Terry Winters’s work of the past decade weaves disparate strains of idea, object, and physical operations into the primary logic of his art. His art contains an astonishing array of forms and demonstrates the equally surprising breadth of his artistic language. This retrospective volume continues where the mid-career survey (1992) at the Whitney Museum concluded, presenting the past decade of Winters’s innovative work in paintings, prints, drawings, and artists’ books. Terry Winters presents the ways in which the artist creates sets and subsets of distinctive works that interact with bodies of previous and current work. Also included are images by the artist that have not previously been exhibited or published. Winters’s work is frequently included in conversations and studies relating to the interplay of art and science, and his recent paintings, drawings, and prints reflect his engagement with scientific and computational systems of thought and presentations of information. For Winters, abstract art has become a vehicle not for “reproducing and inventing form but for harnessing forces.” By utilizing expressive means, “data becomes pictorial and spatial.” This superbly illustrated volume displays the full range of Winters’s newest works and the complex relationships that link them to one another.

Featuring a conversation with Adam Fuss. This is the st publication of Winters' work in several years, and contains new paintings and recent works on paper, as well as an interview between Winters and the artist Adam Fuss. In Winters' new work, the picture plane is expanded by dense networks of lines, and the imagery reflects an interest in architectural design, medical photographs, and computer graphics.

Terry Winters: Patterns in a Chromatic Field unveils a new body of work by the celebrated abstract painter. With these 17 paintings, reproduced here for the first time, Winters (born 1949) further develops his research into the optical and psychological capacities of oil paint. His layering of color and form echoes the abstracting processes of contemporary science and technology, allowing each canvas to open up new avenues of perception and physical experience. As Suzanne Hudson explains in the book's essay, Winters' paintings are "wholly intended works, based not upon pre-existing matrices or a-compositional methods but on necessities that accumulate and progress as the painting is brought into being." Along with Hudson's essay, the book features extensive illustrations, including full-scale details of the canvases, as well as new photographs of the Winters studio in upstate New York.

The American artist Terry Winters (b 1949), known for his sensuously abstract paintings and drawings, is also a distinguished printmaker. He has explored a wide range of printing methods and techniques, including intaglio, lithography, screenprinting, woodcut, and linoleum cut, and has worked at such notable print ateliers as Universal Limited Art Editions in West Islip, New York, and the Aldo Crommelynck studio in Paris. Winters's early works, sometimes described as organic abstraction, resonate with echoes of the natural world, while his more recent prints contain layered abstract fields that address how consciousness relates to visual form. This catalogue, accompanying a retrospective exhibition of Winters's prints, will consist of a short essay, a selected bibliography, and a checklist of approximately 90 works. The prints, all from the collection of the Metropolitan Museum, will be on display from 12th June to 30th September 2001.

Cricket Music, Tessellation Figures & Notebook presents a series of new works by acclaimed New York painter Terry Winters (born 1949), in which he explores forms inspired by mathematical concepts such as tessellations, knot theory and similar shapes derived from natural and scientific realms. Winters' kaleidoscopic compositions of overlapping grids and patterns create complex pictorial spaces, and his use of transparent pigments allows the viewer to see, as the artist has said, "all the events that went into the making of the painting." Tessellation Figures refers to the process of creating a two-dimensional plane through the repetition of a geometric shape. The Notebook series (2003-2011) consists of collages of found images, layered on top of one another, which have provided the source material for several of Winters' recent paintings, and which affirm the enduring tension between abstraction and representation throughout his work.

Terry Winters is one of an international group of artists who have reinvigorated abstract painting over the past 10 years. This volume features more than 100 paintings, prints and drawings, constituting a mid-career survey of Winters' work.

Volume covers the Collection of Prints and Illustrated Books, not the collection of artists' books.

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In his third book, Strauss delves into the mysterious process whereby an idea is born in the mind and materialized through the hand in the expression of an artwork. How exactly does this happen? It's a question so basic, an act so fundamental to art-making, that it has rarely received attention. It makes an ideal topic for Strauss, a writer with an exceptional ability to animate art's philosophical dimensions in a clear, persuasive manner. During this time when craft and the direct manipulation of materials by the artist appear to be in eclipse, Strauss comes to their defense in a spirited cri de coeur. Featuring over 35 illustrations, the book examines a wide variety of media and individual examples. It explores the works of sculptors Martin Puryear, Ursula von Rydingsvard, and Donald Lipski; painters Leon Golub and Ron Gorchov; and writers Robert Duncan, Robert Kelly, Guy Davenport, John Berger, and Leo Steinberg. In addition, there are essays on Joseph Beuys's 7000 Oaks in Ireland, contemporary Haida carvers Reg Davidson and Jim Hart, Cecilia Vicuña's "memory of the fingers," and the influence of curators Harald Szeemann and Walter Hopps on the staging of contemporary art exhibitions. Known primarily for his writings on photography and politics, Strauss here focuses on the least mediated arts--painting, sculpture, and writing. His claims are supported by a series of close readings which succeed in recovering the immediacy of the hand and revitalizing contemporary art's connection to the past.