Gael Stack (M. Georgia Hegarty Dunkerley Contemporary Art Series)
Language: English
Published by University of Texas Press, 2011
- Hardcover
- Used
Seller: The Old Print Shop, Inc., New York, NY, U.S.A.The Old Print Shop, Inc.
AbeBooks seller since May 19, 2020
Condition: Used - As new
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Essays by Raphael Rubinstein and Alison de Lima Greene, foreword by Rackstraw Downes. xi, (3), 194 pages, 143 illustrations ( mostly color), biography, chronology, bibliography, quarto (4to).( 12 x 10 1/4"), hardcover, gray cloth, embossed text on cover, blue text on spine, dust jacket. Very good condition, unsold inventory of an old bookstore. Inventory #75223-1.
Seller Inventory # 000578
- Title
- Gael Stack (M. Georgia Hegarty Dunkerley Contemporary Art Series)
- Author
- Stack, Gael; Rubinstein, Raphael; Greene, Alison De Lima
- Publisher
- University of Texas Press
- Publication year
- 2011
- Condition
- As New
- Dust jacket
- As New
- Binding
- Hardcover
- Language
- English
- ISBN 10
- 0292728549
- ISBN 13
- 9780292728547
- Item weight
- 3 pounds
- Dimensions
- 4to - over 9¾ - 12" tall
An artist whose work evokes both memory and the "gaps, sinkholes, and other chasms" found in our experiences, Gael Stack is one of the most accomplished American painters working today. Her large canvases and smaller drawings use fragments of words and images, often layered over one another like a palimpsest, to create a visual language that explores the past's implacable hold on the present, with what is unknown and unspoken occasionally poking through. Serendipitous elements of graciousness and optimism also distinguish her recent work.
Gael Stack is the first retrospective monograph on the artist's career, which has spanned four decades. It features a catalog of some one hundred works reproduced in full-color, full-page plates. Accompanying the images are essays by Raphael Rubinstein and Alison de Lima Greene, who discuss Stack's work in the context of world art. Rubinstein likens her paintings to Freud's "mystic writing-pad," a surface layer that can be endlessly written upon, erased, and refilled, while the underlying tablet retains traces of all that has been written-an apt metaphor for the workings of perception and memory. Greene also reflects on the theme of memory in Stack's art, particularly the ways in which memory can evolve into forgetfulness and cognizance can become ignorance. Lists of selected exhibitions and public collections in which her work has been featured and a bibliography complete this authoritative survey of Stack's career.
"Synopsis" may belong to another edition of this title.
About the Author
Gael Stack has exhibited in museums and galleries nationally and internationally. Her work is in numerous permanent collections, including the Beaux Art Museum, Saintes, France; Solomon R. Guggenheim Museum, New York; Yale University Art Gallery, New Haven, Connecticut; Krannert Art Museum, Champaign, Illinois; the Museum of Fine Arts, Houston; and the Menil Collection, Houston. She is the John and Rebecca Moores Professor of Art at the University of Houston, where she formerly headed a department that has become the region's premier training ground for the visual arts.
A contributing editor at Art in America, Raphael Rubinstein is a poet, art critic, and author of numerous books.
Alison de Lima Greene is the curator of modern and contemporary art at the Museum of Fine Arts, Houston.
Rackstraw Downes is a realist painter who has been celebrated as a master of the American landscape. He was named a MacArthur Fellow in 2009.
"About the title" may belong to another edition of this title.
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The Old Print Shop, Inc. was founded in New York City in 1898 and is currently owed by Harry and Robert Newman. The gallery specializes in American art with a specialty in printmaking, 1700 to contemporary, maps prior to 1950, and books relating to art, printmaking, and architecture. Edward Gottschalk founded The Old Print Shop in 1898. At that time, it was located between 9th and 10th Streets on Fourth Avenue in back of Wanamaker's. He moved the shop to its current location in 1925. After Mr. Gottschalk's death, his widow hired Harry Shaw Newman, who had sold prints to Mr. Gottschalk, to run the Shop with an option to buy over a five-year period. The contract was signed on October 11, 1928. The final payment was due by October 31, 1933. The roaring twenties was an exciting time to own an art gallery. Prices for prints and paintings were at an all-time high. But in 1933, the middle of the Great Depression, few people were buying art, and it was a bad time to owe money. Through the help of a friend and fellow Currier & Ives enthusiast, Harry T. Peters, Harry Shaw Newman was able to get a loan that enabled him to make his final payment on the shop in 1933. The shop's first period of strong growth began during the 1940's. Although World War II was devastating Europe and Asia, most of America was back at work. Harry Shaw Newman realized that nineteenth-century American paintings were being overlooked by collectors and museums and was quick to bring them to the attention of the public. In the 1950's it was American primitive art and sculpture. The Shop was instrumental in helping build several notable collections of American primitive art. During the 1960's, 1970's, and 1980's there was a re-evaluation of American art from the past two centuries. The Shop chose at this time to concentrate on American printmakers and publishers from the eighteenth, nineteenth, and early twentieth centuries. Today, many museums in America, Europe, and Asia collect and display fine prints. As The Old Print Shop moves into its second century, it will continue to look for art that has been overlooked and reintroduce it to patrons and collectors.…
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