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Paperback, 4.25 x 6 in. / 64 pgs / 11 color. PUBLISHING STATUS
Pub Date 7/1/2007
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Catalog: FALL 2007 p. 130 PRODUCT DETAILS
ISBN 9783865602237 TRADE
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Not available | | BROWSE THE 2018 FALL CATALOG  From 'Led Zeppelin by Led Zeppelin' to 'The Swimming Pool in Photography' to 'Protest: The Aesthetics of Resistance,' with new monographs on Yayoi Kusama, Hilma af Klint, James Turrell and Jack Whitten, and announcing D.A.P. distribution for Glenstone Museum and SPBH Editions. |
| | | Karen Kilimnik's Fancy Pictures:Period EyeEdited by Scott Rothkopf, Meredith Martin.
Art history becomes Karen Kilimnik. As much as paint on canvas, it is the raw material of her pictures--though she wears it lightly, and with great élan. The title of this mini exhibition catalogue, published on the occasion of Kilimnik's show at London's Serpentine Gallery, derives from a popular sub-genre populated by "link boys" and "cottage girls." For when looking at Kilimnik's work since the late 1980s, and especially that of the last 10 years, one cannot help but be struck by her engagement with the history of painting. In this lightly illustrated volume, Meredith Martin, a scholar of eighteenth- and nineteenth-century art, speaks with Scott Rothkopf on Kilimnik's relationship to art history: if history is her raw material, then Kilimnik points as much to painting's future as its past, as much to our own world as to a bygone day.
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FORMAT: Paperback, 4.25 x 6 in. / 64 pgs / 11 color.
LIST PRICE: U.S. $15.00
LIST PRICE: CANADA $17.5
ISBN: 9783865602237
PUBLISHER: Walther König, Köln
AVAILABLE: 7/1/2007
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
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| Karen Kilimnik's Fancy Pictures:
Period Eye Published by Walther König, Köln.
Edited by Scott Rothkopf, Meredith Martin. | Art history becomes Karen Kilimnik. As much as paint on canvas, it is the raw material of her pictures--though she wears it lightly, and with great élan. The title of this mini exhibition catalogue, published on the occasion of Kilimnik's show at London's Serpentine Gallery, derives from a popular sub-genre populated by "link boys" and "cottage girls." For when looking at Kilimnik's work since the late 1980s, and especially that of the last 10 years, one cannot help but be struck by her engagement with the history of painting. In this lightly illustrated volume, Meredith Martin, a scholar of eighteenth- and nineteenth-century art, speaks with Scott Rothkopf on Kilimnik's relationship to art history: if history is her raw material, then Kilimnik points as much to painting's future as its past, as much to our own world as to a bygone day.
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