ARTE PLASTICO Y ARTE PLASTICO PURO PIET MONDRIAN 1957

ARTE PLASTICO Y ARTE PLASTICO PURO

PIET MONDRIAN

*

AEDITORIAL VICTOR LERU

AÑO 1957

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CONTENUTE

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INDICE DE ILUSTRACIONES

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PREFACIO

DE

HARRY HOLTZMAN

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HACIA LA VERDADERA VISION DE LA REALIDAD
UN NUEVO REALISMO
ARTE ABSTRACTO
ARTE PLASTICO PURO
EL ARTE DEL PASADO Y EL ARTE MODERNO
EL VERDADERO CONTENIDO DEL ARTE
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PIET MONDRIAN THE WALL WORKS 1943 1944 Carpenter Hochman Gallery 1984

PIET MONDRIAN

THE WALL WORKS

1943 1944

 

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Exhibition catalogue

published

in conjunction with show held at

Carpenter  Hochman Gallery, New York, October – November 1984

and

Carpenter + Hochman Gallery, Dallas, December 1984 – January 1985

The catalogue

includes the essay

“Home-Street-City”

by Piet Mondrian

translated by Harry Holtzman and Martin James.

This essay first appeared in Vouloir no 25, 1927

in french, and i 10 vol no 1 1927 (Dutch).

It first appeared in English in

Transformation: Arts, Communication, Enviroment

1

1950

*

Introduction and  cover picture,  by Harry Holzman.

  1984   
Library Congress Catalog

Card number 84-072456

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MONDRIAN THE PROCESS WORKS PACE GALLERY NEW YORK 1970

MONDRIAN

THE PROCESS WORKS

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PACE EDITIONS

Inc 1970

Library of Congress

79-130804

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In this small exhibition’s  catalogue are present two articles by HARRY HOLTZMAN

titled

PIET MONDRIAN 1872 1944

SOME NOTES ON MONDRIAN’S METHOD

THE LATE DRAWINGS

*

PIET MONDRIAN’S ENVIRONMENT

Part 2

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Photographs pages 1,7-10, 64 by Harry Holtzman

Cover page by Ferdinand Boesch

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Pace Gallery, New York 11th April – 16th May 1970
Los Angeles County Museum 14th July – 30th August 1970

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Harry Holtzman Transformation Arts Communication Environment A world review

Transformation

Arts Communication Environment

A world review

*
  New York
  Wittenborn, Schultz
  Annual
 *  
Published

Since 1951-1953

*

Edited by Harry Holtzman

and

Martin James

*

In the no. 1

is present the article

by

Harry Holtzman

*

Measure of man

*

Three annual issues were released before the journal folded in 1953, and at the height of its popularity it had about 1,000 sub-scriptions.

*

 Transformation it was a venue for a wide list of contributors from the areas of the arts and architecture; its fostering of a ‘holistic’ approach to what was then called the ‘environment,’ could be thought as anticipating what was going to be fully developed and tested in the still to come ‘experiments’ of the 1960s.

While embedded in the art world, trans/formation was devoted neither to art nor to architecture but to a proposition that the arts and the sciences could be brought together in a common enterprise. To that end, the journal solicited contributions from natural and social scientists. Further, in addition to the CIAM contingent, it featured an array of other voices in the arts—Gyorgy Kepes, Buckminster Fuller, Marcel Duchamp, Ad Reinhardt, John Cage, Bernard Rudofsky—representatives of plural modernisms, “alternative” and “avant-garde.” Trans/formation therefore encompassed within a single historical object positions that have often been conceived to be communicating along an axis of oppositions: major and minor, central and marginal, dominant and critical.”

(Vallye, Anna.“The strategic universality of trans/formation, 1950-1952,” Grey room ,New York, no. 35 Spring 2009: 28-57.)

 

 

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Overview

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“Transformation affirms that art, science, technology are interacting components of the total human enterprise… but today they are too often treated as if they were cultural isolates and mutually antagonistic. lack of time, misinformation, specialized terminology make it hard to keep pace with advances in all fields. it is difficult enough to keep pace with a single one.

Transformation will cut across the arts and sciences by treating them as a continuum.

Transformation will provide authentic glimpses into the emerging forms of the ‘now.’

Transformation will present unifying views, specialization is a condition for progress but we are opposed to mutual ignorance, prejudice, cultural civil war.

Transformation will emphasize the dynamic process view as against static absolutes.. open as against closed systems… culture under transformation.”

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Harry Holtzman The Sickness of the Cult of the Hero It Is A Magazine for Abstract Art No. 4 Autumn 1959

Harry Holtzman

The Sickness of the Cult of the Hero

on

It Is:

A Magazine for Abstract Art

No. 4

Autumn 1959

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About IT IS six numbers

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It Is : A Magazine for Abstract Art  No. 1

(Spring 1958)

It Is : A Magazine for Abstract Art  No. 2

(Autumn 1958)

It Is : A Magazine for Abstract Art  No. 3

(Winter – Spring 1959)

It Is : A Magazine for Abstract Art No. 4

(Autumn 1959)

It Is : A Magazine for Abstract Art  No. 5

(Spring 1960)

It Is : A Magazine for Abstract Art  No. 6

(Autumn 1965)

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CONTENUTE

Articles, Statements, Panel discussions

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No. 1

Spring 1958

Articles by

Hubert Crehan, Michael Goldberg, Nicholas Marsicano, E.A. Navaretta, Ad Reinhardt, Ruthven Todd,  Philip G. Pavia;

Statements by

Alfred Duhrssen, Elaine de Kooning, Landis Lewitin, Ray Parker, Jack Tworkov, Esteban Vicente, Milton Resnick, Philip Guston, John Ferren, Robert Goodnough and Angelo Ippolito; sculpture panel by Ibram Lassaw, Constantino Nivola, and Wilfrid Zogbaum.

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No. 2

Autumn 1958

 Articles by

John Asher, Morton Feldman, John Ferren, Aristodimos Kaldis, E.A. Navaretta, Ray Parker, Philip G. Pavia, and Fairfield Porter; statements by Dore Ashton, Stanley Breul, Alfred Duhrssen, Piet Mondrian, Thomas B. Hess, Paul Jenkins, Harold Rosenberg, Norman Bluhm, Perle Fine, Michael Loew, Bob Richenburg, and Jack Tworkov;

Panel discussion by

Friedel Dzubas, Al Held, HARRY HOLTZMAN, Martin James, John Koenig, Elaine de Kooning, Nicholas Marsicano, Ad Reinhardt  Irving Sandler.

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No. 3

Winter-Spring 1959

Articles by

Hubert Crehan, Sidney Geist, Allen Ginsberg, Elaine de Kooning, Merle Marsicano, Mercedes Matter, George MacNeil, Philip G. Pavia and May Natalie Tabak; statements by Paul Brach, Kenneth Campbell, Enrico Donati, John Grillo, Hans Hoffman, Landis Lewitin, Robert Motherwell, Theodoros Stamos, George Sugarman, Fritz Bultman, Alfred Duhrssen, Ibram Lassaw, Kyle Morris and Georgine Oeri

Panel discussion

by

Thomas B. Hess, Paul Jenkins, Frank O’Hara, Milton Resnick, William Ronald  Irving Sandler

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No. 4

Autumn 1959

Articles by

John Cage, Sari Dienes, Thomas B. Hess, Hans Hofmann, HARRY HOLTZMAN, Allan Kaprow, Frederick J. Kiesler, Kermit Lansner, Nicholas Marsicano, Philip G. Pavia, Ad Reinhardt, Jeanne Raynal, John Stephan, James J. Sweeney, and Andre Breton;

statements by

Peter Agostini, William Baziotes, Mary Bonnell, Peter Busa, Robert Goldwater, Emil Hess, Alfred Jensen, Elaine de Kooning, Albert Kotin, John Little, Jack Tworkov and Adja Yunkers.

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No. 5 Spring 1960

  Articles by

Barbara Butler, Alfred Duhrssen, David Hare, Thomas B. Hess, Hoseki Shin’ichi Hisamatsu, Philip G. Pavia, Alfred Russell, Jon Schueler, Jack Tworkov, Robert Vaughan and David Young; statements and letters by Norman Bluhm, Stanley Breul, Mathias Goeritz, Hans Hofmann, Paul Jenkins, Lester Johnson, William Littlefield, and E. Matta; panel discussions by Philip Guston, Robert Motherwell, Ad Reinhardt, Harold Rosenberg, Jack Tworkov, Peter Agostini, Philip Pavia, James Rosati, David Slivka and Wilfrid Zogbaum.

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No. 6

Autumn 1965

 Waldorf Panels 1 & 2 on Sculpture

Over Ninety Plates of Sculptors working in New York City.

Panel discussion by

Herbert Ferber, Reuben Kadish, Ibram Lassaw, Philip Pavia, James Rosati, Bernard Rosenthal, David Slivka, Isamu Noguchi, Claes Oldenburg, George Segal, George Sugarman and James Wines.