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DATE 6/19/2018

The photograph as source of unlocked potential in 'Shape of Light'

DATE 6/18/2018

The photographic object as a record of performance in 'The Shape of Light'

DATE 6/17/2018

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DATE 6/16/2018

Beauty and strangeness in 'Michael Webb: Two Journeys'

DATE 6/16/2018

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DATE 6/15/2018

Still radical. 'Michael Webb: Two Journeys' releases this week.

DATE 6/14/2018

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DATE 6/6/2018

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DATE 6/2/2018

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Fifty years after 1968, Protest: The Aesthetics of Resistance

DATE 5/31/2018

Teju Cole on the Superhero Photographs of the Black Lives Matter movement in 'Protest: The Aesthetics of Resistance'

DATE 5/30/2018

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DATE 5/30/2018

Join ARTBOOK | D.A.P. at Book Expo 2018!

DATE 5/29/2018

Michael Stipe: Volume 1

DATE 5/29/2018

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DATE 5/27/2018

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DATE 5/25/2018

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DATE 5/23/2018

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DATE 5/23/2018

BACK IN STOCK! Georgia O'Keeffe: Watercolors

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DATE 5/21/2018

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DATE 5/14/2018

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DATE 5/14/2018

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DATE 5/11/2018

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DATE 5/9/2018

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DATE 5/9/2018

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DATE 5/9/2018

Almost like a thunderbolt out of the sky: Birgit Nilsson


AT FIRST SIGHT

THOMAS EVANS | DATE 2/23/2010

Pia Fries: Merian’s Surinam
From Walther König

Pia Fries (born 1955) is a Swiss-born painter, now living in Düsseldorf, Germany. A former student of Gerhard Richter, she shares her mentor's fondness for visceral paint effects, blending and smearing colors in horizontal gestures, but the similarity ends there: if Richter's paint manoeuvres conjure present-day preoccupations with blur and speed, Fries seems to use paint as a way to move across pictorial space, of finding out where to go--not so much "taking a line for a walk" (in Klee's phrase) as taking a splodge for a walk.
The American author Dave Hickey has written a nice characterization of Fries' work: “Of all the continental exemplars of rowdy, American abstraction, Fries’ I think are the most knowing and cosmopolitan, the most forgiving of nature and culture catastrophically jumbled, the most tolerant of the past and present fatally blurred.”
Pia Fries: Merian’s Surinam
For the 14 diptychs that comprise the Merian's Surinam series, Fries uses reproductions by the painter and botanical illustrator Maria Sybilla Merian (1647–1717). Merian's images of plants, flowers, animals and insects are elaborated upon with oil paint, from thin to thick impasto, and with varying degrees of obscuration:
Pia Fries: Merian’s Surinam
Walther König has made a very beautiful production of this volume, from the thick beige linen cover with inlaid paint image, to the light cream paper stock within. The book also contains a conversation between Fries and Camille Morineau, in which Fries makes a useful observation on her medium: "I try to free paint/color from duties that are alien to it and not adapted to its concerns. Only then does the paint show its body, its weight, its physical resistance, its potential for consistency, aggregation, its qualities of fluidity and solidity."
Countering this appetite for body and weight are occasional pages of more fragmented imagery, such as the below, which emphasize the work's sequencing in book form:
Pia Fries: Merian’s Surinam
An essay by Christine Buci-Glucksmann describes Fries as practicing a "kind of archaeology of the painterly gesture, showing its traces, memories and all the organized and distanced debris and ruins of a partially lost botanical past that is suddenly resuscitated in a conscious ambiguity."
Pia Fries: Merian’s Surinam
Pia Fries: Merian’s Surinam
Pia Fries: Merian’s Surinam
Pia Fries: Merian’s Surinam
Pia Fries: Merian’s Surinam

Pia Fries: Merian’s Surinam

Pia Fries: Merian’s Surinam

WALTHER KöNIG, KöLN
Clth, 7 x 9.75 in. / 100 pgs / 25 color.

DATE 8/23/2015

Xanti Schawinsky

Xanti Schawinsky

DATE 7/31/2015

Axel Hoedt

Axel Hoedt

DATE 9/11/2014

New York Is ...

New York Is ...

DATE 5/13/2014

Libuse Niklová

Libuse Niklová


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