Martin Puryear
by J. Elderfield, E. Reede, R. Powell, M. Auping


Over the last 30 years, Martin Puryear has created a body of work that defies categorization, creating sculpture that examines identity, culture and history. Departing from the impersonal and machined aesthetic of Minimalism, Puryear's work combines Modernist abstraction with the traditions of crafts and woodworking, in shapes informed by the natural and by ordinary objects, made with materials such as tar, wood, stone and wire. It is quiet but deliberately associative, encompassing wide-reaching cultural and intellectual experiences and drawing on a huge and varied reserve of images, ideas and information. As a high school and college student, the artist studied ornithology, falconry and archery, and in the 1960s he volunteered with the Peace Corps in Sierra Leone, where he schooled himself in the region's indigenous crafts; these are only a few of the influences and methods that have embedded themselves in his work. And the sources of his works are no less varied than the possible and open-ended interpretations: "I think there are a number of levels at which my work can be dealt with and appreciated," Puryear said in a 1978 interview. "It gives me pleasure to feel there's a level that doesn't require knowledge of, or immersion in, the aesthetic of a given time or place."This volume is published on the occasion of the artist's Fall 2007 exhibition at The Museum of Modern Art, which travels from New York to Fort Worth, Washington, D.C. and San Francisco. It follows Puryear's development from his first solo show in 1977 to new works that are presented here for the first time and contains essays by John Elderfield, Michael Auping and Elizabeth Reede, and a conversation with the artist by Richard Powell.
» Amazon

Bernar Venet
by Thierry Lenain

Bernar Venet (b. 1941, France) is a master of contemporary conceptual art who has worked in all media, from painting and sculpture to film, music and ballet. In his early work, Venet sought to distill art, to strip it of aesthetic or expressive content, and to reestablish it as purely “conceptual.” He withdrew from the art world in 1971, fulfilling a promise he had made four years prior to stop producing new work once he perceived that his term was up. After a six-year hiatus, the artist reemerged, and over the next thirty years produced a vast body of work in diverse media. This monograph, complete with over 300 illustrations, addresses the struggle of aesthetic and intellectual forces at play in contemporary art through the work of one of its foremost practitioners.Today, Venet’s sculptures–massive iron structures in three categories: lines and angles, arcs, and “indeterminate” lines–are exhibited in museums and public spaces across the world. These forms, whether striking out independently into the air, leaning against a château, curving upward from the earth, or twisting arbitrarily around themselves or each other, stand at the threshold between the physical and the abstract, between the material and the purely geometric–testing the liminal spaces between art, world, and mind.

» Amazon

33-20 85th Street
Jackson Height ( Queens), New York , NY (USA)
Mirinda KOSSOF
DURHAM, North Carolina, USA
Clayton, GA (USA)
Phone : (706) 746-5107
E-mail :
Salima RAOUI
New York , N.Y (USA)
Agent : Roseline Koener, The Atelier, Westhampton, NY
631 288 3420 - - web:

»  Mirondella gallery
» blog
Seattle, Washington(USA)
Laguna Beach, California (USA)
George SARU
New York, New-York (USA)
Caroline SUTOUR
San Francisco, California (USA)
Bernar VENET
Conceptuel artist
New-york, N,Y (USA)


» Voir sa page d'exposition dans la galerie Mirondella

Alex Katz Paints Ada (Jewish Museum of New York)
by Robert Storr

For almost fifty years, the American artist Alex Katz (b. 1927) has painted a series of portraits of his wife, Ada. This beautifully illustrated book is the first to focus on these iconic paintings, which are unprecedented in their focus on a single figure over many years. In this volume, leading scholars explore the allure of Ada as a subject and the art-historical importance of Katz’s portraits, asking fascinating questions about Katz’s methods and intentions: What do these paintings reveal and conceal about their subject? What does Katz do in the studio to convey such vitality on his canvases? How does Katz’s work fit into the history of portraiture and the art movements of the 1960s and beyond? Acclaimed art critic and curator Robert Storr examines Ada’s alluring persona, comparing her to other “goddesses” who have captivated centuries of portrait painters. James Schuyler recounts a day in Katz’s studio, and the late British art critic Lawrence Alloway explores the role of repetition in the Ada portraits, which he views as a cycle of images with antecedents in Velázquez and Rembrandt. Featuring the renowned series of Ada portraits, this book demonstrates the cumulative power and enduring delight of Alex Katz’s achievement, as well as his devotion to his greatest muse.

About the Author
Robert Storr is dean of the Yale University School of Art and Consulting Curator of Modern and Contemporary Art at the Philadelphia Museum of Art. His numerous books include Elizabeth Murray, Gerhard Richter: Forty Years of Painting, and Chuck Close. Lawrence Alloway (1926–1990) was professor of art history at the State University of New York at Stony Brook from 1968 to 1981. His books include American Pop Art and Topics in American Art Since 1945. James Schuyler (1923–1991) is author of The Morning of the Poem, which won the Pulitzer Prize in 1981, and the recently reissued novel What’s for Dinner?

» Amazon