Published by The Museum of Modern Art, New York. Edited by Karl Buchberg, Nicholas Cullinan, Jodi Hauptman. Contributions by Samantha Friedman, Flavia Frigeri, Markus Gross, Stephan Lohrengel.
Published in conjunction with the most comprehensive exhibition ever devoted to Henri Matisse’s paper cut-outs, made from the early 1940s until the artist’s death in 1954, this publication presents approximately 150 works in a groundbreaking reassessment of Matisse’s colorful and innovative final chapter. The result of research conducted on two fronts--conservation and curatorial--the catalogue offers a reconsideration of the cut-outs by exploring a host of technical and conceptual issues: the artist’s methods and materials and the role and function of the works in his practice; their economy of means and exploitation of decorative strategies; their environmental aspects; and their double lives, first as contingent and mutable in the studio and ultimately made permanent, a transformation accomplished via mounting and framing. Richly illustrated to present the cut-outs in all of their vibrancy and luminosity, the book includes an introduction and a conservation essay that consider the cut-outs from new theoretical and technical perspectives, and five thematic essays, each focusing on a different moment in the development of the cut-out practice, that provide a chronicle of this radical medium’s unfolding, and period photographs that show the works in process in Matisse’s studio. One of modern art’s towering figures, Henri Matisse (1869–1954) was a painter, draftsman, sculptor and printmaker before turning to paper cut-outs in the 1940s. From the clashing hues of his Fauvist works made in the South of France in 1904–05, to the harmonies of his Nice interiors from the 1920s, to this brilliant final chapter, Matisse followed a career-long path that he described as "construction by means of color."
Karl Buchberg is Senior Conservator at The Museum of Modern Art.
Nicholas Cullinan is Director of the National Portrait Gallery in London.
Jodi Hauptman is a Senior Curator at The Museum of Modern Art.
Samantha Friedman is an assistant curator of the Department of Drawings and Prints at The Museum of Modern Art.
Flavia Frigeri is an assistant curator at Tate Modern in London; she is the organizing curator for Tate’s Young Patrons.
Nicholas Serota is director of Tate Modern's art museums and galleries.
Published by Norton Museum of Art. Text by Cheryl Brutvan, Nicholas Cullinan.
Recognized as an exceptional talent in the early 1990s, when she was just in her early 20s, British painter Jenny Saville (born 1970) has continued to renew and subvert the legacy of such masters as Rembrandt, de Kooning and Freud, with sometimes controversial interpretations of the human figure--primarily the female body--that expertly mingle the textures of paint and flesh. This volume, accompanying the first U.S. survey of the artist, includes already classic early paintings such as “Propped” (1992) alongside studies and more recent paintings and drawings on the theme of the mother and child. Saville’s brushwork reveals an increased dynamism and looser gesture. Extended critical commentary by Cheryl Brutvan and Nicholas Cullinan discuss Saville’s feminism and treatments of flesh throughout art history. Despite Saville’s fame, there have been few opportunities to view her mature work, a lacuna this volume happily corrects.
PUBLISHER NORTON MUSEUM OF ART
BOOK FORMAT Clth, 8 x 10 in. / 100 pgs / 27 color.
PUBLISHING STATUS PUB DATE 8/31/2012 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2012 p. 106
PRODUCT DETAILS ISBN 9780943411422TRADE LIST PRICE: $50.00 CDN $60.00
AVAILABILITY Not Available
STATUS: Out of print | 00/00/00
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Published by Actes Sud. Introduction by Éric Mézil. Text by Nicholas Cullinan, Don DeLillo and Anne-Marie Garat, Éric Mézil.
Although world-famous for his paintings and sculptures, Cy Twombly (1928–2011) was also a photographer, and his practice of photographing interiors, the sea and still lifes, as well as his paintings and sculptures, spanned the duration of his 60-year career. This massive two-volume catalogue gathers this lesser-known aspect of the artist’s output, contextualizing it through an exhibition that Twombly himself curated at the Collection Lambert in Avignon. His selection of works was both original and revealing: Jacques Henri Lartigue’s albums, the marine horizons of Hiroshi Sugimoto, the serial photographs of Ed Ruscha and Sol Lewitt, and the portraits of Diane Arbus and his close friend Sally Mann. With this publication, Twombly also draws a direct lineage between himself and earlier photographer-artists such as Édouard Vuillard and Edgar Degas (a lineage that provides this catalogue's Proustian subtitle). The two volumes are held together with a blue printed ribbon.
Published by JRP|Ringier. Edited by Alessandro Rabottini. Text by Nicholas Cullinan, Nikola Dietrich, Suzanne Hudson, Alessandro Rabottini, Andrea Viliani.
In the early 1980s, the artist Tim Rollins initiated a curriculum for high schoolers in the South Bronx to engage their creativity with art and literature activities, embarking on what proved to be an enduring collaborative venture. The initial group of students--who dubbed themselves the K.O.S., or Kids of Survival--made art by drawing and painting on books, while others read a novel out loud (anything from Mark Twain’s The Adventures of Huckleberry Finn to Franz Kafka’s Amerika). Perhaps unusually for such a venture, the painted book works that arose from this collaboration entered the art mainstream, and Rollins and K.O.S. have since participated in Documenta, the Venice Biennale, two Whitney Biennials and numerous other museum shows. Published on the occasion of a major touring exhibition in Europe, and examining each book work individually, this volume gathers the entirety of the group’s output.
Published by D.A.P./Schirmer/Mosel. Edited by David White, Susan Davidson. Text by Nicholas Cullinan.
Robert Rauschenberg's engagement with photography began in the late 1940s under the tutelage of Hazel Larsen Archer at Black Mountain College in North Carolina. This exposure (or experience) was so great that for a time Rauschenberg was unsure whether to pursue painting or photography as a career. Instead, he chose both, and found ways to fold photography into his Combines, maintained a practice of photographing friends and family, documented the evolution of artworks and occasionally dramatized them by inserting himself into the picture frame. As Walter Hopps wrote, "The use of photography has long been an essential device for Rauschenberg's melding of imagery... [and] a vital means for Rauschenberg's aesthetic investigations of how humans perceive, select and combine visual information. Without photography, much of Rauschenberg's oeuvre would scarcely exist." The artist himself affirmed, "I've never stopped being a photographer." This volume gathers and surveys for the first time Rauschenberg's numerous uses of photography. This publication includes portraits of friends such as Cy Twombly, Jasper Johns, Merce Cunningham and John Cage, studio shots, photographs used in the Combines and Silkscreen paintings, photographs of lost artworks and works in process. This allows us to re-imagine almost the entirety of the artist's output in light of his always inventive uses of photography, while also supplying previously unseen glimpses into his social milieu of the 1950s and early 60s. Painter, sculptor, printmaker and photographer Robert Rauschenberg (1925-2008) provided a crucial bridge between Abstract Expressionism and Pop art. After studying at Black Mountain College under Josef Albers, Rauschenberg moved to New York where he formed close allegiances with Jasper Johns and Cy Twombly, began his groundbreaking Combines, collaborated with the Merce Cunningham Dance Company and co-launched the non-profit Experiments in Art and Technology. Considered one of the most innovative artists of his era, he died in 2008.
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.