Pop Up Library
Welcome to the Still, Moving Pop Up Library: a digital bibliography featuring a selection of writing on the artworks, artists, and critical theory that inspired the exhibition.
Alloway, Lawrence. Heléne Aylon: Painting That Change in Time. New York: Susan Caldwell Gallery, 1975.
This is a gallery brochure from Heléne Aylon’s exhibition of her process works: Paintings that Change in Time and Breakings.
Aylon, Heléne. Whatever is Contained Must be Released: My Jewish Orthodox Girlhood, My Life as a Feminist Artists. New York: Feminist Press at the City University of New York, 2012.
Heléne Aylon wrote a memoir discussing both her personal story and her work as an artist. The book showcases an intimate understanding of how the artist thought about her work and underscores her work as a Jewish eco-feminist.
Becker, Vivienne, Nicolas Bos, and Takaaki Matsumoto. Daniel Brush: Jewels Sculpture. New York, NY: Rizzoli Electa, 2019.
An art-making process is not linear. A collection of 150 objects created over 40 years of Brush's career. The catalog dives into Brush's fascination with jewelry and his inspiration from Asian philosophy.
Brush, Daniel, Oliver Sacks, David Revere McFadden, Brett Littman, Paul Keegan, and Saskia Hamilton, and Takaaki Matsumoto. Daniel Brush. New York, New York: Museum of Arts and Design, 2012.
Artists' inspiration moves through all mediums and transcends materiality. This catalog is the first to attempt to combine Brush's prints, jewelry, paintings, and drawings in tandem with one another in one publication.
Brush, Daniel, and Ralph Esmerian. Daniel Brush: Gold Without Boundaries. New York: Harry N. Abrams, 1998.
Three dimensionalities in print. The publication is a collection of Brush's three-dimensional works that are remnants of his years of experimentation.
Bryan-Wilson, Julia. “Keeping House with Louise Nevelson.” Oxford Art Journal 40, no. 1 (2017): 109-131.
Bryan-Wilson interprets Louise Nevelson’s Dream House series through a feminist methodological lens.
Butt, Carrie A. “Dark Passage: Dorothy Dehner.” The Art of Jama, (Oct. 2013).
Carrie A. Butt considered Dorothy Dehner’s painting, Dark Passage (1953) through the lens of an interview of Dehner at the age of 91.
Cabanas, Kaira M. “For the Love of Metal” in Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art, 43-65. Oakland: University of California Press, 2021.
Matter is not fixed. The artist’s encounter with the object’s materiality animates ostensibly static objects with veiled evidence of experimentation.
De Baca, Miguel. Memory Work: Anne Truitt and Sculpture. Oakland: University of California Press, 2016.
An individual’s memory and psyche inform one’s perception of a work of art. Anne Truitt’s sculpture activates the beholder’s memory and elicits their subjective account of the past.
deBethune, Elizabeth and Dorothy Dehner. “Dorothy Dehner.” Art Journal 53, no. 1 (Spring 1994): 35-37.
This interview with Dorothy Dehner at the age of 91 asked her to consider her life as an artist and her approach to her art-making.
Frackman, Noel. “Arts Reviews: Heléne Aylon: Susan Caldwell.” Arts Magazine, November 1975.
This is a period review of Heléne Aylon's work. Much of it is not actually true of her work; for example, Frackman writes that she uses dyes and bleach to create these process works when she is only using Linseed oil. That makes this article interesting to hear about what drew critics to these works because, although for different reasons, they were very well received.
Gmurzynska, Krstyna, and Mathias Rastorfer, eds. Louise Nevelson: The way I think is collage. Zurich: Galerie Gmurzynska, 2012.
This catalog of Louise Nevelson's work focuses on the medium of collage.
Goddard, Donald. “Peter Pinchbeck: A Memorial Exhibition.” New York Art World (2001).
Donald Goddard, who knew Peter Pinchbeck personally, writes about a showing of Pinchbeck’s work just a year after he died. Goddard provides an analysis of Pinchbeck’s work along with anecdotes about his life.
Grynsztejn, Madelein. The Art of Richard Tuttle. San Francisco: San Francisco Museum of Modern Art, 2005.
This catalog published by SFMOMA in 2005, covers Richard Tuttle’s museum retrospective.
Kilgannon, Corey. “An Artist Emerges From His Brooklyn Sanctuary.” New York Times, December 29, 2016.
This is a New York Times article discussing Taro Ichihashi’s life and his more recent works in New York City.
Kim, Hyunsoo. “Re‐Framing Anni Albers and Bauhaus.” The International Journal of Art & Design Education 41, no. 3 (2022): 414–426.
Using interviews by Albers herself, this study aims at changing the perspective, particularly on gender equity, craft, fine art, and curriculum at Bauhaus in the life of Anni Albers.
Kozloff, Max “The Inert and the Frenetic.” Artforum 4, no. 7 (March 1966): 40-44.
Abstract art has rhythm and movement, even if it is seemingly physically static when it is displayed in a gallery. To illustrate abstraction’s dynamism, Kozloff categorizes gestural abstraction as “fast,” and color field abstraction as “slow.”
Lovatt, Anna. “Radical Antinomies: Drawing and Conceptual Art” in A Companion to Contemporary Drawing, edited by Kelly Chropening and Rebecca Fortnum, 309-324. Hoboken: John Wiley and Sons, 2020.
Matter is not fixed. The artist’s encounter with the object’s materiality animates ostensibly static objects with veiled evidence of experimentation.
Marchetti, Luca. “Depicting Motion in a Static Image: Philosophy, Psychology and the Perception of Pictures.” The British Journal of Aesthetics 62, no. 3 (2022): 353–71.
Luca Marchetti’s article ‘Depicting Motion in a Static Image: Philosophy, Psychology and the Perception of Pictures” investigates whether static images can optically depict motion. By analyzing Henri Cartier-Bresson’s photograph Behind the Gare St. Lazare (1932), in addition to drawing on the results of a psychological study, Marchettie details how static can images represent momentum that is indicative of motion.
Pinchbeck, Daniel. “Daniel Pinchbeck on Peter Pinchbeck.” Artforum International Magazine (2002).
Published two years after Peter’s death, his son reflects on his father’s life and concludes that he was a happy man in the end.
Samet, Jennifer. Thomas Sills: Variegations Paintings 1950s-70s. Eric Firestone Press, February 2022. Exhibition catalog.
A catalog from the Eric Firestone Press's 2022 exhibition on Thomas Sills, including an essay that includes a brief biography of Sills and his career.
Schudel, Matt. “Rockne Krebs, Innovative D.C. Laser Artist, Dies at 72.” Washington Post, October 27, 2011.
Schudel offers a biography of Rockne Krebs’s life details the artist’s oeuvre and interests.
Shenk, Katy. “Visions of the Future for ‘Third Century America’ at the 1976 Bicentennial Exposition on Science and Technology.” Senior Thesis, Washington College, 2021.
Shenk explains of the goals and works included in the Bicentennial Exposition on Science Technology.
Solomon, Tessa. “Visionary Textiles: How Anni Albers Staked a Claim for Herself as a Key Modernist.” ARTnews.com, July 16, 2021.
Tessa Solomon offers a great introduction to the life and art of Anni Albers in this brief biography. Solomon highlights some of Albers greatest achievements and traces the ways in which her personal life informed her art and how her art inspired her personal life.
Stiles, Kristine. “Uncorrupted Joy: International Art Actions” in Out of Actions: between Performance and the Object, 1949-1979.” edited by Russel Ferguson, 229-235. London: Thames and Hudson, 1998.
Action is the truth of art. The creation, curation, and perception of works of art activate them, whether they are physically moving or not.
Stepan, R.F. “Six Bay Area Artists.” Artweek, September 6, 1975.
Artweek published a review of the Six Painters / Six Attitudes at the Oakland Museum, an exhibition that group together Heléne Aylon and five other artists working in the Bay Area with very different approaches to their artwork. This review demonstrates the ways in which the art world is often incapable of rethinking its notions of consistency and permanence of painting.
Sullivan, Marin. “What, Exactly, is Exact Dutch Yellow?” MAS Context, 2022.
Color is an emphatically subjective experience. The historic impulse to inventory and categorize the scientific world only emphasizes the variability of visual perception.
Suro, Federico. “Ronnie Elliott: A Restless Spirit.” Woman’s Art Journal 15, no. 1 (1994): 11–15
Frederick Suro biographies artist Ronnie Elliott and discusses the full extent of her artistic career discussing her numerous artistic styles and solo exhibits.
Taylor, Alex J. “The Calder Problem: Mobiles, Modern Taste, and Mass Culture.” Oxford Art Journal 37, no. 1 (2014): 27–45.
“The Calder Problem” addresses the relationship between George Rickey and his stylistic predecessor, Alexander Calder. Rickey drew inspiration from Calder’s approach but also strove to surpass it in his own work.
Thomas, Helen. “Heléne Aylon.” Arts Magazine, May 1979.
The long-standing arts publication ran a review of Heléne Aylon’s work while it was up at the Susan Caldwell Gallery in September 1979. The review is a glimpse into the art world and the way they try to explain new and radical artworks in a moment of great experimentation.
Tomii, Reiko. “Between Two Continents: George Rickey, Kinetic Art and Constructivism, 1949-1968.” PhD Diss., UT Austin, 1988.
Reiko Tomii’s dissertation is a well-researched exploration of George Rickey’s life and artistic legacy.
Truitt, Anne. Prospect: The Journal of an Artist. New York: Scribner, 1996.
Prospect is one of Anne Truitt's four published journals containing the artist's personal thoughts on art, teaching, family, and life in the Washington DC-area.
US Department of Commerce, NOAA. “What Causes Halos, Sundogs and Sun Pillars?” NOAA’s National Weather Service, November 16, 2019.
This resource provides a scientific explanation of the weather phenomenon inspired Rockne Krebs’s title, Sundog Green
Weyl, Christina. “The Printed Collage.” In Focus: String Composition 128 (1964) by Sue Fuller. London: Tate Gallery, 2018.
In the article, “The Printed Collage,” Christina Weyl details Sue Fuller’s experimentations with collaging directly on top of printing plates. In doing so, Weyl showcases Fuller’s artistic process and argues that Fuller was inspired by Mary Cassatt’s innovative printing techniques.
Weyl, Christina. The Women of Atelier 17: Modernist Printmaking in Midcentury. New York. New Haven: Yale University Press, 2019.
Weyl's book examined the stylistic innovations of women artists in Atelier 17.
Weyl, Christina Moisant. “Abstract Impressions: Women Printmakers and the New York Atelier 17, 1940-1955.” PhD diss., Rutgers University, 2015.
In her dissertation, Weyl considered the innovative prints of women artists in Atelier 17 through the lens of contemporary gender norms.
Wilson, Laurie. Louise Nevelson: Light and Shadow. New York: Thames & Hudson, 2016.
Louse Nevelson: Light and Shadow is the artist’s biography.
Wisotzki, Paula. “Dorothy Dehner: Not Just Life on the Farm.” Archives on American Art Journal 55, no. 1 (Spring 2016): 4-25.
Wisotzki’s article contextualized Dorothy Dehner’s work through the lens of World War II.
