Tony Rosenthal is probably best known for his landmark, fifteen-foot high CorTen cube, poised on its tip, which stands permanently on Astor Place in downtown Manhattan. Yet at the time it was installed, in 1967, and soon after accepted as the first permanent contemporary outdoor public sculpture by the City of New York, he had recieved many other public commissions, and had also been produceing smaller-scale studio sculpture of distinction for nearly two decades, first in Los Angeles and then in New York. Since the late ...
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Tony Rosenthal is probably best known for his landmark, fifteen-foot high CorTen cube, poised on its tip, which stands permanently on Astor Place in downtown Manhattan. Yet at the time it was installed, in 1967, and soon after accepted as the first permanent contemporary outdoor public sculpture by the City of New York, he had recieved many other public commissions, and had also been produceing smaller-scale studio sculpture of distinction for nearly two decades, first in Los Angeles and then in New York. Since the late fifties he has been experimenting in a rather wide range of abstraction, from monolithic structures to more open geometric forms, often with elegant surface detailing concerned with effects of light and movement. Notable among Rosenthal's important commissions has been "Cranbrook Ingathering," a maze-like structural environment set on the campus of the Michigan design center; he considers the work his homage to Charles and Ray Eames, Eero Saarinen and other modernist giants of architecture and design who had been fellows at the academy with Rosenthal. Another remarkable work that deeply stirred public attention recently is his moving "Holocaust Memorial," made for the Jewish Community Center of Greater Buffalo; it combines a rather austere, ten-foot high, stainless steel structure and specific texts and imagery on steel "pages" memorializing, and personalizing, the loss of the Six Million. Since 1997 Rosenthal has embarked on a more personal method of creating abstract, yet also at time suggestively figural, sculpture consisting of small, bent stell bars shaped by hand. He has also linked these elements together and combined them almost haphazardly, creating arich accumulation of powerfully interacting formal units. Undaunted by his advanced years, Rosenthal seems to be just getting started in his recent work, and testing new and challenging directions with vigor and concision. --S.H. The book contains 69 color plates, an extensive chronology, a list of the sculptor's major commissions and public sculptures and a bibliography.
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Seller's Description:
Very good. Hardcover in dust jacket; 80 pages, illustrated. No marks or writing to book. Clean and bright. Dust jacket rubbed a little on the rear panel; otherwise almost like new.
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Seller's Description:
Very Good in Very Good jacket. Book. Inscribed by Artist SIGNED AND INSCIRBED TO PREVIOUS OWNER BY TONY ROSENTHAL. Hard bound in dust jacket. Dust jacket shows minor wear, otherwise in very good condition.
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Seller's Description:
VG (WARMLY INSCRIBED BY ARTIST to American artist Will Barnet and his wife Elena. ) Black stamped cloth, gilt letters on spine, black & illus. dust jacket, 80 pp., BW illus., 69 color plates. Considers the sculpture of American sculptor Bernard J. "Tony" Rosenthal (1914-2009). With a preface by Edward Albee and several essays by Sam Hunter, and many full-color examples of Rosenthal's work. With a chronology, exhibitions and collections histories (including commissions), and selected bibliography. This copy is WARMLY INSCRIBED BY ROSENTHAL to American artist Will Barnet and his wife Elena on the title page.
