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Slip, hbk, 12.5 x 10.5 in. / 56 pgs / 46 color. PUBLISHING STATUS
Pub Date 5/19/2020
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Catalog: SPRING 2020 p. 140 PRODUCT DETAILS
ISBN 9780947830748 TRADE
List Price: $35.00 CDN $49.00 AVAILABILITY
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| | | Stanley Whitney: Afternoon PaintingsText by Lynne Tillman.
 Veteran abstractionist Stanley Whitney explores more intimately scaled canvases in this deluxe slipcased overview of recent works New York–based painter Stanley Whitney (born 1946) is known for his vivid multicolored abstract paintings, with stacked irregular rectangles of color in a loose grid composition on square-format canvases.
In this new slipcased volume, featuring a unique design with 12 gatefolds, Whitney extends his trademark style to a smaller scale. He produces his smaller “afternoon paintings” with the leftover paint after completing a large painting. These works express Whitney’s dedication to the consistency of his painting, which he likens to athletic training or the “wood-shedding” that jazz musicians invoke when describing time spent honing their improvisatory skills behind closed doors.
Featuring an introductory essay by writer and critic Lynne Tillman, this book provides an intimate, expressive glimpse into the mind of a master when he is “more relaxed, more loose, more carefree.”
"Untitled" (2018) is reproduced from 'Stanley Whitney: Afternoon Paintings.' |
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| | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 7/3/2020 "Untitled" (2017) is reproduced from Stanley Whitney: Afternoon Paintings, Lisson Gallery's new collection of the artist's small paintings made late in the day with the paint left over from his larger canvases. Essayist Lynne Tillman writes, "Whitney tells me after working carefully crafting big pieces, he likes to paint smaller ones, because, at the end of the day, 'I’m more relaxed, more loose, more carefree, and I’m kind of tired, too.' Seriously, I had never heard an artist say he works when he’s tired. I ask why, when tired: 'Because after working so hard and being serious, after struggling with is it right or is it wrong, I feel I open up, then I can see what happens, not putting pressure on myself.' Also, he explains, the shifts in size allow him 'to think differently. And to move differently.' I think about how in writing size shapes it too—a long work compared with a short one, duration and concision. These different exigencies do make artists think differently. Scale must always be considered, it makes its own demands." continue to blog | |  | Text by Lynne Tillman.LISSON GALLERYISBN: 9780947830748
USD $35.00 | CAN $49Pub Date: 5/19/2020
Active | In stock
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|  | Text by Andrianna Campbell.LISSON GALLERYISBN: 9780947830724
USD $35.00 | CAN $39.95Pub Date: 8/20/2019
Active | In stock
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|  | LISSON GALLERYISBN: 9780947830625
USD $30.00 | CAN $40Pub Date: 3/27/2018
Active | In stock
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|  | KARMA, NEW YORKISBN: 9781942607113
USD $40.00 | CAN $50Pub Date: 9/29/2015
Out of print | Not available
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FORMAT: Slip, hbk, 12.5 x 10.5 in. / 56 pgs / 46 color.
LIST PRICE: U.S. $35.00
LIST PRICE: CANADA $49
ISBN: 9780947830748
PUBLISHER: Lisson Gallery
AVAILABLE: 5/19/2020
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TERRITORY: NA LA | D.A.P. CATALOG: SPRING 2020 Page 140 | INFO AS OF: May 14, 2019 | PRESS INQUIRIES
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| Stanley Whitney: Afternoon Paintings Veteran abstractionist Stanley Whitney explores more intimately scaled canvases in this deluxe slipcased overview of recent works Published by Lisson Gallery.
Text by Lynne Tillman. | New York–based painter Stanley Whitney (born 1946) is known for his vivid multicolored abstract paintings, with stacked irregular rectangles of color in a loose grid composition on square-format canvases.
In this new slipcased volume, featuring a unique design with 12 gatefolds, Whitney extends his trademark style to a smaller scale. He produces his smaller “afternoon paintings” with the leftover paint after completing a large painting. These works express Whitney’s dedication to the consistency of his painting, which he likens to athletic training or the “wood-shedding” that jazz musicians invoke when describing time spent honing their improvisatory skills behind closed doors.
Featuring an introductory essay by writer and critic Lynne Tillman, this book provides an intimate, expressive glimpse into the mind of a master when he is “more relaxed, more loose, more carefree.”
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