Abe Ajay by Lee Hall (1990, Trade Paperback) Art / Artist

Description: Condition: Good. Packed in a BOX with padding. (See Photos!) Ships same or next day (weekdays and Saturdays)! Ships from California. Size: 10.5" x 10". Pages: not written on, clean, bright, odor free. Cover: clean, bright, edges - light bumping to top edges. ABOUT THIS: The New York Times in 1964 praised Abe Ajay as an accomplished constructivist—"his relief paintings dwell on flat cubist forms recalling Leger and Mondrian, and his imagery and techniques are highly refined variations on Louise Nevelson's wilder and more romantic sculptural imagination." The Herald Tribune described his constructions as "integrated with the greatest subtlety to produce visual fugues as inventive as any of Bach's." Abe Ajay is known within the art world as a man of intense integrity and meticulous craftsmanship. His constructions provide a startling encounter with the essential truth about order and art, and reflect his intricate mind and hand. The Ajay who emerges in this book is also unusually articulate, as his monologues on pure art attest. He tries out his ideas in conversation, arguing them into shape, at the same time tearing down and reassembling existing notions—a constructivist habit of mind that imbues his art. Son of Orthodox Christians who emigrated from rural Syria when that country was a minion of the Ottoman Empire, Ajay was born in Altoona, Pennsylvania, in 1919. After studying at the Art Students League and the American Artists School, in 1939 he joined the Federal Arts Proj-ect of the WPA, where he matured politically and absorbed the energy and ideas of the era. Ajay's bruisings and brushings in the New York art world before and after World War II offer views of some of the better known artists of the day, such as Will Barnet, Rockwell Kent, and John Groth. Over some years, he exchanged probing and amusing letters about art and politics with Ad Reinhardt. Abraham (Abe) Ajay (1919–1998) was an American artist who was best known for his artistic contributions for The New Masses magazine during the late 1930s and early 1940s.[1] and also for his creative use of reliefs made of found objects during the 1960s and beyond.[2] Abraham Ajay was born in Altoona, Pennsylvania in 1919[2] to Syrian immigrant parents.[2] Ajay grew up working at his father's candy store and bar in Altoona until he graduated from high school.[2] From an early age, Ajay had a passion for art and sought to harness his artistic abilities when he made the decision to move to New York City[2] to study at the Art Students League of New York,[3] and the American Artists School in Manhattan.[3]While studying in New York, Ajay became close friends with Ad Reinhardt,[3] the art director for the left-wing culture magazine The New Masses,[3] who inspired him to begin working for the magazine.[3] Ajay's contributions during the late 1930s and early 1940s to New Masses were significant. Along with Reinhardt, Ajay helped to shape the artistic direction of New Masses during a period where the magazine incurred financial hardships.[1] Ajay's contributions of covers and cartoons helped to give New Masses a strong artistic presence despite the overall decline of the magazine during the period.[1] A lack of funding helped precipitate Ajay's departure from New Masses and as the years went on, his support for Communism waned.[1]In the 1960s Ajay began to produce reliefs made of found objects.[4] Later his often intricate constructions, created from tooled wood, gypsum and cast plastics, reminded may art historians of the sculptures of Louise Nevelson.[4] In addition, many critics believe that Ajay's work illustrates religious architecture. It was during this time period where Ajay achieved considerable acclaim within the art community.[2]Ajay was a professor of visual arts at State University of New York at Purchase, N.Y from 1978 until his health began deteriorating towards the mid to late 1990s.[2] Following a move back to Bethel, Connecticut,[2] Ajay died of a cerebral hemorrhage in 1998 at the age of 78.[2] He was survived by his wife, Betty Raymond.[2] Ajay's work is contained in the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum in Manhattan and the Hirshhorn Museum and Sculpture Garden in Washington.[2] In addition, Ajay's work with New Masses is available in existing copies of the magazine found throughout the country.[1]

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