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Gérard Garouste, Colette Deblé, Georges Rousse, Geneviève Asse, Martial Raysse, Christian Jaccard, Joël Kermarrec, Danièle Perronne, Daniel Dezeuze, Philippe Favier, Daniel Nadaud: after the eleven essays of Contemporary French Art 1 , devoted to major artists from Ben Vautier and Niki de Saint Phalle to Annette Messager and Gérard Titus-Carmel, the present volume pursues its interrogations of the what , the how and the why of contemporary plastic production of some of France’s finest practitioners. If, as ever, such production can reveal elements of an interweaving of individualized preoccupations and modes, endless specificities demarcate and affirm originalities that pure theory and its leveling anonymity may obscure. Thus is it that Gérard Garouste is alone in that obsession with ‘indianness’ and ‘classicalness’; that Colette Deblé’s gesture is drawn implacably to the unseenness of female representation; that Georges Rousse plunges photography into the realm of matter’s poetic sacredness; that Geneviève Asse traverses a pure seemingness of abstraction to attain to an intimacy of silence; that Martial Raysse’s ‘hygiene of vision’ may endlessly renew and hybridize itself. Christian Jaccard, too, will explore with uniqueness an art of materiality at the frontier of metaphysics; Joël Kermarrec will offer us the inimitable exquisite traces of surging desire and deception; Danièle Perronne’s boxes and stringings, her paintings and her sheetings will unfold a psychic infinity at the heart of form. And, if Daniel Dezeuze seeks namelessness and pure structuration, the latter yet surge forth via works that relentlessly identify a gesture so distant, we may feel, from the at once sobering and ceremonial microproliferations of a Philippe Favier or the tense but genial articulations of Daniel Nadaud’s sculptural imagination.

Art --- anno 1900-1999 --- anno 2000-2009 --- France --- Art, French --- Color in art. --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- Art, Modern --- Faisant (Group of artists) --- Figuration libre (Group of artists) --- Untel (Group of artists) --- Pérav' Prod (Group of artists) --- Art, French. --- 1900-2099 --- French art --- Ecole de Nice (Group of artists) --- Forces nouvelles (Group of artists) --- Nabis (Group of artists) --- Ne pas plier (Group of artists) --- Art, French - 20th century --- Art, French - 21st century

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The paperback edition of a milestone work that has been unavailable for several years, documenting the short but influential life of Black Mountain College. Although it lasted only twenty-three years (1933–1956) and enrolled fewer than 1,200 students, Black Mountain College was one of the most fabled experimental institutions in art education and practice. Faculty members included Anni Albers, Josef Albers, Ilya Bolotowsky, John Cage, Harry Callahan, Merce Cunningham, Buckminster Fuller, Walter Gropius, Clement Greenberg, Lou Harrison, Franz Kline, Willem de Kooning, Jacob Lawrence, Robert Motherwell, Roger Sessions, Ben Shahn, Aaron Siskind, Esteban Vicente, and Stefan Wolpe. Among their students were Ruth Asawa, John Chamberlain, Ray Johnson, Kenneth Noland, Robert Rauschenberg, Dorothea Rockburne, Cy Twombly, and Susan Weil. Literature teachers included Robert Creeley, Robert Duncan, Charles Olson, and M.C. Richards, with students Fielding Dawson, Ed Dorn, Francine du Plessix Gray, Joel Oppenheimer, Arthur Penn, John Wieners, and Jonathan Williams. This book—the paperback edition of a milestone work that has been unavailable for several years—documents the short but influential life of Black Mountain College. Nearly 500 images, many in color and published for the first time in this book, show important works of art created by Black Mountain College faculty and students as well as snapshots of campus life. Four essays, all commissioned for the book, offer closer looks at the world of Black Mountain. Poet Robert Creeley recounts his first meeting with his mentor and friend Charles Olson. Composer Martin Brody offers a history of the musical world of the 1930s to 1950s, in which Black Mountain played a significant role. Critic Kevin Power looks at the experimental literary journal The Black Mountain Review, which was instrumental in launching the Black Mountain school of poetry. The book's editor, Vincent Katz, discusses the philosophy of the college's founders, the Bauhaus principles followed by art instructor Josef Albers, and the many interactions among the arts in the college's later years.

art education --- kunstonderwijs --- Art --- Higher education --- Black Mountain College [Black Mountain, N.C.] --- United States --- Art, American --- 7.038 --- 373.67 --- Kunstonderwijs ; Asheville ; 1933-1956 ; Black Mountain College --- Black Mountain College ; Asheville, North Carolina --- Onderwijs ; didactiek ; theorieën ; modellen --- Experimenteel kunstonderwijs --- Dewey, John --- Art, Modern --- Chicago Imagists (Group of artists) --- Figuration libre (Group of artists) --- Fort Worth Circle (Group of artists) --- Hairy Who (Group of artists) --- Monster Roster (Group of artists) --- Philadelphia Ten (Group of artists) --- Pictures Generation (Group of artists) --- Kunstgeschiedenis ; 1950 - 2000 --- Onderwijs ; kunst- architectuuronderwijs --- Exhibitions --- United States of America --- Arts --- Study and teaching (Higher) --- Black Mountain College (Black Mountain, N.C.)