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Minimalism : art of circumstance / by Baker, Kenneth,1946-(CARDINAL)184906;
Includes bibliographical references and index.
Subjects: Minimal art; Minimal sculpture;
Available copies: 1 / Total copies: 1
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Bodyspace / by Molesworth, Helen,1966-(CARDINAL)267353; Baltimore Museum of Art.(CARDINAL)144046;
Subjects: Exhibition catalogs.; Minimal sculpture; Sculpture, Modern;
Available copies: 1 / Total copies: 1
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Anne Truitt : perception and reflection / by Hileman, Kristen.(CARDINAL)292660; Truitt, Anne,1921-2004.(CARDINAL)165090; Meyer, James Sampson,1962-(CARDINAL)227362; Hirshhorn Museum and Sculpture Garden.(CARDINAL)137156;
Includes bibliographical references (pages 162-166) and index.Presence and abstraction / Kirsten Hileman -- The bicycle / James Meyer -- Plates.
Subjects: Exhibition catalogs.; Truitt, Anne, 1921-2004; Minimal sculpture; Sculpture, American;
Available copies: 1 / Total copies: 1
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Chairs in space : the book of the game / by Bell, Larry,1939-artist,author.(CARDINAL)122323; Vinetz, Thomas P.,photographer.; Webb Design Studio,publisher.;
"Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation. Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell's later glass cubes and standing glass-panel wall sculptures. From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work. From 1968 to 1969 Bell commissioned the building of a coating device in order to produce work on a more environmental scale. During the plating process, thin metal films are deposited onto another material, mainly glass, resulting in a coating that allows light to be reflected, transmitted and absorbed simultaneously. He began creating sculptural installations with large sheets of glass that were rendered partly mirrored and partly transparent through the vacuum deposition procedure, thereby making the glass surfaces almost disappear and volumes become weightless. The colours which become visible are known as 'interference colour'; an illusion which results when light hits the sculptures' surface. Throughout this period, Bell produced interior wall environments, such as The Black Room for both the Museum of Modern Art, New York (1969) and the Tate Gallery (1970). In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as 'Vapor Drawings', continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the 'Vapor Drawing' oeuvre, such as Mylar and laminating film, to create the so-called 'Mirage works' - a mirage being an illusion which results from a combination of heat and light. Bell's more recent 'Light knot' sculptures developed from these 'Mirage works', eschewing their paper and laminate film and using only Mylar. These fluid works are composed of pliable, curvaceous-shaped sheets of polyester film that have been coated with metals and quartz. Highly reflective, the sheets are twisted into a knot and hung from a ceiling. Ceaselessly in motion, propelled by any slight air movement, these undulating sculptures act like a series of mirrors that reflect the viewer and their immediate spatial surroundings." -- Full biography at:
Subjects: Catalogs.; Bell, Larry, 1939-; Cube in art; Glass art; Glass in art; Glass sculpture, American; Glass sculpture; Light and space (Art movement); Minimal sculpture; Sculpture, Modern; Sculpture;
Available copies: 1 / Total copies: 1
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Larry Bell, light on surface : ten years of vapor drawings [exhibition] January 15 to February 28, 1988 / by Bell, Larry,1939-artist,contirbutor.(CARDINAL)122323; McClintock, Diana,1961-contributor.(CARDINAL)883367; Otton, William G.,writer of preface.(CARDINAL)853672; Laguna Art Museum (Laguna Beach, Calif.),publisher,host institution.(CARDINAL)185583;
"Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation. Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell's later glass cubes and standing glass-panel wall sculptures. From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work. From 1968 to 1969 Bell commissioned the building of a coating device in order to produce work on a more environmental scale. During the plating process, thin metal films are deposited onto another material, mainly glass, resulting in a coating that allows light to be reflected, transmitted and absorbed simultaneously. He began creating sculptural installations with large sheets of glass that were rendered partly mirrored and partly transparent through the vacuum deposition procedure, thereby making the glass surfaces almost disappear and volumes become weightless. The colours which become visible are known as 'interference colour'; an illusion which results when light hits the sculptures' surface. Throughout this period, Bell produced interior wall environments, such as The Black Room for both the Museum of Modern Art, New York (1969) and the Tate Gallery (1970). In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as 'Vapor Drawings', continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the 'Vapor Drawing' oeuvre, such as Mylar and laminating film, to create the so-called 'Mirage works' - a mirage being an illusion which results from a combination of heat and light. Bell's more recent 'Light knot' sculptures developed from these 'Mirage works', eschewing their paper and laminate film and using only Mylar. These fluid works are composed of pliable, curvaceous-shaped sheets of polyester film that have been coated with metals and quartz. Highly reflective, the sheets are twisted into a knot and hung from a ceiling. Ceaselessly in motion, propelled by any slight air movement, these undulating sculptures act like a series of mirrors that reflect the viewer and their immediate spatial surroundings." -- Full biography at:
Subjects: Exhibition catalogs.; Bell, Larry, 1939-; Cube in art; Glass art; Glass in art; Glass sculpture, American; Glass sculpture; Installations (Art); Light and space (Art movement); Minimal sculpture; Sculpture, Modern; Sculpture;
Available copies: 1 / Total copies: 1
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Larry Bell : works from New Mexico. by Bell, Larry,1939-artist,contributor.(CARDINAL)122323; Afif, Steve,contributor.; Raspail, T.,writer of preface.(CARDINAL)882903; Wortz, Melinda,contributor.(CARDINAL)150249; Musée d'art contemporain de Lyon,issuing body,host institution.(CARDINAL)306387;
Includes bibliographical references (pages 83-93).Préface = Preface / Thierry Raspail -- Première Personne du Singulier = First Person Singular / Larry Bell -- Larry Bell: de l'autre côté du miroir = Larry Bell: through the looking glass / Steve Afif -- L'Exposition: = The Exhibition: -- Mirage Paintings -- Vapor Drawings -- Corner Lamps -- Chairs in Space/The Game -- First and Last -- Larry Bell: vue d'ensemble = Larry bell: an overview / Melinda Wortz --Liste des oeuvres exposées = Exhibition list -- Biographie/Bibliographie = Biography/Bibliography -- Oeuvres dans les collections publiques = Work in public collections."Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation. Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell's later glass cubes and standing glass-panel wall sculptures. From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work. From 1968 to 1969 Bell commissioned the building of a coating device in order to produce work on a more environmental scale. During the plating process, thin metal films are deposited onto another material, mainly glass, resulting in a coating that allows light to be reflected, transmitted and absorbed simultaneously. He began creating sculptural installations with large sheets of glass that were rendered partly mirrored and partly transparent through the vacuum deposition procedure, thereby making the glass surfaces almost disappear and volumes become weightless. The colours which become visible are known as 'interference colour'; an illusion which results when light hits the sculptures' surface. Throughout this period, Bell produced interior wall environments, such as The Black Room for both the Museum of Modern Art, New York (1969) and the Tate Gallery (1970). In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as 'Vapor Drawings', continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the 'Vapor Drawing' oeuvre, such as Mylar and laminating film, to create the so-called 'Mirage works' - a mirage being an illusion which results from a combination of heat and light. Bell's more recent 'Light knot' sculptures developed from these 'Mirage works', eschewing their paper and laminate film and using only Mylar. These fluid works are composed of pliable, curvaceous-shaped sheets of polyester film that have been coated with metals and quartz. Highly reflective, the sheets are twisted into a knot and hung from a ceiling. Ceaselessly in motion, propelled by any slight air movement, these undulating sculptures act like a series of mirrors that reflect the viewer and their immediate spatial surroundings." -- Full biography at:
Subjects: Exhibition catalogs.; Bell, Larry, 1939-; Cube in art; Glass art; Glass in art; Glass sculpture, American; Glass sculpture; Installations (Art); Light and space (Art movement); Minimal sculpture; Sculpture, Modern; Sculpture;
Available copies: 1 / Total copies: 1
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Zones of experience : the art of Larry Bell. by Bell, Larry,1939-artist,contributor.(CARDINAL)122323; Cushman, Dean,contributor.; Frank, Peter,contributor.(CARDINAL)185903; Hall, Douglas Kent,contributor.(CARDINAL)505599; Landis, Ellen J.,writer of introduction.(CARDINAL)883235; Moore, James Collins,1941-writer of introduction.(CARDINAL)884493; Albuquerque Museum,publisher,host institution.(CARDINAL)147278;
Includes bibliographical references (pages 145-159).By the early 1970s most art history students knew the work of Larry Bell. His glass cubes made him world famous; his minimalist work, along with that of his contemporaries Robert Irwin, Ed Ruscha, Billy Al Bengston, Ken Price, and Joe Goode, defined the "L.A. Look." This retrospective includes Bell's evolving zones of experience: the elegant cubes, his monumental glass sculptures, the furniture and games, his vapor drawings and mirage paintings, the light and space explorations including photographs of the leaning room, his recent Sumer/Stickman sculptures, and the Fractions. Zones of Experience spans the artist's work from the early 1960s to the present, and includes a comprehensive biography/bibliography."Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation. Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell's later glass cubes and standing glass-panel wall sculptures. From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work. From 1968 to 1969 Bell commissioned the building of a coating device in order to produce work on a more environmental scale. During the plating process, thin metal films are deposited onto another material, mainly glass, resulting in a coating that allows light to be reflected, transmitted and absorbed simultaneously. He began creating sculptural installations with large sheets of glass that were rendered partly mirrored and partly transparent through the vacuum deposition procedure, thereby making the glass surfaces almost disappear and volumes become weightless. The colours which become visible are known as 'interference colour'; an illusion which results when light hits the sculptures' surface. Throughout this period, Bell produced interior wall environments, such as The Black Room for both the Museum of Modern Art, New York (1969) and the Tate Gallery (1970). In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as 'Vapor Drawings', continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the 'Vapor Drawing' oeuvre, such as Mylar and laminating film, to create the so-called 'Mirage works' - a mirage being an illusion which results from a combination of heat and light. Bell's more recent 'Light knot' sculptures developed from these 'Mirage works', eschewing their paper and laminate film and using only Mylar. These fluid works are composed of pliable, curvaceous-shaped sheets of polyester film that have been coated with metals and quartz. Highly reflective, the sheets are twisted into a knot and hung from a ceiling. Ceaselessly in motion, propelled by any slight air movement, these undulating sculptures act like a series of mirrors that reflect the viewer and their immediate spatial surroundings." -- Full biography at:
Subjects: Exhibition catalogs.; Bell, Larry, 1939-; Cube in art; Glass art; Glass in art; Glass sculpture, American; Glass sculpture; Installations (Art); Light and space (Art movement); Minimal sculpture; Sculpture, Modern; Sculpture;
Available copies: 1 / Total copies: 1
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Time machines / by Bell, Larry,1939-artist,interviewee.(CARDINAL)122323; Bell, Larry,1939-interviewee.(CARDINAL)122323; Carson, Juli,author.(CARDINAL)787131; Gartenfeld, Alex,editor,curator,writer of foreword,interviewer.(CARDINAL)884648; Moreno, Gean,1972-editor,curator,author.(CARDINAL)886360; Tumlir, Jan,1962-author.(CARDINAL)886371; Institute of Contemporary Art, Miami,issuing body,publisher,organizer,host institution.(CARDINAL)884721; Prestel Verlag,publisher.(CARDINAL)354847;
Includes bibliographical references.For nearly six decades, Larry Bell has been capturing light -- in glass, on paper, or with Mylar sheets. This book traces Bell's innovative experiments -- from his roots in Venice Beach to this most recent forays into public sculpture. It pays special tribute to the architectural, spatial and design explorations Bell undertook during the 60s, 70s, and 80s -- experiments that often took the form of ephemeral and immersive installations. Generously illustrated, this book reveals how Bell explored the technological possibilities made available in postwar America, and asserts his position as one of America's most adventurous living artists. Exhibition: Institute of Contemporary Art, Miami, USA (01.11.2018-10.03.2019)."Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation. Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell's later glass cubes and standing glass-panel wall sculptures. From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work. From 1968 to 1969 Bell commissioned the building of a coating device in order to produce work on a more environmental scale. During the plating process, thin metal films are deposited onto another material, mainly glass, resulting in a coating that allows light to be reflected, transmitted and absorbed simultaneously. He began creating sculptural installations with large sheets of glass that were rendered partly mirrored and partly transparent through the vacuum deposition procedure, thereby making the glass surfaces almost disappear and volumes become weightless. The colours which become visible are known as 'interference colour'; an illusion which results when light hits the sculptures' surface. Throughout this period, Bell produced interior wall environments, such as The Black Room for both the Museum of Modern Art, New York (1969) and the Tate Gallery (1970). In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as 'Vapor Drawings', continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the 'Vapor Drawing' oeuvre, such as Mylar and laminating film, to create the so-called 'Mirage works' - a mirage being an illusion which results from a combination of heat and light. Bell's more recent 'Light knot' sculptures developed from these 'Mirage works', eschewing their paper and laminate film and using only Mylar. These fluid works are composed of pliable, curvaceous-shaped sheets of polyester film that have been coated with metals and quartz. Highly reflective, the sheets are twisted into a knot and hung from a ceiling. Ceaselessly in motion, propelled by any slight air movement, these undulating sculptures act like a series of mirrors that reflect the viewer and their immediate spatial surroundings." -- Full biography at:
Subjects: Essays.; Exhibition catalogs.; Illustrated works.; Interviews.; Bell, Larry, 1939-; Bell, Larry, 1939-; Bell, Larry, 1939-; Cube in art; Glass art; Glass in art; Glass sculpture, American; Glass sculpture; Installations (Art); Light and space (Art movement); Minimal sculpture; Sculpture, Modern; Sculpture;
Available copies: 1 / Total copies: 1
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American sculpture in process, 1930-1970 / by Andersen, Wayne,1928-2014,author.(CARDINAL)125808;
Includes bibliographical references (261-272) and index.The thirties -- The forties -- The fifties in New York. New directions ; Proliferation -- Chicago sculpture -- California sculpture -- Pop art and pop sculpture -- Minimal art and primary structures -- Earthworks and process art.
Subjects: Sculpture, American;
Available copies: 2 / Total copies: 2
On-line resources: Suggest title for digitization;
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Movements in art since 1945 / by Lucie-Smith, Edward,author.(CARDINAL)139617;
Includes bibliographical references (pages 302-308) and index.Abstract expressionism -- The European scene -- Post-painterly abstraction -- Pop, environments and happenings -- Abstract sculpture, minimal art, conceptual art -- An age of pluralism -- Neo-expressionist tendencies -- The USA--1970s to 1990s -- Issue-based art and globalization -- The rise of video -- The photographic medium -- Post-pop blues -- The present and the future."Lucie-Smith demystifies the work of dozens of artists and reveals how the art world has interacted with social, political, and environmental concerns. This book includes detailed coverage of major developments within the artistic community, such as pop art, conceptual and performance work, neo-expressionism, and minimalist art across the globe, including Asia, Africa, and Latin America. A new chapter on art since 2000 includes discussions of work by Banksy and Ai Weiwei, as well as recent trends in art from Russia and Eastern Europe"--Publisher marketing.
Subjects: Art, Modern; Art, Modern;
Available copies: 2 / Total copies: 2
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