wear soil. INTERIOR NEAR PRISTINE: clean & tight. Uncreased spine. Approx 9" by 12", 220 glossy pp. PROFUSELY ILLUSTRATED throughout in black & white & some color. Contains the first publication of Donald Judd's seminal essay "Specific Objects." From Wikipedia: "By 1963 Judd had established industrial plywood, concrete and color-impregnated Plexiglas as staples of his career. Judd's first floor box structure was made in 1964, and his first floor box using Plexiglas followed one year later. Also by 1964, he began work on wall-mounted sculptures, and first developed the curved progression format of these works in 1964 as a development from his work on an untitled floor piece that set a hollow pipe into a solid wooden block. While Judd executed early works himself (in collaboration with his father, Roy Judd). As he abandoned painting for sculpture in the early 1960s, he wrote the manifesto-like essay “Specific Objects” in 1964. In his essay, Judd found a starting point for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values, these values being illusion and represented space, as opposed to real space. He pointed to evidence of this development in the works of an array of artists active in New York at the time, including Lucas Samaras, John Chamberlain, Jasper Johns, Dan Flavin, George Earl Ortman and Lee Bontecou. The works that Judd had fabricated inhabited a space not then comfortably classifiable as either painting or sculpture and in fact he refused to call them sculpture, pointing out that they were not sculpted but made by small fabricators using industrial processes. That the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd." LAID-IN: Original blue subscription reply card. Suitable for gifting or collection. Carefully shipped in secure parcel. Bookseller Inventory # 509408
Book Description New York, The Art Digest, 1965. Brossura (wrappers). Book Condition: Molto buono (Very Good). With an introduction by William Seitz. A survey of recent sclupture: An International Selection of Artists - Reproductions and Biographical Sketches. Texts by Robert Goldwater (Truth or what?), Donald Judd (Specific Objects), Sidney Geist (Color It Sculpture). Profiles: David Smith, Anthony Caro, Fritz Wotruba, Costantino Nivola, Miguel Berrocal, William King, Etienne Hajdu, Manuel Neri, Eduardo Chillida, Pablo Serrano. An interview with Eduardo Paolozzi by Richard Hamilton. With Donald Judd's review of the Howard and Jean Lipman Collection. Illustrations in b/w and colours (works by David Smith, Alexander Calder, Reuben Nakian, Richard Hunt, James Rosati, Raoul Hague, Edward Higgins, Fritz Bultman, Isamu Noguchi, Gabriel Kohn, Peter Agostini, Louise Bourgeois, Peter Grippe, Mark di Suvero, Mike Nevelson, George Spaventa, Paul von Ringelheim, Jason Seley, Frederick Kiesler, Wilfrid Zogbaum, Paul Granlund, Jack Squier, Italo Scanga, Anthony Caro, Costantino Nivola, Miguel Berrocal, William King, Etienne Hajdu, Manuel Neri, Eduardo Chillida, Pablo Serrano, Anne Arnold, Mary Frank, Alvin Light, Henry Moore, Rudolf Hoflehner et al.). 4to. pp. 194. . Molto buono (Very Good). Piccole mancanze al dorso (Little abrasions along spine). . . Compendio di saggi sulla scultura dei primi anni 1960 a cura di William Seitz, contiene la prima pubblicazione del fondamentale saggio di Donald Judd, ''Specific Objects'', in cui l'artista così descriveva il suo credo artistico: ''Non è necessario per un lavoro avere molte cose da guardare, comparare, analizzare una a una, contemplare. La cosa come un intero, le sue qualità come un intero, è questo ciò che è interessante. Le cose importanti sono sole, e sono più intense, chiare e potenti''. Judd fu forse l'artista minimalista più freddo e rigoroso, sia per le strutture geometriche tridimensionali organizzate con moduli seriali, sia per i materiali di tipo industriale come l'acciaio, l'alluminio anodizzato o il plexiglas. Bookseller Inventory # 0000000107986