Dana Schutz

"Looking more carefully, some disturbing elements appear in these compositions. The impression is that the artist is trying to govern her strange fanciful world, controlling and mutilating her own creatures with a sort of 'careless cruelty,' where the vivid colours and the daring fantasies accentuate this ruthless trait instead of hiding it."
Gabriella Belli, excerpted from the introduction to Dana Schutz.

MONOGRAPHS & CATALOGS

Dana Schutz: Paintings 2002-2005 Essays by Jàrg Heiser and Katy Siegel. Introduction and Interview by Raphaela Platow. This first book of Dana Schutz's paintings is just catching up with her rave reviews--the New York Times said one recent show was outstanding, and Artforum agreed, far greater than the sum of its parts. Schutz's ecstatically imaginative
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THE ROSE ART MUSEUM
ISBN: 9780976159339
$45.00 | In stock

Dana Schutz: If It Appears in the Desert Text by Jörg Heiser. New York-based Dana Schutz is widely considered one of the most talented painters of her generation. As The New York Times' Holland Cotter wrote in 2007, She's a terrific painter. From
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WALTHER KöNIG
ISBN: 9783931355487
$60.00 | In stock

Dana Schutz Edited by Gabriella Belli. Dana Schutz (born 1976) declared her painterly intentions from early in her work, and the fecundity of her visual world has not diminished over the decade-long course of her career, which
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SILVANA EDITORIALE
ISBN: 9788836618712
$40.00 | In stock

Dana Schutz

Dana Schutz

Edited by Gabriella Belli.
Published by Silvana Editoriale

Dana Schutz (born 1976) declared her painterly intentions from early in her work, and the fecundity of her visual world has not diminished over the decade-long course of her career, which has seen her work acquired by major museums across the world. Her paintings have always been characterized by bright, almost throwaway cartoonish colors that seem cheery in all but content. Once described as possessing a “careless cruelty,” Schutz's art plunges into dark fantasy realms to dredge up such images as face-eating heads, self-mutilators, child suicides, persons maimed, blindfolded or bound in terrible ways--all parading before the viewer in a genial palette that would be ideally suited to the depicting of a happy spring day. Schutz qualifies that, while her subjects are frequently self-devouring, they are “self-created too [...] They are defined by their own production.” This paperback monograph surveys work from her debut in 2002 to 2010.

Dana Schutz: If It Appears in the Desert

Text by Jörg Heiser.
Published by Walther König

New York-based Dana Schutz is widely considered one of the most talented painters of her generation. As The New York Times' Holland Cotter wrote in 2007, “She's a terrific painter. From the start, her broad, sardonic, cartoon-expressionist style was prodigious but also focused. There was lots of splash, but the images were strong and centered. Her gallery shows were thematically tight without being programmatic, like a book of poems that reads as one poem. This kind of completeness is hard to achieve.” In this volume, Schutz takes on the still-life genre, coming up with dazzling, colorful paintings that are at once merry and ambiguous about the objects of our everyday lives. Thirteen recent paintings are presented, along with installation photographs from her recent exhibition at Contemporary Fine Arts, Kupfergraben. A conversation between the artist and Jörg Heiser lends additional insights into Schutz's pictorial compositions and working method.

Dana Schutz: Paintings 2002-2005

Essays by Jàrg Heiser and Katy Siegel. Introduction and Interview by Raphaela Platow.
Published by The Rose Art Museum

This first book of Dana Schutz's paintings is just catching up with her rave reviews--the New York Times said one recent show was "outstanding," and Artforum agreed, "far greater than the sum of its parts." Schutz's ecstatically imaginative work, executed in a vibrant, subjective palette, has made an impact since she began exhibiting five years ago. Paintings 2002 - 2005 features significant examples of the bodies of work that constitute her oeuvre to date, including the fictitious narrative Frank from Observation, as well as Self-Eaters, which revolves around making and remaking, plus works depicting the construction and destruction of imaginary societies, and paintings of musicians. One undercurrent explored is Schutz's captivating investigation of the artist's role as creator, and hence the relationship between the maker and the made. Another is her tendency to make open-ended references to a vast pool of stylistic and art-historical sources.