Edited with text by Anne Umland, Cathérine Hug. Text by George Baker, Carole Boulbčs, Masha Chlenova, Briony Fer, Gordon Hughes, David Joselit, Jean-Jacques Lebel, Bernard Mercadé, Arnauld Pierre, Juri Steiner, Adrian Sudhalter, Aurélie Verdier, Sarah Wilson.
Hbk, 9.5 x 12 in. / 368 pgs / 500 color. | 7/26/2016 | In stock ISBN 9781633450035 | $75.00
Published by The Museum of Modern Art, New York. Edited with text by Anne Umland, Cathérine Hug. Text by George Baker, Carole Boulbčs, Masha Chlenova, Briony Fer, Gordon Hughes, David Joselit, Jean-Jacques Lebel, Bernard Mercadé, Arnauld Pierre, Juri Steiner, Adrian Sudhalter, Aurélie Verdier, Sarah Wilson.
By rejecting consistency, Picabia powerfully asserted the artist's freedom to change
Published in conjunction with the first large-scale retrospective of Picabia’s work in the United States since 1970, Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction is a sweeping survey of the artist’s profoundly innovative and influential career. Among the great modern artists of the past century, Picabia is one of the most elusive, given his extreme eclecticism and persistent acts of self-contradiction. Though known as a Dadaist, Picabia’s ongoing stylistic shifts, from Impressionism to radical abstraction, from mechanical imagery to pseudo-classicism and from photo-based realism to art informel remain to be assessed in depth. Similarly, the breadth of his practice, which encompassed poetry, film and performance, is under-recognized. Each makes him a figure relevant for contemporary artists, while his career as a whole challenges familiar narratives of modernism. This volume presents over 100 paintings, complemented by works on paper, publications, and film. Featuring some 500 illustrations and 14 essays, it examines the full range of Picabia’s oeuvre. Authors including distinguished professors George Baker, Briony Fer and David Joselit, and renowned Picabia scholars Carole Boulbès and Arnauld Pierre, discuss a varied series of topics, including the corporeal character of Picabia’s abstractions, his unexpected turn to mechanical painting, his experiments with materials and source imagery, the problems of his politics and his contemporary legacy. A richly illustrated chronology details the expanded nature of Picabia’s visual production—from press polemics to party organizing.
Francis Picabia was born in 1879 in Paris, the only child of a Cuban-born Spanish father and a French mother. His first success came as a painter in an Impressionist manner. He went on to become one of the principle figures of the Dada movement in New York and Paris. In 1925 Picabia moved to the south of France, where he lived and worked through World War II. Following the war, Picabia returned to Paris, where he died in 1953.
Ann Temkin is The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at The Museum of Modern Art, New York.
Anne Umland is The Blanchette Hooker Rockefeller Curator of Painting and Sculpture at MoMA.
Published by Hatje Cantz. Text by George Baker, Arnauld Pierre.
Transparence: Calder Picabia is the first publication to explore the important aspect of transparency in the oeuvres of the two artists. Alexander Calder (1898–1976) and Francis Picabia (1879–1953) are both regarded as great innovators of 20th-century modernism. The volume creates a dialogue between selected works from the late 1920s to the post–World War II period. It casts light on the ensuing dialogue between Calder’s radically new creations—for instance, his works made of wire, the first to use transparency as a means of expression in sculpture—and Picabia’s abstracting contour pictures, his "transparencies" and paintings that make reference to these. Arnauld Pierre and George Baker, renowned experts on the work of both artists, examine the significance and impact of these correspondences in accompanying essays, while the works themselves are gorgeously reproduced in full bleeds.
Published by Walther König, Köln. Edited by Hans-Peter Wipplinger. Text by Zdenek Felix, Jean-Jacques Lebel, Rainer Metzger, Hans-Peter Wipplinger, Stephanie Damianitsch.
As irascible as Tzara and as elusive as Duchamp, Francis Picabia (1879–1953) was both the prototypical Dadaist and the most mercurial artist of his generation. This volume, published for the first Austrian retrospective on Picabia, traces the artist through his many phases: from restless apprentice painter oscillating between Fauvism and Cubism to mischievous Dadaist, editor of 391 magazine and best friend to Duchamp; from antagonist of André Breton to ally of Gertude Stein; from advocate of a new machine aesthetics to subversive photorealist painting garish nudes derived from French glamour magazines. Picabia’s bizarre, reckless contradictions and wild contrarianism are amply represented in this substantial, tri-lingual publication, which includes 200 color plates, an extensive and illustrated biography and a complete bibliography, providing the most comprehensive overview of his career currently in print.