Fine in Fine jacket. Collectible. 8vo-over 7¾"-9¾" tall. xiii, 352 pp., illus. (some col. ), bib. notes, index; 25 cm. Tight, clean copy. Stated "First Edition." Dust jacket protected in a mylar book cover. A fine copy of the first printing.
Fine in fine dust jacket. Signed by author. Sewn binding. Paper over boards. Audience: General/trade. 1st printing of original 1st edition, FINE in FINE dust jacket, SIGNED BY THE AUTHOR ON THE HALF-TITLE PAGE
Fine in Fine jacket. Collectible. 8vo-over 7¾"-9¾" tall. SIGNED xiii, 352 pp., illus. (some col. ), bib. notes, index; 25 cm. SIGNED. Boldly signed by the author Carter Ratcliff on the front free endpaper, no dedication. Stated "First Edition." Dust jacket protected in a mylar book cover.
Publishers Weekly, 1996-11-04 Ratcliff (Andy Warhol) argues that Pollock's drip paintings, created with paint flung onto canvasses, evoke a uniquely American "sense of limitless possibility" because they "draw the imagination into a region of boundless space." In this provocative survey of one line of development in postwar American art, he traces Pollock's career, analyzes his style and discusses subsequent painters in whose work he sees the same tendency toward the infiniteæBarnett Newman, Andy Warhol, Robert Morris, Richard Serra, Robert Longo, Julian Schnable and Brice Marden, among others. The relationship of some of these paintersæsuch as Willem de Kooning and Helen Frankenthaleræto Pollock is obvious; in other instances, the connections are more tenuous. Ratcliff asserts, for example, that the repetitious boxes and cubes of minimalists such as Sol Le Witt resemble Pollock's drip paintings because they could go on forever and thus imply the infinite, and that a flag by Jasper Johns "has the scale of a drip painting by Pollock" because it is "a national banner infinitely large." His thesis provides fresh perspective on modern American art. Illustrations not seen by PW. (Dec.)
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