Edited by Lynne Cooke, Karen Kelly and Barbara Schröder. Essays by Dave Hickey, Rosalind Krauss, Ulrich Loock, Alexander Alberro, Jan Avgikos, Richard Shiff, Dirk Snauwaert, Miwon Kwon, Colin Gardner. Foreword by Philippe Vergne.
Pbk, 5.5 x 8 in. / 200 pgs / 14 color / 88 bw. | 10/31/2009 | In stock ISBN 9780944521793 | $16.95
Edited by Matthew Drutt. Essays by Jack Flam, Robert Rosenblum, Richard Schiff, Ann Dumas, Theodore Reff, Colin A. Bailey, Albert Boime, Beth Archer Brombert, Anne F. Collins, Elizabeth W. Easton, Michael Fitzgerald, Fred Licht, Joachim Pissarro, Belinda
Hardcover, 9.5 x 12 in. / 224 pgs / 120 color / illustrated throughout. | 7/2/2003 | Not Available ISBN 9780892072903 | $60.00
Foreword by Alain Seban. Preface by Alfred Pacquement. Introduction by Cécile Debray. Text by Éric Darragon, Jean Clair, Laurence des Cars, Philippe Comar, Richard Shiff, Cécile Debray, Elsa Urtizverea.
Hbk, 9.25 x 11.75 in. / 256 pgs / 201 color / 43 bw. | 5/31/2010 | Not Available ISBN 9783777426914 | $65.00
Edited by Madeleine Grynsztejn. Essays by Madeleine Grynsztejn, Cornelia Butler, Richard Shiff, Katy Siegel, and Robert Storr. Texts by Tara McDowell, Elizabeth Smith, Adam D. Weinberg and Charles Wylie.
Clothbound, 11 x 12 in. / 392 pgs / 265 color / 45 bw. | 7/15/2005 | Not Available ISBN 9781933045009 | $65.00
Published by Hatje Cantz. Edited by Ulf Küster. Text by Ulf Küster, Richard Shiff.
The works of the painter Peter Doig, who divides his time between Trinidad, London and New York, are densely atmospheric and sometimes uncanny. They are often based on found or private visual material, which the artist pieces together in dreamlike compositions suffused with melancholy and angst. Employing an unusual color palette and possessing an immense sensitivity for his medium, Doig follows in the footsteps of masters such as Paul Gauguin, Pierre Bonnard and Henri Matisse. This publication presents Doig as an artist with a conceptual practice, a visual thinker who is not only fascinated by the history of painting but also the process of painting itself. The large-format paintings and works on paper reproduced in this volume, selected from Doig's entire career, allow the viewer to share his creative passion and his enthusiasm for the power of painting. Born in Edinburgh in 1959, Peter Doig was raised in Canada and spent two decades in London before moving to Trinidad. Doig graduated from St. Martin's School of Art in 1983 and the Chelsea School of Art in 1990. Hovering between abstraction and figuration and rendered in a rich, sometimes anti-naturalistic color palette, Doig's sumptuous paintings are loved by both critics and collectors alike. Doig was nominated for the Turner Prize in 1994 and his work was included in the 2006 Whitney Biennial. The artist made headlines in February 2013 when his painting "The Architect's Home in the Ravine" sold for $12,000,000 at a London auction, breaking his previous record.
Published by David Zwirner Books. Text by Paul Moorhouse, Robert Kudielka, Richard Shiff. Interview by Robert Kudielka.
Published on the occasion of the major exhibition at David Zwirner in London, this fully illustrated catalogue offers intimate explorations of paintings and works on paper produced by the legendary British artist over the past 50 years, focusing specifically on her recurrent use of the stripe motif. Riley has devoted her practice to actively engaging viewers through elementary shapes such as lines, circles, curves and squares, creating visual experiences that at times trigger optical sensations of vibration and movement. The London show, her most extensive presentation in the city since her 2003 retrospective at Tate Britain, explored the stunning visual variety she has managed to achieve working exclusively with stripes, manipulating the surfaces of her vibrant canvases through subtle changes in hue, weight, rhythm and density. Created in close collaboration with the artist, the publication's beautifully produced color plates offer a selection of the iconic works, including Riley's first stripe works in color from the 1960s, a series of vertical compositions from the 1980s that demonstrate her so-called "Egyptian" palette, and an array of her modestly scaled studies, executed with gouache on graph paper and rarely before seen. A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth-Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic. Additionally, the book features little-seen archival imagery of Riley at work over the years; documentation of her recent commissions for St. Mary's Hospital in West London; and installation views of the London exhibition itself. Born in London in 1931, Bridget Riley attended Goldsmiths College from 1949 to 1952 and the Royal College of Art from 1952 to 1955. In 1974 she was made a CBE and in 1999 appointed the Companion of Honour. In 1968 she won the International Prize for Painting at the Venice Biennale. Recent international museum shows include Bridget Riley: Paintings and Related Work, National Gallery, London (2010); Bridget Riley: From Life, National Portrait Gallery, London (2010); Bridget Riley: Rétrospective, Musée d'Art Moderne de la Ville de Paris (2008); and Bridget Riley: Reconnaissance, Dia Center for the Arts, New York (2000).
Published by Hatje Cantz. Text by Elisabeth Bronfen, Siri Hustvedt, Michael Köhlmeier, Richard Shiff, Uwe M. Schneede, Carla Schulz-Hoffmann, Feridun Zaimoglu.
The depictions and roles of women in the paintings of Pablo Picasso (1881–1973), Max Beckmann (1884–1950) and Willem de Kooning (1904–1997) typically give rise to conversations and presumptions about machismo and misogyny. Of course, these artists’ portrayals of women cannot be dismissed so easily, and in fact all offer highly nuanced explorations of the theme. This publication explores their depictions of women as more than painterly projections of male longing and desire, treating them as reflections of social and political conflicts and upheavals. Contributions from art historians, sociologists and artists approach the figures of women in these bodies of work from a variety of perspectives: for Picasso, as a catalyst for a confrontation with the artist’s own life and history; for Beckmann, as completely independent themes; and for de Kooning, as the force that makes artistic expression itself possible.
Published by Hatje Cantz. Edited by Ingried Brugger, Florian Steininger. Text by Herbert Brandl, Richard Shiff, Florian Steininger, Franz West. Interview by Florian Steininger.
This publication presents a selection of Herbert Brandl’s paintings from the early 1980s onward, alongside his most recent works created for a retrospective at the Bank Austria Kunstforum in Vienna. The book also explores Brandl’s affinity for the paintings of Altdorfer, Titian and Rubens in the Kunsthistorisches Museum in Vienna, which have provided enduring inspiration for his work.
Published by Van Every/Smith Galleries, Davidson College. Edited by Brad Thomas. Text by Jennifer D. Fletcher, Richard Shiff.
Using tiny hatches and dots derived from gridlike knitting patterns--a self-described "found language"--British artist Ewan Gibbs (born 1973) makes astounding pointillistic drawings whose imagery dissolves into abstraction when viewed at close range. Ewan Gibbs: America is bound in a gorgeous hardback linen cover with a slipcase.
PUBLISHER VAN EVERY/SMITH GALLERIES, DAVIDSON COLLEGE
BOOK FORMAT Slip, Clth, 8.25 x 11.75 in. / 100 pgs / 40 duotone.
PUBLISHING STATUS PUB DATE 4/30/2011 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2011 p. 146
PRODUCT DETAILS ISBN 9781890573102TRADE LIST PRICE: $50.00 CDN $60.00
AVAILABILITY In stock
in stock $50.00
free FedEx Ground shipping
FEDEX GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Hirmer Verlag. Foreword by Alain Seban. Preface by Alfred Pacquement. Introduction by Cécile Debray. Text by Éric Darragon, Jean Clair, Laurence des Cars, Philippe Comar, Richard Shiff, Cécile Debray, Elsa Urtizverea.
One of the greatest living painters and portraitists, Lucian Freud (born 1922) brings a powerfully obsessive scrutiny to bear upon his subjects. "I want the painting to be flesh," Freud has avowed, and through this aspiration he achieves almost devastatingly unsentimental and revelatory portraits of his sitters, as he translates the act of scrutiny into strokes of paint. Like the studio of his friend Francis Bacon, Freud's own studio has attained its own intensity as the site of his one-on-one encounters, and as a backdrop or stage in his paintings, and the atmosphere of his interiors, and in the light in them, are among his paintings' most pungent qualities. (One of his earliest canvases, from 1944, is titled "The Painter's Room.") Accompanying the critically acclaimed spring 2010 Pompidou retrospective, this mammoth survey posits Freud's studio as the decisive stage for his art, and tracks his career in over 200 color illustrations of paintings, graphic works and photographs. Included here are his large interiors, his nudes and variations on portraits by earlier masters, his famous series of self-portraits and imposing portraits of sitters such as Leigh Bowery and substantial photographic documentation of the studio. Lucian Freud: The Studio is the essential book on the artist. Grandson of Sigmund Freud, Lucian Freud was born in Germany in 1922, and permanently relocated to London in 1933 during the ascent of the Nazi regime. After seeing brief service during the Second World War, Freud had his first solo exhibition in 1944 at the Alex Reid & Lefevre Gallery in London. Despite exhibiting only occasionally over the course of his career, Freud's 1995 portrait "Benefits Supervisor Sleeping" was sold at auction, at Christie's New York in May 2008, for $33.6 million--setting a world record for sale value of a painting by a living artist.
PUBLISHER HIRMER VERLAG
BOOK FORMAT Hardcover, 9.25 x 11.75 in. / 256 pgs / 201 color / 43 bw.
PUBLISHING STATUS PUB DATE 5/31/2010 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2010 p. 19
PRODUCT DETAILS ISBN 9783777426914TRADE LIST PRICE: $65.00 CDN $75.00
AVAILABILITY Not Available
STATUS: Out of print | 00/00/00
For assistance locating a copy, please see our list of recommended out of print specialists >
Published by Hatje Cantz. Preface by Fabien Fryns. Text by Richard Shiff.
The work of Chinese painter Zeng Fanzhi (born 1964) reveals a great deal about his homeland's rapidly changing society. In his Mask paintings, people wearing plain white masks confront the viewer with wide eyes and grotesquely exaggerated hands. In addition to these well-known images, this publication features works from all of his series, including the early Meat and Hospital cycles.
Published by Dia Art Foundation. Edited by Lynne Cooke, Karen Kelly and Barbara Schröder. Essays by Dave Hickey, Rosalind Krauss, Ulrich Loock, Alexander Alberro, Jan Avgikos, Richard Shiff, Dirk Snauwaert, Miwon Kwon, Colin Gardner. Foreword by Philippe Vergne.
Since 1992, the Dia Center for the Arts has presented the Robert Lehman Lectures on Contemporary Art—an example of Dia's ongoing commitment to cross-disciplinary critical discourse. This fourth volume of collected theoretical and critical essays focuses on Dia's exhibitions from 2001 through 2002, with contributions by Alexander Alberro, Jan Avgikos, Colin Gardner, Dave Hickey, Rosalind Krauss, Miwon Kwon, Ulrich Loock, Richard Shiff and Dirk Snauwaert. These writers analyze the work of internationally recognized artists such as Roni Horn, Alfred Jensen, Bruce Nauman, Max Neuhaus, Panamarenko, Jorge Pardo, Gerhard Richter, Bridget Riley, Diana Thater and Gilberto Zorio.
Published by Hatje Cantz. Text by John G. Hanhardt, Richard Shiff, Richard Grusin.
A longstanding virtuoso of new media, Jim Campbell has been transforming the visual lexicon of digital data into art for 20 years. This retrospective of his career is buttressed with commentary by some of the genre's leading critics, such as John G. Hanhardt of the Smithsonian, Richard Schiff from the University of Texas at Austin and Richard Grusin, co-author of Remediation: Understanding New Media.
Published by Tate/D.A.P.. Text by Nicholas Serota, Richard Shiff, Nicolas Cullinan, Tacita Dean.
A serious comprehensive overview of Cy Twombly's art has been much in demand for many years, and in this publication we at last have one. Accompanying a major touring retrospective to mark Twombly's eightieth year, it surveys a vast output of paintings, drawings and sculpture by an artist whose indifference to supposed distinctions between Pop and abstraction, between writing, drawing and painting, and between literature and art had, for many years, brought his work severe neglect. Twombly's art upsets the prudish purist with its hybridism; as he declares, "I'm not a pure; I'm not an abstractionist completely. There has to be a history behind the thought." For Twombly, this history entails a wealth of literary and mythic allusion and an openness to all kinds of forms. Alongside contributions from Richard Shiff, Nicolas Cullinan and Tacita Dean, this essential volume also presents a rare and revealing interview with the artist by Nicholas Serota, an illustrated chronology, an exhibition history and an extensive biography. It will be the most thorough examination of the life and work of this extraordinary artist for years to come. Cy Twombly is a leading figure in a heterogeneous generation of American artists that also includes Andy Warhol, Robert Rauschenberg and Jasper Johns. Unlike these others, he left America early in his career to live and work in Italy, where he has drawn inspiration from European literature, classical culture and the Italian landscape.
Published by Tate/D.A.P.. Edited by Judith Nesbitt. Essay by Richard Shiff.
Peter Doig’s highly distinctive paintings have been exhibited in major museums and galleries worldwide to international acclaim. Developed from film stills, footage of actual events or photographs of urban and rural environments, Doig’s paintings emanate a quiet nostalgia, triggering the lingering sense of a long forgotten memory. His work often deals with subjects at the fringes of normality, peripheral or marginal sites, unnamed places where the urban and natural worlds collide. Doig is known for his innovative exploration of the formal and thematic possibilities of landscape. In each work, he seeks to create an atmosphere that will draw the viewer into an intense and sometimes disorienting perceptual experience. His rigorous approach to surface, texture and color puts him among the most inventive painters of his generation--leaving a profound influence on young artists and contemporaries alike. Published to accompany Doig’s major European traveling retrospective originating at Tate Britain, this extremely satisfying and lavishly illustrated book provides a comprehensive account of the artist’s practice over two decades of extraordinary achievement. It is the most thorough overview of his work to date. With an essay by art historian Richard Shiff, an introduction by Tate curator Judith Nesbitt and an illuminating conversation between Doig and his friend, the artist Chris Ofili, this is an enlightening survey of one of the most influential painters at work today. Born in Edinburgh in 1959, Peter Doig was raised in Canada and spent two decades in London before moving to Trinidad, where he now lives and works. Doig graduated from St. Martins School of Art in 1983 and the Chelsea School of Art in 1990. He was nominated for the Turner Prize in 1994, and was included in the 2006 Whitney Biennial.
Published by D.A.P./Museum of Contemporary Art, Los Angeles. Edited by Lisa Gabrielle Mark. Text by Cornelia H. Butler, Richard Shiff, Matthew Monahan, Lisa Gabrielle Mark.
In her expressionistic drawings and paintings of the last three decades, acclaimed South African artist Marlene Dumas has focused on the human figure, probing themes of love, desire, despair and confusion in order to slyly critique social and political attitudes toward women, children, people of color and others who have historically been victimized. From her evocative portraits, based on photographs of friends and family as well as figures culled from printed pornography, to her large-scale images highlighting charged relationships within groups, Dumas' work explores the contradictions behind the physical reality of the body, merging acute social commentary with personal experience and art-historical antecedent to create unsettling and ambiguous psychological statements. Accompanying Dumas' first major mid-career survey in the U.S., with stops in three major American cities, (one yet to be announced) this substantial, fully-illustrated publication features a newly commissioned essay by renowned scholar Richard Shiff, placing the artist's work in relation to both American figurative painting since the 1980s and Abstract Expressionism. The book also includes curator Cornelia H. Butler's examination of Dumas' photographic sources and shorter texts by Lisa Gabrielle Mark and Matthew Monahan. Writings by the artist, as well as an extensive illustrated exhibition history and bibliography, complete this comprehensive examination of the work of one of the most thought-provoking artists working today. Born in Capetown, South Africa, in 1953, Marlene Dumas has lived in Amsterdam since 1976. Over the last three decades she has had numerous solo exhibitions throughout Europe and the U.S., including the Tate Gallery, London; the Institute of Contemporary Art, Boston; and the Centre Georges Pompidou, Paris. In 1995 she represented The Netherlands at the 46th Venice Biennale.
Published by The Museum of Modern Art, New York. Text by Jodi Hauptman, Karl Buchberg, Hubert Damisch, Bridget Riley, Richard Shiff, Richard Thomson.
Once described as "the most beautiful painter's drawings in existence," Georges Seurat's mysterious and luminous works on paper played a crucial role in his short, vibrant career. This comprehensive publication surveys the artist's entire oeuvre, from his academic training and the emergence of his unique methods to the studies made for his monumental canvases. Accompanying the first exhibition in almost 25 years to focus exclusively on Seurat's drawings, this volume presents approximately 130 works, primarily the artist's incomparable conté drawings along with a small selection of oil sketches and paintings. In an effort to bridge the seemingly opposite goals of description and evocation, Seurat masses dark and light tones to abstract figures, exploits medium and paper to amplify radiating light, and engages with the Parisian metropolis, revealing urban types, the industrial suburbs and nineteenth-century entertainment. Though Seurat is perhaps best known as the inventor of Pointillism, this volume demonstrates his tremendous achievement as a draftsman and his fundamental importance to the art of the twentieth century. It includes carefully selected details of the work, as well as reproductions from pages of Seurat's sketchbooks, which have never before been published. Texts by Jodi Hauptman, Karl Buchberg, Hubert Damisch, Bridget Riley, Richard Shiff and Richard Thomson address specific aspects of Seurat's techniques, materials, and subject matter. They are rounded out by a chronology, a selected bibliography and a detailed checklist.
Published by JRP|Ringier. Edited by John C. Welchman. Text by Jane Blocker, Douglas Crimp, Rachel Greene, Richard Shiff, et. al.
This anthology of essays, images and dialogues exploring contemporary art's engagements with risk--physical, social, political and aesthetic--brings readers into the conference from which the book takes its title, a third annual collaboration between the Getty Research Institute and the Southern California Consortium of Art Schools (SoCCAS). Some content there was so intense that it came with a warning label: "Contains graphic depictions of violence, nudity and bodily functions. No one under the age of 18 years will be admitted." The Aesthetics of Risk showcases conversations between Catherine Opie and Douglas Crimp, Paul McCarthy and Kristine Stiles, and presentations including "Aestheticizing Risk in Wartime: The SLA to Iraq." Featured artists include Brock Enright and Steve Kurtz. Featured critics and commentators include Jane Blocker of the University of Minnesota, independent curator Rachel Greene, Richard Shiff of the University of Texas at Austin and Stiles, Professor at Duke University. Editor John C. Welchman is professor of modern and contemporary art history and theory at the University of California, San Diego, and the editor of the most recent title in this series, Institutional Critique and After.
Published by The Museum of Modern Art, New York. Essays by Gary Garrels, Richard Shiff, Brenda Richardson, Carol C. Mancusi-Ungaro and Michael Duffy.
In the autumn of 2006, The Museum of Modern Art will present Brice Marden: A Retrospective, the artist's first major American retrospective. The exhibition, which will travel to San Francisco and Berlin, will constitute an unprecedented gathering of Marden's work, with more than 50 paintings and an equal number of drawings, balanced across the artist's career. The accompanying catalogue is the first book to take readers through the full course of Marden's work as it has developed over more than 40 years from the early 1960s to the present, showing his gradual, deliberate evolution, along with his constant exploration of light, color and surface at every turn. Marden's first 20 years of work, characterized by the luminous monochrome panels for which he won his first acclaim, will for the first time appear alongside the celebrated production of the past 20 years, which followed a shift in the mid-1980s to calligraphic gestures in shimmering grounds, and another shift in the past decade to heightened color. Two of Marden's newest paintings appear here for the first time. Gary Garrels interprets Marden's work and places it in historical context. Carol C. Mancusi-Ungaro, of the Center for the Technical Study of Modern Art at Harvard, examines issues of materials, processes and conservation. Richard Shiff, Brenda Richardson and Michael Duffy explore Marden's early use of a grid and his engagement with time and space in the studio, as well as his observation of the elemental qualities of nature, his representational links to nature, and the distinctive emotional effects of the abstract monochrome works for which he was initially recognized. Marden himself addresses his working methods in an interview, and a comprehensive chronology, exhibition history and bibliography close the book out.
Published by D.A.P./San Francisco Museum of Modern Art. Edited by Madeleine Grynsztejn. Essays by Madeleine Grynsztejn, Cornelia Butler, Richard Shiff, Katy Siegel, and Robert Storr. Texts by Tara McDowell, Elizabeth Smith, Adam D. Weinberg and Charles Wylie.
Over the past four decades, Richard Tuttle has thrown into question nearly every conceivable artistic convention and critical category to create an enormously inventive body of abstract work--one that embraces and intermingles drawing, painting, collage, book-making, sculpture and design. From his spare yet enigmatic forms of the 1960s to his complex, multi-faceted assemblages and installations of more recent years, Tuttle's primary impetus throughout has been to craft unique objects, using everyday, often ephemeral materials, that demand to be confronted on their own terms. The relentless individuality of his aesthetic vision has earned him standing as one of the most provocative and influential artists of his day. This richly illustrated and strikingly designed catalogue, the most authoritative volume ever published on this prolific artist, presents nearly 400 reproductions of artworks from across his oeuvre and documentary photographs of his creative process. Essays by a distinguished group of writers trace the arc of Tuttle's career from its inception in the 1960s to the present day, addressing topics such as the philosophical underpinnings of his artistic method; his sensitive handling of diverse materials; his lifelong engagement with drawing and its expansion into three-dimensional space; his groundbreaking solo exhibitions and their critical reception in the United States and Europe; his complex play with the conventions of language; and his innovative artist's books, many of which are collaborations with poets. The Art of Richard Tuttle is published in conjunction with a major retrospective organized by the San Francisco Museum of Modern Art. The exhibition travels to the Whitney Museum of American Art, New York; the Des Moines Art Center; the Dallas Museum of Art; the Museum of Contemporary Art, Chicago; and the Museum of Contemporary Art, Los Angeles.
Published by D.A.P./Tate. Essays by Rudi Fuchs, David Batchelor, Richard Schiff, Nicholas Serota, David Raskin, and John Jervis.
One of the most influential American artists of the post-war period, Donald Judd changed the course of modern sculpture. Beginning as an art critic and then a painter, Judd moved into three dimensions with the box-like structures he produced in the early 1960s, either arranged on the gallery floor or mounted on the wall. Initially constructed by hand, the sculptures were later industrially manufactured in galvanized iron, steel, Plexiglas and plywood. His use of vibrant color, polished and reflective metals, and brightly hued lacquer confounded and continues to confound expectations of what Minimalist sculpture should look like. This lavishly illustrated survey features 41 works from collections around the world, many of them large scale, each illustrated with full catalogue entries alongside many other major works by Judd. Contributors Nicholas Serota (Director of the Tate), Rudi Fuchs (former Director of The Stedelijk Museum, Amsterdam), American critics Richard Schiff and David Raskin, and British artist and critic David Batchelor explore the conflicts between previous critical interpretations of Judd and his own philosophical, political, and moral understanding of his work. Judd's critical response to the work of other artists is examined, as is the importance of color to his work, and his reaction to new man-made materials and artificially generated color in the late twentieth-century environment. A section on Judd's installations at Marfa in Texas, and an extensive new chronology, compiled by Judd's assistant, Jeff Kopie, are also included. Donald Judd compromises the most thorough and up-to-date publication on Judd in print today.
Published by Walker Art Center. Edited by Joan Rothfuss. Essays by Richard Shiff, Victor Stoichita, Foreword by Kathy Halbreich.
In 1984, Jasper Johns suggested to an interviewer that he had made a critical shift in his working process. “In my early work,” he said, “I tried to hide my personality, my psychological state, my emotions...I sort of stuck to my guns for a while, but eventually it seemed like a losing battle. Finally, one must simply drop the reserve.” His paintings of the 1980s and 90s bear this out: their imagery often includes objects and locations in his present studio and home, as well as allusions to memories of his childhood. These motifs are reiterated, altered, reworked and quoted in the context of new compositions, forming layered and complex spaces of recollection that merge past and present. This profusely illustrated volume, published in conjunction with an exhibition of paintings, prints and drawings organized by the Walker Art Center, is the first to look broadly at this period in Johns' career. All of the artist's major bodies of work from the past two decades--including those based on the Seasons, Green Angel and Catenary motifs--are covered in this study, with special consideration given to imagery appropriated from Picasso and Manet. Many of the works are published here for the first time, making this an invaluable tool for the study of Johns' work.
The Thannhauser Collection of the Guggenheim Museum
Published by Guggenheim Museum. Edited by Matthew Drutt. Essays by Jack Flam, Robert Rosenblum, Richard Schiff, Ann Dumas, Theodore Reff, Colin A. Bailey, Albert Boime, Beth Archer Brombert, Anne F. Collins, Elizabeth W. Easton, Michael Fitzgerald, Fred Licht, Joachim Pissarro, Belinda
Bequeathed to the Guggenheim Museum by Justin K. Thannhauser, this sparkling collection features important works from the Impressionist, Post-Impressionist and early Modernist periods, including 32 paintings and works on paper by Picasso. In addition to the impeccable reproductions of every work in the collection, this book includes a fascinating new essay on Thannhauser, a leading art dealer in pre-World War II Europe whose family's gallery was the first to represent Picasso as well as the Blue Rider Group. This revised edition includes two essays on the period as well as a dozen insightful texts on the highlights of the collection, which include paintings by Cézanne, Degas, Gauguin, Renoir, van Gogh and, of course, Picasso.
Published by Parkett. Essays by Gerardo Mosquera, Sara Arrhenius, Jeremy Gilbert-Rolfe, Regina Hasslinger, Laura Hoptman, Francine Prose, Hans Rudolf Reust, Richard Shiff.
Presenting unique and in-depth collaborations and editions with leading international artists, Parkett No. 60 features Chuck Close, Diana Thater and Luc Tuymans, three artists from very different backgrounds. Contributing writers include Francine Prose and Richard Shiff on Close; Sara Arrhenius, Jeremy Gilbert-Rolfe and Regina Hasslinger on Thater; and Laura Hoptman, Gerardo Mosquera and Hans Rudolf Reust on Tuymans. This issue also contains essays on David Bunn, Jeremy Deller and Paul Etienne Lincoln, as well as a conversation between Chuck Close and Elizabeth Peyton and an interview with Close by Bice Curiger.