Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery
Andy Warhol, ‘Leo Castelli: Twenty Years (Historic Softcover Exhibition Catalogue- 1st and only Edition)’, 1977, Alpha 137 Gallery

Price includes complimentary (free) shipping to anywhere in the world!
LEO CASTELLI: TWENTY YEARS
Leo Castelli Gallery, 1977
1st Edition
EXTREMELY RARE - HIGHLY COLLECTIBLE!
This softcover catalogue with stiff wraps was published on the occasion of a commemorative exhibition celebrating the 20 year anniversary of the legendary Leo Castelli Gallery. Artists who participated in this marvelous tribute to one of the greatest art dealers of the 20th century were:
RICHARD ARTSCHWAGER
ROBERT BARRY
LEE BONTECOU
PETER CAMPUS
JOHN CHAMBERLAIN
NASSOS DAPHNIS
HANNE DARBOVEN
RON DAVIS
JAN DIBBETS
DAN FLAVIN
LAURI GRISI
DOUGLAS HUEBLER
JASPER JOHNS
DONALD JUDD
ELLSWORTH KELLY
JOSEPH KOSUTH
ROY LICHTENSTEIN
ROBERT MORRIS
BRUCE NAUMAN
KENNETH NOLAND
CLAES OLDENBURG
FRANK OWEN
ROBERT RAUSCHENBERG
JAMES ROSENQUIST
EDWARD RUSCHA
SALVATORE SCARPITTA
RICHARD SERRA
KEITH SONNIER
FRANK STELLA
CY TWOMBLY
PAUL WALDMAN
ANDY WARHOL
LAWRENCE WEINER
It has 57 full pages of black and white photographic reproductions. All together, the catalogue has 72 pages and measures 8.5 by 11 inches.
There is shelfwear to the covers (front and back), minor corner bending, and the first front end page (inside) has a black marker over a price, but the catalogue is otherwise in good, vintage condition. NOT ex-library; NO markings whatsoever.
A rare and highly collectible book.
Front and back over image is Andy Warhol's famous portrait of Leo Castelli.

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Publisher: Leo Castelli Gallery

About Andy Warhol

Obsessed with celebrity, consumer culture, and mechanical (re)production, Pop artist Andy Warhol created some of the most iconic images of the 20th century. As famous for his quips as for his art—he variously mused that “art is what you can get away with” and “everyone will be famous for 15 minutes”—Warhol drew widely from popular culture and everyday subject matter, creating works like his 32 Campbell's Soup Cans (1962), Brillo pad box sculptures, and portraits of Marilyn Monroe, using the medium of silk-screen printmaking to achieve his characteristic hard edges and flat areas of color. Known for his cultivation of celebrity, Factory studio (a radical social and creative melting pot), and avant-garde films like Chelsea Girls (1966), Warhol was also a mentor to artists like Keith Haring and Jean-Michel Basquiat. His Pop sensibility is now standard practice, taken up by major contemporary artists Richard Prince, Takashi Murakami, and Jeff Koons, among countless others.

American, 1928-1987, Pittsburgh, Pennsylvania, based in New York, New York

About John Chamberlain

John Chamberlain is best known for his twisting sculptures made from scrap metal and banged up, discarded automobile parts and other industrial detritus. “My work has nothing to do with car wrecks,“ he has said. “I believe common materials are the best materials.” With its emphasis on paint finishes and the raw materials’ lines and seams, his work has been described as a kind of three-dimensional Abstract Expressionist painting. While his breakthrough work dates form the 1960s (namely in sculpture), he has also more recently worked with large-scale photography.

American, 1927-2011, Rochester, Indiana, based in Shelter Island, New York

About Frank Stella

Frank Stella, an iconic figure of postwar American art, is considered the most influential painter of a generation that moved beyond Abstract Expressionism toward Minimalism. In his early work, Stella attempted to drain any external meaning or symbolism from painting, reducing his images to geometric form and eliminating illusionistic effects. His goal was to make paintings in which pictorial force came from materiality, not from symbolic meaning. He famously quipped, “What you see is what you see,” a statement that became the unofficial credo of Minimalist practice. In the 1980s and '90s, Stella turned away from Minimalism, adopting a more additive approach for a series of twisting, monumental, polychromatic metal wall reliefs and sculptures based on Herman Melville’s Moby Dick.

American, b. 1936, Malden, Massachusetts, based in New York and Rock Tavern, New York

About Cy Twombly

Cy Twombly emerged in the 1950s, developing a characteristic painting style of expressive drips and active, scribbled, and scratched lines. “My line is childlike but not childish,” he once said. “It is very difficult to fake…to get that quality you need to project yourself into the child's line. It has to be felt.” Early influences included Willem de Kooning, Franz Kline, Jackson Pollock, and Robert Motherwell, but more formative would be his relationships with Robert Rauschenberg and Jasper Johns, along with whom he would distance himself from the dominance of Abstract Expressionism. Twombly's work also appeared in one of the first exhibitions to explore ideas of Minimalism—“Black, White, and Grey” (1964)—along with Agnes Martin, Frank Stella, and Andy Warhol. In addition to his paintings, which were sometimes dismissed as "high-art graffiti," he produced sculptures assembled from found objects, clay, and plaster, painted white to suggest an affinity to Classicism.

American, 1928-2011, Lexington, Virginia, based in New York and Rome

About Ed Ruscha

Despite being credited with a Pop sensibility, Ed Ruscha defies categorization with his diverse output of photographic books and tongue-in-cheek photo-collages, paintings, and drawings. Ruscha’s work is inspired by the ironies and idiosyncrasies of life in Los Angeles, which he often conveys by placing glib words and phrases from colloquial and consumerist usage atop photographic images or fields of color. Known for painting and drawing with unusual materials such as gunpowder, blood, and Pepto Bismol, Ruscha draws attention to the deterioration of language and the pervasive cliches in pop culture, illustrated by his iconic 1979 painting I Don’t Want No Retro Spective. “You see this badly done on purpose, but the badly-done-on-purpose thing was done so well that it just becomes, let’s say, profound,” he once said. Equally renowned were his photographic books, in which he transferred the deadpan Pop style into series of images of LA—apartments, palm trees, or Twentysix Gasoline Stations (1962), his most famous work.

American, b. 1937, Omaha, Nebraska, based in Los Angeles, California

Group Shows

2013
San Francisco,
Selected Works: Tony Cragg, Philip Guston, Callum Innes, Julie Mehretu, Martin Puryear, Edward Ruscha

About Dan Flavin

Utilizing fluorescent light tubing available on the commercial market, Dan Flavin created light installations (or “situations” as he preferred to call them) that became icons of Minimalism. Flavin’s wall- and floor-mounted, site-specific fixtures, composed of intersecting and parallel lines of light in conventional colors, flood spaces with their glow. A number of the sculptures feature tubes traversing corners or doorways, or at a right angle to the wall, further engaging the architecture of a room. As Flavin’s installations grew more complex, so too did the spaces built expressly for the purpose of exhibiting them. In 1959, when Flavin was shortly employed as a guard and elevator operator at the Museum of Modern Art, he met fellow Minimalists Sol LeWitt, Robert Mangold, and Robert Ryman.

American, 1933-1996, Jamaica, New York

Solo Shows

1987
Kamakura Gallery, 
Ginza, Chuo, Tokyo, Japan,
Dan Flavin

About Ronald Davis

Since the late 1960s, Ronald Davis has been an important figure in the world of abstract art. Using a painting style characterized as incorporating the freedom Jackson Pollock, the spatial perspective of the Renaissance, and the precision of Piet Mondrian, Davis became known for his illusionary qualities which were previously missing within abstract art. Employing new technologies of the time, Davis became a master of geometric perspective, paint handling, color, and space. His style evolved from hard-edged, optical paintings to geometric, illusionistic paintings using polyester resin and fiberglass. He later explored sound sculpture, silkscreening, lithography, etching, papermaking, a return to acrylic painting, and computer-based painting. After creating a series of sculptures based on Navajo dwellings, Davis ultimately settled in Arroyo Hondo, New Mexico.

American, b. 1937, Santa Monica, California

About Richard Artschwager

American painter and sculptor Richard Artschwager’s work has been classified as Pop Art due to the work’s derivation from utilitarian objects; Minimalist, in reference to Artschwager’s use of reductive geometric forms; and Conceptual in describing the cerebral quality of the work. However, Artschwager often sought to confound such art-historical categories and challenge the relationship between perception and illusion. Artschwager’s early career as a furniture designer is evident in his later sculpture, which often mimicked the forms of furniture, employed synthetic materials such as Formica, and invoked a Minimalist aesthetic, probing the distinction between art and design. The artist’s late-career work alluded to current political issues through the appropriation or depiction of mass media imagery, such as in his portraits of George W. Bush and Trent Lott.

American, 1923-2013, Washington, D.C.

Solo Shows

2013
The National Exemplar, 
New York,
Richard Artschwager, Arch, Drum, Self Portrait

Group Shows

2016
Philadelphia,
Pop Réal
2014
Beverly Hills,
View Artist's CV

About Lee Bontecou

One of the most widely recognized female artists of the 1960s, Lee Bontecou creates welded wall reliefs, hanging sculptures, and miniature, mystical drawings that reflect her interest in natural and man-made forms. Brown and black in tone and often with ominous, organic voids at their centers, her large-scale patchwork accumulations of canvas, leather, wire mesh, and muslin recall nests, machines, ancient architecture, and the human body. She constructs her massive, free-hanging forms from constellations of steel, shaped canvas, porcelain curios, and explosive lengths of wire that reach far into space. Through such works, Bontecou has sought to capture “as much of life as possible—no barriers—no boundaries—all freedom in every sense,” she says.

American, b. 1931, Providence, Rhode Island

Solo Shows

2017
Gemeentemuseum, 
The Hague, Netherlands,
Lee Bontecou

Group Shows

2015
Museum of Modern Art, 
New York, NY, United States,
Take an Object
2015
New York,
Black or White
2014
New York, NY, United States,
Solitary Soul

About Nassos Daphnis

About Hanne Darboven

German conceptual artist Hanne Darboven filtered her experience of life through time, an entity at once abstract and concrete, much like her own work. Driven by her belief that time is the essence of our existence, she structured her work around it, drawing upon an acute sense of tempo and repetition honed by her training as a pianist. Darboven created innumerable individually framed or bound pages filled with delicately handwritten numbers, mathematical calculations, calendar days, and philosophical passages, sometimes combined with shades of color, images, and objects. Often displayed as installations, wrapping around walls in methodically patterned, gridded formations that would resolve into individual words and numbers up-close, Darboven’s work served as both the visualization of data and a sweeping temporal record of historical events and her own artistic labor, carried out, like clockwork, over the course of her life.

German, 1941-2009, Munich, Germany, based in Hamburg, Germany

About Jasper Johns

Jasper Johns's ongoing stylistic and technical experimentation place him at the forefront of American art. His richly textured paintings of maps, flags, numbers, and targets laid the groundwork for Pop art, Minimalism, and Conceptual art. In New York in the 1950s, Johns was part of a community of artists, including Robert Rauschenberg, seeking an alternative to the emotional nature of Abstract Expressionism. Influenced by Marcel Duchamp, Johns's early work paired the concerns of craft with familiar concrete imagery. His interest in process also led to innovations in lithography, screen-printing, etching and woodblock, using such materials as pencil, pen, brush, crayon, wax, and plaster to constantly challenge the technical possibilities of printmaking.

American, b. 1930, Augusta, Georgia, based in New York, New York

About Donald Judd

Donald Judd, widely regarded as one of the most significant American artists of the post-war period, is perhaps best-known for the large-scale outdoor installations and long, spacious interiors he designed in Marfa, Texas. His oeuvre has come to define what has been referred to as Minimalist art—a label the artist strongly objected to. His sculptures and installations, constructed out of industrial materials such as Plexiglas, concrete, and steel and arranged in precise geometric shapes, were intended to emphasize the purity of the objects themselves rather than any symbolic meaning they might have—“the simple expression of complex thought,” said Judd. His particular interest in architecture led him to design both the sculptures and the spaces in which they would be contained, influencing a generation of artists and designers from Anish Kapoor to David Batchelor.

American, 1928-1994, Excelsior Springs, Missouri

About Ellsworth Kelly

Since the beginning of his career, Ellsworth Kelly's emphasis on pure form and color and his impulse to suppress gesture in favor of creating spatial unity have played a pivotal role in the development of abstract art in America. A major influence on Pop Art, Minimalism, hard-edge and color field painting, Ellsworth Kelly’s best-known works are distinguished by sharply delineated shapes flatly painted in vivid color, such as Colors for a Large Wall (1951). His abstract paintings are inspired by the interplay of light, space, and color in the architecture around him. In contrast, Kelly’s automatic drawings feature delicate outlines of bodies and flora.

American, 1923-2015, Newburgh, New York, based in New York, New York

About Joseph Kosuth

In 1965, Joseph Kosuth moved from Ohio to New York, where he began creating experimental conceptual installations, museum exhibitions, and public commissions that explore the role of language and meaning within art. Kosuth's practice is highly self-referential, drawing influence from Sigmund Freud and Ludwig Wittgenstein's seminal theories. "The 'value' of particular artists after Duchamp can be weighed according to how much they questioned the nature of art," Kosuth has said. One of his best known works is One and Three Chairs (1965), a visual expression of Plato’s Theory of Forms. In the collection at the Museum of Modern Art, the piece features a wooden chair, a photograph of the chair, and a dictionary definition of the word “chair.” Plato’s theory asserts that non-material abstract forms (or ideas), and not the physical world, possess the highest and most fundamental kind of reality.

American, b. 1945, Toledo, Ohio, based in London, United Kingdom

Solo Shows

1986
Kamakura Gallery, 
Ginza, Chuo, Tokyo, Japan,
Joseph Kosuth
1982
Kamakura Gallery, 
Ginza, Chuo, Tokyo, Japan,
Joseph Kosuth

Group Shows

2016
London,
Checkmate. Games of International Art from the Sixties to Now
View Artist's CV

About Roy Lichtenstein

When American Pop artist Roy Lichtenstein painted Look Mickey in 1961, it set the tone for his career. This primary-color portrait of the cartoon mouse introduced Lichtenstein’s detached and deadpan style at a time when introspective Abstract Expressionism reigned. Mining material from advertisements, comics, and the everyday, Lichtenstein brought what was then a great taboo—commercial art—into the gallery. He stressed the artificiality of his images by painting them as though they’d come from a commercial press, with the flat, single-color Ben-Day dots of the newspaper meticulously rendered by hand using paint and stencils. Later in his career, Lichtenstein extended his source material to art history, including the work of Claude Monet and Pablo Picasso, and experimented with three-dimensional works. Lichtenstein’s use of appropriated imagery has influenced artists such as Richard Prince, Jeff Koons, and Raymond Pettibon.

American, 1923-1997, New York, New York, based in New York and Southampton, New York

Group Shows

2016
2016
London,
New Tate Modern Switch House: Extension and Installation
2015
Miami,
Recent Acquisitions + Highlights from the MDC Permanent Art Collection

About Robert Morris

Robert Morris was a crucial figure in the establishment of Minimalism, Process Art, and Land Art. His earliest explorations of Minimalism were the props he made for performances at the Judson Dance Theater where his wife, Simone Forti, was a choreographer and dancer. Later, Morris would explore the use of industrial materials such as aluminum and steel, accompanied by influential essays that helped establish the theories around Minimalism and other movements. Moving toward Process art, in 1963 he created Metered Bulb, a lightbulb displayed alongside an electric meter that monotonously recorded its energy expenditure. He would experiment widely with heavy felt, mirrors, textiles, waste products, steam, and dirt, creating ephemeral works that deconstructed the very notion of the art object. Morris was also involved in Performance art, collaborating with Walter De Maria and La Monte Young, among others.

American, b. 1931, Kansas City, Missouri

About Bruce Nauman

Using an array of media including video installation, performance, sculpture, and photography, Bruce Nauman is known for conceptual works that explore space, language, and the body. Nauman infuses his pieces with irony and humor, creating verbal and visual puns to often-unsettling effect, challenging viewers and making them aware of their own physicality. Nauman’s neon works explore the semantic and metaphorical possibilities that arise from subtly rearranging a few letters, such as in Run from Fear, Fun from Rear (1972).

American, b. 1941, Fort Wayne, Indiana, based in New Mexico

About Kenneth Noland

An innovative colorist, Kenneth Noland began his career as an Abstract Expressionist, became one of the first practitioners of Color Field painting as part of the Washington Color School, and ultimately embraced a Minimalist approach that comprised vivid color and simple geometric shapes. His most iconic works are subtly direct compositions of chevrons, concentric circles, stripes, and diamonds, such as Pent (1966). Noland also pioneered the use of shaped canvases, painting on increasingly asymmetrical canvases that rendered the edge of equal compositional importance to the center.

American, 1924-2010, Asheville, North Carolina

About James Rosenquist

Leading Pop artist James Rosenquist—who came to prominence among New York School figures like Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, and Willem de Kooning—is well known for his large-scale, fragmented works that bring the visual language of commercial painting onto canvas (notably, from 1957-60, Rosenquist earned his living as a billboard painter). In his use of mass-produced goods and vernacular culture rendered in an anonymous style, Rosenquist's work recalls that of Andy Warhol, while his seemingly irrational, mysterious pictorial combinations owe a debt to Surrealism. His breakthrough work, the iconic F-111 (1965)—51 panels that total over 22 by 24 feet—juxtaposes an American fighter plane with a Firestone tire, garish orange tinned spaghetti, and a young girl under a hair dryer.

American, 1933-2017, Grand Forks, North Dakota, based in Aripeka, Florida

Exhibition Highlights

2015
Galerie Thaddaeus Ropac, 
Paris-Pantin,
2015
DeChant Art Consulting, 
Bratenahl,
From an Art Consultant's Eye

About Robert Rauschenberg

Robert Rauschenberg’s enthusiasm for popular culture and, with his contemporary Jasper Johns, his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. A prolific innovator of techniques and mediums, he used unconventional art materials ranging from dirt and house paint to umbrellas and car tires. In the early 1950s, Rauschenberg was already gaining a reputation as the art world’s enfant terrible with works such as Erased de Kooning Drawing (1953), for which he requested a drawing (as well as permission) from Willem de Kooning, and proceeded to rub away the image until only ghostly marks remained on the paper. By 1954, Rauschenberg completed his first three-dimensional collage paintings—he called them Combines—in which he incorporated discarded materials and mundane objects to explore the intersection of art and life. “I think a picture is more like the real world when it’s made out of the real world,” he said. In 1964 he became the first American to win the International Grand Prize in Painting at the Venice Biennale. The 1/4 Mile or Two Furlong Piece (1981–98), a cumulative artwork, embodies his spirit of eclecticism, comprising a retrospective overview of his many discrete periods, including painting, fabric collage, sculptural components made from cardboard and scrap metal, as well as a variety of image transfer and printing methods.

American, 1925-2008, Port Arthur, Texas, based in New York and Captiva Island, Florida

About Richard Serra

The monumental sculptures of Richard Serra, one of the preeminent sculptors of the 20th century, emphasize or alter viewers' perceptions of space and proportion. “It's all about centralizing the space in different ways. How people move in relation to space, that's essentially what I'm up to,” he has said. Inspired early in his career by modern dance—notably through his relationship with members of New York City’s influential Judson Church dancers—and Japanese Zen gardens, the artist sought to create works that engage viewers in movement, taking in his large-scale sheet-metal pieces by navigating the space around them. Serra, who was schooled at Yale with classmates Frank Stella, Chuck Close, and Nancy Graves, has been called “cerebral, single-minded, austere, as steely and uncompromising as his work.” “I have a certain obstinacy, a certain willfulness that has got me in trouble but it has also got me through,” he has quipped.

American, b. 1939, San Francisco, California, based in New York and Nova Scotia, Canada

About Keith Sonnier

Keith Sonnier constructs his distinctive abstract and semi-figurative light installations out of neon tubing. Often labeled a Minimalist, Sonnier places bright colors and sparse lines together in ways that heighten the lights’ reflective qualities in a given space. Inspired by both his birthplace of Louisiana and the cultures and geographies he encounters in his travels, Sonnier’s sculptures combine hi-tech industrial materials with organic or corporeal themes. For his “Herd” series (2009), Sonnier used lights and curved steel supports to create free-standing animal sculptures resembling the wildlife found in Africa.

American, b. 1941, Mamou, Louisiana, based in New York, New York

About Lawrence Weiner

Influential Conceptual artist Lawrence Weiner is known for his language-based sculpture and works pursuing inquiries into language and a radical redefinition of the artist/viewer relationship. In pieces like A Square Removal From a Rug in Use (1969) or Encased By + Reduced to Rust (1986), the value exists in the idea itself, as expressed in words. Considering language to be a sculptural material and believing that a construction in language can function as sculpture as adequately as a fabricated object, Weiner's works operate beyond the specificity and constraints of traditional presentation, inspiring artists like Barbara Kruger and Felix Gonzalez-Torres.

American, b. 1942, Bronx, NY, United States, based in New York, NY, United States