TUYMANS, LUC

PUBLISHER
SAN FRANCISCO MUSEUM OF MODERN ART/ WEXNER CENTER FOR THE ARTS/D.A.P.

BOOK FORMAT
Clth, 10 x 11.75 in. / 228 pgs / 175 color.

PUBLISHING STATUS
PUB DATE 10/31/2009
Active

DISTRIBUTION
D.A.P. EXCLUSIVE
CATALOG: FALL 2009 p. 176   

PRODUCT DETAILS
ISBN 9781933045986 TRADE
LIST PRICE: $60.00 CDN $60.00

AVAILABILITY
In stock

EXHIBITION SCHEDULE

Brussels
Bozar Center for Fine Arts, 02/10/11-05/08/11

Wexner Center for the Arts 09/17/09-01/03/10

San Francisco
SFMOMA, 02/06/10-05/02/10

Dallas
Dallas Museum of Art, 06/06/10-09/06/10

Chicago
The Museum of Contemporary Art, 10/02/10-01/09/11

"Red and green lines cross over a drab background, forming an irregular grid that vaguely evokes the paintings of the Piet Mondrian, the Dutch artist known for his rigorous geometric abstractions. In Tuymans’ painting, however, each of the hallmarks of the Mondrian’s aesthetic strategy is wryly subverted. Instead of painting solely with the primary colors, plus black and white, Tuymans has used the non-primary green, red, and a decidedly unpure shade of beige. Where Mondrian progressively attempted to eradicate the illusion of depth in his paintings, the crossed lines of Towel create a layered space. Moreover, the title of Tuymans’ painting indicates that such an attempt at a formalist reading of this painting is, of course, a farce. In spite of its superficially modern “style”, the pattern is drawn from a quotidian plaid towel, a commonplace design of that pre-dates modernist painting."

Lanka Tattersall's description of Luc Tuymans' painting Towel, in Luc Tuymans

  

SAN FRANCISCO MUSEUM OF MODERN ART/ WEXNER CENTER FOR THE ARTS/D.A.P.

Luc Tuymans

Published by San Francisco Museum of Modern Art/ Wexner Center for the Arts/D.A.P.
Edited by Madeleine Grynsztejn, Helen Molesworth. Text by Helen Molesworth, Joseph L. Koerner, Ralph Rugoff, Bill Horrigan.

"Like a ragged piece of cloth hung on the wall to dry, <i>Towel</i> can be understood as a humorous
riposte to the history and reception of modernist painting and art criticism. The
theories of the critic Clement Greenberg, who argued for flatness and self-referentiality as
modernist painting’s highest aim, seem to be a particular target of Tuymans’ wry parody.
Towel, if it were actually woven cloth, instead of a quasi-realist oil painting, would indeed
integrate line, color and surface in a single plane, serving as a kind of readymade modernist
canvas. At the same time, the worn appearance of <i>Towel</i> cynically suggests that the utopian
aesthetic of modernist painting such as Mondrian’s, in spite of its proponents’ socially radical
utopian aims, has found its end in banal domestic objects, becoming entrenched in daily
life as an outdated modernist-kitsch style."<p>Lanka Tattersall's description of Luc Tuymans' painting <i>Towel</i>, featured here and excerpted from <a href="http://www.artbook.com/9781933045986.html">Luc Tuymans</a>Luc Tuymans is one of today's most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. As a European child of the 1950s, his relationship to painting is inevitably structured by television, cinema and by the lingering effects of World War II; more recent historical preoccupations have included the dramatic turn of world events post-9/11. Tuymans combines a muted palette with deteriorated surface effect and a singular use of cropping, close-up and sequencing--perfect devices with which to undertake his investigation of the pathological, the banal and the conspiratorial. Published in conjunction with the artist's first full-scale American survey, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter's main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers the nature of visual experience in light of Tuymans' recent work, and Bill Horrigan examines cinematic sources. This book is not only the most comprehensive survey of Tuymans' career to date, but also the most thorough chronology of his artistic development.
Born in Mortsel, Belgium, in 1958, Luc Tuymans first exhibited his paintings in 1985, at Palais des Thermes in Ostend. His first U.S. exhibition came ten years later, at The Renaissance Society in Chicago. He has also worked in film and printmaking.

"Like a ragged piece of cloth hung on the wall to dry, Towel can be understood as a humorous riposte to the history and reception of modernist painting and art criticism. The theories of the critic Clement Greenberg, who argued for flatness and self-referentiality as modernist painting’s highest aim, seem to be a particular target of Tuymans’ wry parody. Towel, if it were actually woven cloth, instead of a quasi-realist oil painting, would indeed integrate line, color and surface in a single plane, serving as a kind of readymade modernist canvas. At the same time, the worn appearance of Towel cynically suggests that the utopian aesthetic of modernist painting such as Mondrian’s, in spite of its proponents’ socially radical utopian aims, has found its end in banal domestic objects, becoming entrenched in daily life as an outdated modernist-kitsch style."

Lanka Tattersall's description of Luc Tuymans' painting Towel, featured here and excerpted from Luc Tuymans

Luc Tuymans

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Luc Tuymans: Exhibitions at David Zwirner

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Luc Tuymans: Graphic Works 1989-2012

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Luc Tuymans: Dead Skull

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