{"title":"Suzanne P Hudson","description":null,"products":[{"product_id":"robert-ryman-book-suzanne-p-hudson-9780262551205","title":"Robert Ryman","description":"\u003cb\u003eThis first book-length study of Robert Ryman argues that his work is a continuous experiment in the possibilities of painting.\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his recent gallery shows. Ryman's largely white-on-white paintings represent his careful working over of painting's conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting was conducted as a continuous personal investigation. Ryman's method-an act of \"learning by doing\"-as well as his conception of painting as \"used paint\" sets him apart from second-generation abstract expressionists, minimalists, or conceptualists.\u003cbr\u003e \u003cbr\u003e Ryman (born in 1930) is a self-taught artist who began to paint in earnest while working as a guard at the Museum of Modern Art in New York in the 1950s. Hudson argues that Ryman's approach to painting developed from quotidian contact with the story of modern painting as assembled by MoMA director and curator Alfred Barr and rendered widely accessible by director of the education department Victor D'Amico and colleagues. Ryman's introduction to artistic practice within the (white) walls of MoMA, Hudson contends, was shaped by an institutional ethos of experiential learning. (Others who worked at the MoMA during these years include Lucy Lippard, who married Ryman in 1961; Dan Flavin, another guard; and Sol LeWitt, a desk assistant.)\u003cbr\u003e \u003cbr\u003e Hudson's chapters-\"Primer,\" \"Paint,\" \"Support,\" \"Edge,\" and \"Wall,\" named after the most basic elements of the artist's work-eloquently explore Ryman's ongoing experiment in what makes a painting a painting. Ryman's work, she writes, tests the medium's material and conceptual possibilities. It signals neither the end of painting nor guarantees its continued longevity but keeps the prospect of painting an open question, answerable only through the production of new paintings.","brand":"WoB","offers":[{"title":"- \/ - \/ INTERNAL","offer_id":52485154701585,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ INGRAM","offer_id":52485155946769,"sku":"NLS9780262551205","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9780262551205.jpg?v=1772793873"},{"product_id":"robert-ryman-book-suzanne-p-hudson-9780262012805","title":"Robert Ryman","description":"\u003cp\u003e\u003cb\u003eThis first book-length study of Robert Ryman argues that his work is a continuous experiment in the possibilities of painting.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eIn this first book-length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his recent gallery shows. Ryman's largely white-on-white paintings represent his careful working over of painting's conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting was conducted as a continuous personal investigation. Ryman's method--an act of learning by doing--as well as his conception of painting as used paint sets him apart from second-generation abstract expressionists, minimalists, or conceptualists.\u003c\/p\u003e\u003cp\u003eRyman (born in 1930) is a self-taught artist who began to paint in earnest while working as a guard at the Museum of Modern Art in New York in the 1950s. Hudson argues that Ryman's approach to painting developed from quotidian contact with the story of modern painting as assembled by MoMA director and curator Alfred Barr and rendered widely accessible by director of the education department Victor D'Amico and colleagues. Ryman's introduction to artistic practice within the (white) walls of MoMA, Hudson contends, was shaped by an institutional ethos of experiential learning. (Others who worked at the MoMA during these years include Lucy Lippard, who married Ryman in 1961; Dan Flavin, another guard; and Sol LeWitt, a desk assistant.)\u003c\/p\u003e\u003cp\u003eHudson's chapters--Primer, Paint, Support, Edge, and Wall, named after the most basic elements of the artist's work--eloquently explore Ryman's ongoing experiment in what makes a painting a painting. Ryman's work, she writes, tests the medium's material and conceptual possibilities. It signals neither the end of painting nor guarantees its continued longevity but keeps the prospect of painting an open question, answerable only through the production of new paintings.\u003c\/p\u003e","brand":"WoB","offers":[{"title":"GB \/ GOOD \/ INTERNAL","offer_id":53613829030161,"sku":"GOR014981423","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":53614606942481,"sku":"GOR010496882","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9780262012805.jpg?v=1780337459"},{"product_id":"agnes-martin-book-suzanne-p-hudson-9781846381713","title":"Agnes Martin","description":"\u003cb\u003eA close examination of Agnes Martin's grid painting in luminous blue and gold.\u003c\/b\u003e \u003cp\u003eAgnes Martin's \u003ci\u003eNight Sea\u003c\/i\u003e (1963) is a large canvas of hand-drawn rectangular grids painted in luminous blue and gold. In this illustrated study, Suzanne Hudson presents the painting as the work of an artist who was also a thinker, poet, and writer for whom self-presentation was a necessary part of making her works public. With \u003ci\u003eNight Sea\u003c\/i\u003e, Hudson argues, Martin (1912-2004) created a shimmering realization of control and loss that stands alone within her suite of classic grid paintings as an exemplary and exceptional achievement.\u003c\/p\u003e \u003cp\u003eHudson offers a close examination of \u003ci\u003eNight Sea\u003c\/i\u003e and its position within Martin's long and prolific career, during which the artist destroyed many works as she sought forms of perfection within self-imposed restrictions of color and line. For Hudson, \u003ci\u003eNight Sea\u003c\/i\u003e stands as the last of Martin's process-based works before she turned from oil to acrylic and sought to express emotions of lightness and purity unburdened by evidence of human struggle.\u003c\/p\u003e \u003cp\u003eDrawing from a range of archival records, Hudson attempts to draw together the facts surrounding the work, which were at times obfuscated by the artist's desire for privacy. Critical responses of the time give a sense of the impact of the work and that which followed it. Texts by peers including Lenore Tawney, Donald Judd, and Lucy Lippard are presented alongside interviews with a number of Martin's friends and keepers of estates, such as the publisher Ronald Feldman and Kathleen Mangan of the Lenore Tawney archive, which holds correspondence between Martin and Tawney.\u003c\/p\u003e","brand":"WoB","offers":[{"title":"- \/ - \/ INTERNAL","offer_id":53795894853905,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":53795894919441,"sku":"GOR011837768","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9781846381713.jpg?v=1785849352"}],"url":"https:\/\/www.worldofbooks.com\/en-gb\/collections\/author-books-by-suzanne-p-hudson.oembed","provider":"World of Books ","version":"1.0","type":"link"}