Böcker utgivna av Fundacion Juan March

The first retrospective in 30 years on the immensely influential abstractionist, theorist, art-world scourge and forefather of MinimalismThe first monographic exhibition on the artist in Spain and one of the most complete surveys ever curated in Europe, Art Is Art and Everything Else Is Everything Else illustrates Ad Reinhardt‿s tremendous influence on Abstract Expressionism as well as subsequent contemporary art styles. Reinhardt‿s paintings are rarely representational and are instead composed of geometrics and eventually only color: canvases of all red, all blue, all black. Organized with the institutional support of the Ad Reinhardt Foundation, this catalog includes a selection of approximately 50 paintings and works on paper, spanning Reinhardt‿s career from early drawings, paintings and collages to later works characterized by a progressive reduction of color and form. Another focal point of the volume is Reinhardt‿s passions and artistic pursuits beyond painting, including his slides, writings on art, illustrations in newspapers, books, magazines and pamphlets, and his comics satirizing the art world and politics. Ad Reinhardt (1913‿67) was born in Buffalo, New York, and studied art history at Columbia University from 1931 to 1935, after which he participated in the WPA Federal Art Project initiative. Reinhardt soon became an official member of the newly formed American Abstract Artist group alongside painters such as Josef Albers and Jackson Pollock. He exhibited regularly and taught at Brooklyn College for the remainder of his life.

From artifacts to the avant-garde: the "Amerindian" visual aesthetic presented in a colossal and copiously illustrated catalogAfter Europeans christened two sweeping continents with hundreds of individual cultures and traditions "America," the visual culture of the "New World" became filled with reinterpretations of ancient civilizations from Alaska to Tierra del Fuego. Before América turns back the clock to examine the formation of Americanist identity from Indigenous cultures, beginning with the archeological expeditions of the 18th and 19th centuries and ending with contemporary media and popular culture. With a striking graphic cover, the book is a glorious compilation of over 800 illustrations showcasing the "Amerindian" paradigm across mediums and decades: textiles, jewelry, furniture, printed books, playing cards, movie posters, Aztec-themed hotels and contemporary artwork by Josef and Anni Albers, Cecilia Vicuña and Henry Moore. Whether subtle motifs or plain pastiches, all these examples appropriate a simulacrum of Indigenous visual culture, now full of new and fascinating meanings.

The first documentation of the legendary 1950 showdown between 18 leading abstract expressionists and the Metropolitan Museum of ArtIn 1950, 18 American abstract painters signed an open letter addressed to the president of the Metropolitan Museum of Art to express their intense disapproval of the museum's contemporaneous exhibit American Painting Today: 1950. The artists were William Baziotes, James Brooks, Fritz Bultman, Jimmy Ernst, Adolph Gottlieb, Hans Hofmann, Weldon Kees, Willem de Kooning, Robert Motherwell, Barnett Newman, Jackson Pollock, Richard Pousette-Dart, Ad Reinhardt, Mark Rothko, Theodoros Stamos, Hedda Sterne, Clyfford Still and Bradley Walker Tomlin. This artistic coalition, which included many members of the New York School and is now considered a watershed movement in mid-20th-century American art history, challenged the museum's policies for their narrow understanding of what made certain art worth exhibiting. Though they resisted being labeled as a collective, media coverage of the museum boycott, which included a now-famous group portrait in Life magazine taken by photographer Nina Leen, ultimately contributed to the success of the 18 "irascibles" in what became known as the abstract expressionist movement. This publication collects paintings by the artists, images from Leen's photoshoot and extensive documentation of the letter-writing process with relevant catalogs and magazines. Featuring more than 230 illustrations alongside original essays by several art historians and curators that examine the complex history of the New York School, this volume serves as a time capsule of the exciting period of early abstract expressionism in the United States.