Clutz William (5 results)

Trade Paperback. Condition: Very Good. No Jacket. First Edition. 12mo - over 6¾" - 7¾" tall. A very good+ copy with minor rubbing to wraps; light bumping to corners.[4] pages (including wrappers:unpaginated). Gallery brochure issued in conjunction with the exhibition held October 20 to November 23, 1988 at the Tatistcheff Gallery in Santa Monica. Uncommon.1 Color Illustration.

Softcover. Condition: Very Good. 1st. Exhibition catalog. White stapled covers with thick green border, full color illustration to front, introduction by Janice C. Oresman, 5 full-color and 4 b&w plates, chronology. Very slight rubbing to covers; a clean, tight copy in beautiful condition.

Softcover, 24 pages, as new condition, clean and crisp; no internal marks. Foreign shipping may be extra.

Condition: Gut. 12 S.; illustriert; 8°; geheftet. Gutes Ex. - Titelblatt mit Widmung u. SIGNIERT von Bill (William) Clutz. - Abbildungen : Downtown Light, Art Institute; North Avenue; Jogging, Lake Shore Drive; Santa Monica Park; Morning Light, Michigan Ave.; Sale Day; Rain, Los Angeles / u.a. - mit 1 Porträt-Aufnahme des Künstlers. // Clutz has his roots in American Realism. His love of light and the ability to capture it align him with the nineteenth century Luminists. His choice of subject is in the twentieth century figurative tradition from the Ashcan School to Fairfield Porter. Although Clutz concerns himself with ordinary people during the course of their daily existence his compositions are anything but ordinary-and never casual. He carefully works out an overriding idea until it feels exactly right on all levels. Nothing is extraneous. Except for a brief period in the sixties, Clutz has been unflagging in his devotion to realism and was included in two early exhibitions at the Museum of Modern Art which supported that persuasion. At the time of Recent Drawings, USA, 1956, Clutz was already known as a figurative painter. Recent Painting USA: The Figure, 1962, was, according to the artist, "the first official exhibition of new figurative painting since the advent of Abstract Expression." Ironically, the ascendancy of Pop art at that time pushed it to the background once again but Clutz and others in that show-John Button, Sydney Goodman, Lester Johnson, Larry Rivers and Paul Wonner persisted and became some of the significant proponents of the current realist tradition. Pastel is the medium with which Clutz has made his greatest contribution. He was drawn to it in the early sixties because of what he defines as its "simplicity and clarity" as well as by the opportunities it affords for overlaying colors which somehow correlate with the density of city life. It is the marriage of subject and medium that makes him pre-eminent among contemporary artists working in pastel. His dynamic drawing characteristically executed in strong vertical strokes is matched by subjects that "resonate" to him. His love of light and color produces shimmering and dazzling scenarios while his sensitivity to mood and atmosphere can capture silence or mystery, all of which register the pulse of the city. (Einführung) Sprache: Deutsch Gewicht in Gramm: 550.

[1] pp.; 28 x 21.6 cm.; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Announcement flyer for event held at the Loeb Student Center, New York University, November 3, 1968. Includes "CO-OP" by Meredith Monk, with Constance Power, Sally Bowden, Blondell Cummings, Signe Clutz, William Dunas, Judith Ellis, Phillip Hipwell, Joan Jonas, Susan Marshall, Jerry Martin, Caleb Martin, Monica Mosely, Matteo, Phoebe Neville, Trudy Pass, David Schiller, Daniel Swerdlik, Linn Varney, Robert Wilson, and Bob Kakanych; Show 1: "Alley Cats," by Robert Wilson; or Show 2: "Hippy Love Dance/Pyschedelic Dance" performed by William Dunas and Meredith Monk and "Ball Bearing," a film by Meredith Monk with technical assistance by Phill Niblock, Bill Hampton, Peter Funk, and George Landow. The film features Neshama Franklin, Phil Brown, Jeff Norwalk, Linn Varney, William Dunas, and Judith Ellis. Very Good. Light edge-wear and creasing at center. Clean and unmarked.