Catalog accompanying an exhibition of Tony Martin paintings held at The Painting Center from February 15-March 5, 1994. Small 4to (8.5” x 10”), printed wrappers, 28 pages, color illustrations. With an artist’s statement followed by “A Response” from art critic and historian Dore Ashton. Inscribed by Martin on the inside front wrapper “For Dore/with friendship/& thanks/Tony 1/94.”
Excellent association copy, presented by Martin to Dore Ashton shortly before the February 15 opening of the exhibition for which she contributed the principal critical essay. Ashton situates Martin's paintings within his longstanding engagement with light, perception, music, and spatial experience. Martin was a pioneering figure in electronic and light art whose collaborations included Pauline Oliveros, Morton Subotnick, David Tudor, and the Merce Cunningham Dance Company, and who participated in the E.A.T. Pepsi Pavilion at Expo '70.
The inscription documents a substantive artist-critic relationship: correspondence between Martin and Ashton dating from 1992–1998 is preserved in the Tony Martin Papers at NYU's Fales Library. From the estate of Dore Ashton. An unusually well-provenanced contributor's copy linking the publication directly to its critical history. Binding partially loose. Leaves and wrappers near fine.
Catalog accompanying an exhibition of Tony Martin paintings held at The Painting Center from February 15-March 5, 1994. Small 4to (8.5” x 10”), printed wrappers, 28 pages, color illustrations. With an artist’s statement followed by “A Response” from art critic and historian Dore Ashton. Inscribed by Martin on the inside front wrapper “For Dore/with friendship/& thanks/Tony 1/94.”
Excellent association copy, presented by Martin to Dore Ashton shortly before the February 15 opening of the exhibition for which she contributed the principal critical essay. Ashton situates Martin's paintings within his longstanding engagement with light, perception, music, and spatial experience. Martin was a pioneering figure in electronic and light art whose collaborations included Pauline Oliveros, Morton Subotnick, David Tudor, and the Merce Cunningham Dance Company, and who participated in the E.A.T. Pepsi Pavilion at Expo '70.
The inscription documents a substantive artist-critic relationship: correspondence between Martin and Ashton dating from 1992–1998 is preserved in the Tony Martin Papers at NYU's Fales Library. From the estate of Dore Ashton. An unusually well-provenanced contributor's copy linking the publication directly to its critical history. Binding partially loose. Leaves and wrappers near fine.
