| | BOOK FORMAT
Flexi, 9.5 x 13.5 in. / 256 pgs / 275 color. PUBLISHING STATUS
Pub Date 4/28/2015
Active DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2015 p. 11 PRODUCT DETAILS
ISBN 9781938922688 TRADE
List Price: $29.95 CDN $39.95 AVAILABILITY
In stock | TERRITORY
NA ONLY | The essential guide to the latest international developments in drawing and figuration. |
| | | Drawing People: The Human Figure in Contemporary Art
 How contemporary artists draw the human figure in an affordable, up-to-date and well-illustrated survey, covering an eclectic range of drawing styles and mediaDrawing People is a thoughtful and beautifully illustrated survey of the most compelling and inventive drawings of the human form being produced today by 70 contemporary artists from around the world. An introduction places the medium of drawing in its historical context, discussing its intersection with photography, painting, collage and illustration, as well as its ability to intimately express thought, personality and emotion, as well as fundamental questions about identity. Five chapters–Body, Self, Personal Lives, Social Reality and Fictions–include short introductions outlining each theme, followed by generously illustrated profiles on individual artists exploring their style, approach to the medium and the ideas, narratives and inspirations that lie behind their mark-making. A selection of finely reproduced images highlights the latest work by each artist. Drawing People features an international roster of artists working with pencil, ink, watercolor, charcoal and crayon, including Francis Al˙s, Charles Avery, Louise Bourgeois, Francesco Clemente, Adam Dant, Marlene Dumas, Dr. Lakra, Paul McCarthy, Nalini Malani, Wangechi Mutu, Raymond Pettibon, Rosemarie Trockel, Tal R, Marcel Dzama, Barry McGee, Amy Sillman and Kara Walker. Together, their drawings and sketches, illustrations and animations bring to life one of the most creatively rich and emotionally powerful forms of art being made today. An essential book for students and practicing artists."
"Ndombundira Chokwadi Chandinoziva (I embrace the Truth I know), by Virginia Chihota (2011) is reproduced from Drawing People.PRAISE AND REVIEWSThe Independent Drawing is now back in the spotlight ... this book is asserting the importance of drawing in its own right, as an autonomous art form and not a means to an end. The Independent Drawing is now back in the spotlight … this book is asserting the importance of drawing in its own right, as an autonomous artform and not a means to an end. guardian.com These weird and wonderful sketches of the human body reveal just what is possible when, pencil in hand, the artist lets their subconscious off the leash. Fadmagazine …a thoughtful and beautifully illustrated survey of the most compelling and inventive drawings of the human form being produced today. Art Agenda The year’s best survey of contemporary figurative drawing and an essential guide to the latest developments in the field. An important teaching tool, Drawing People features work by 70 of today’s most compelling international artists. The Art Blog Alyssa Greenberg a crucial guide to today’s best artists who draw New York Journal of Books Jonathan Rickard The work varies as one would expect from hyper realism to nearly non-representational. There is pure line, chiaroscuro, and color. Reproduction of the art is generous, both in printing quality and size. Each artist’s name, birth date, birthplace, and current location is provided. Some works speak eloquently of the artist’s ethnicity and others reflect this age of instant communication—the blurring of borders. Art Quarterly Drawing People is a rich and guttural study of the body. Association of Illustrators Derek Brazell Drawing People rewards through its eclectic mix of artists using drawing as their base, and may inspire an expanding attitude towards the human figure from artistic readers. Juxtapoz Lalé Shafaghi An art student on any level will obsess over this thoughtful analysis of the most innovative drawings of the human form being created today. The Art Newspaper Deanna Petherbridge Roger Malbert’s beautifully designed book is a welcome addition to the relatively sparse English-language literature on contemporary drawing… Malbert’s selection of artists, known and unknown, establishes his thesis that there is a global reinvestment in the human figure as a source of political, psychological and, above all, satirical commentary. For once, in an art world that worships the casual gestural sketch, these are predominantly complex, skilful and ideas-based drawings, weaving witty, disturbing or powerful fantasies about aesthetics as well as abjection. They celebrate exaggerated graphic elaboration, and also colourful and open-ended anarchic invention. The Artist A comprehensive and impressive compilation of work from many different contributors, regions and cultures… this is a fascinating and rewarding read. BMW Art Guide Featuring over 70 contemporary artists from around the world, Drawing People: The Human Figure in Contemporary Art is an in-depth look at how contemporary artists draw the human figure. Packed with drawings in pencil, ink, watercolor, charcoal and crayon, this publication dives into the world of drawing, looking not only at the medium itself but also into the artists individual styles, approach and narratives found within the works... An absolute must for any art students and practicing artists! New York Journal of Books Johnathan Rickard This very attractive compilation of contemporary art—drawings on paper—provides an excellent review of a medium that is too often overlooked. |
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| | FROM THE BOOKARTISTS INCLUDE:
■ Francis Al˙s
■ Charles Avery
■ Louise Bourgeois
■ Francesco Clemente
■ Adam Dant
■ Marlene Dumas
■ Marcel Dzama
■ William Kentridge
■ Dr. Lakra
■ Chad McCail
■ Paul McCarthy
■ Barry McGee
■ Nalini Malani
■ Wangechi Mutu
■ Jockum Nordström
■ Chris Ofili
■ Raymond Pettibon
■ Elizabeth Peyton
■ Tal R
■ Amy Sillman
■ Rosemarie Trockel
■ Kara Walker | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 4/12/2015 "There is only convention in the 'realistic' depiction of the body. The body depicted always tends towards exaggeration, either in the convention of the grotesque or the convention of the ideal. There are few images less interesting than an exact anatomical drawing of the human form.
This problem arises from the corresponding problem of the absence of stance. Grotesque realism is emblematic of the body’s knowledge of itself, a knowledge of pieces and parts, of disassociated limbs and an absent center. The realism of the ideal is emblematic of the body’s knowledge of the other, a knowledge of facades, of two dimensions. Only in the embrace is the other’s body known as one’s own, in parts. Perhaps this is why the grotesque has become the domain of lived sexuality, while the ideal has tended toward the domain of the voyeur and the pornographer." Excerpt from Susan Stewart's On Longing: Narratives in the Miniature, the Gigantic, the Souvenir, the Collection, and Louise Bourgeois' 2007 gouache, "The Feeding" (made when the artist was in her late nineties) are reproduced from D.A.P.'s indispensible new survey of contemporary figuration, Drawing People. continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 6/24/2015 "Sleeper 02 (Vintage Hat)," Chloe Piene's 2005 charcoal drawing on vellum, is reproduced from Drawing People, launching tomorrow night at the Drawing Center with a lecture and signing featuring Piene and Dasha Shishkin. Author Roger Malbert writes, "Analogies abound in Chloe Piene’s graphic works: between Eros and death, the human and the animal, and drawing and masturbation. Naked, skinny women – possibly self-portraits – recline or sprawl, isolated in space, the contours of their bodies traced in tremulous charcoal lines that sometimes digress to reveal the skeletal frame beneath the skin’s surface. Skulls, grinning malevolently, are juxtaposed with rounded breasts, and bony fingers intimately caress flesh. This morbid meditation on death is evocative of the Mexican Day of the Dead and of the allegorical danse macabre or ‘dance of death’ of medieval Europe – in fact, it is the Northern European tradition with which the artist claims the closest artistic affinity. Her drawings could seem trite, yet the bodies are so sensitively and vivaciously drawn: a wavering line scoops up the contour of an arm and then floats away loosely into what may be a string of small bones, the beads of a necklace or pure abstraction." continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 6/24/2015 Join us tonight at the Drawing Center! In celebration of Drawing People, the Drawing Center's Brett Litmann will appear in conversation with artists Chloe Piene and Moscow-born Dasha Shishkin, whose "We Are Not Afraid for Comparable Lives" (2011) is featured here. (Signing to follow.) Drawing People author Roger Malbert cites Shishkin's "loose, splashy technique" and "wildly perverse imagery, a febrile blend of Toulouse Lautrec and Henry Darger, executed with the spontaneous energy of the Surrealist Matta." An emphatic colorist and the daughter of a puppeteer, Shishkin often includes the character Pinocchio in her "phantasmagorical scenes of decadent society women partying in brilliantly lit, lavish interiors, their noses and nipples sprouting phallic extensions as they feast on dishes of dismembered body parts." continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 4/9/2015 "Drawing is one of the most direct forms of visual expression," Roger Malbert writes in his introduction to Drawing People: The Human Figure in Contemporary Art, this year's best survey of contemporary figurative drawing. "It’s where art begins, literally, both in human evolution and the development of the individual. Before writing, there are images, scratched onto a cave wall or scribbled in crayon on cheap paper. And among the first subjects, along with animals and the sun, is the human figure." Releasing this week, Drawing People, features an international roster of 70 artists working with pencil, ink, watercolor, charcoal and crayon. They include Francis Al˙s, Louise Bourgeois, Francesco Clemente, Marlene Dumas, Marcel Dzama, Dr. Lakra, Paul McCarthy, Barry McGee, Nalini Malani, Wangechi Mutu, Raymond Pettibon, Amy Sillman, Kara Walker and Elizabeth Peyton, whose drawing, "Klara (Klara Liden) 10 October 2009 Berlin," is featured here. continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 6/14/2015 Philip Guston's "Untitled" (1975) is reproduced from Drawing People: The Human Figure in Contemporary Art, the best contemporary figurative drawing survey of 2015. Of Guston, who made the break from the dominant mode of Abstract Expressionism at the most difficult time possible, author Roger Malbert writes, "For two years, from 1967 to 1968, he abandoned painting and did nothing but draw. He was later to say, ‘I cannot make a dot or a line which doesn’t represent a known thing.’ Thus, one of the most dramatic paradigm shifts in modern art – the return to figuration – was essentially accomplished through drawing." Though Drawing People focuses on figurative drawing of the last decade by artists like Raymond Pettibon, Elizabeth Peyton and Paul McCarthy, it's nice to remember where it comes from. continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 4/11/2015 Poetic and prescient, this 2011 drawing for William Kentridge's animated film, Other Faces, is reproduced from Drawing People, D.A.P.'s essential new guide to the latest developments in international figuration. Drawing is the medium in which Kentridge thinks, according to author Roger Malbert's chapter on artists working on themes of social reality. "His procedure for making an animated film is to draw with charcoal, walking back across the studio to photograph the drawing, then walking back to the paper to erase or alter it, then back to the camera and so on, hundreds of times a day. The traces of erasure and change remain, giving a rippling fluidity to the narrative that helps him to present history and social experience an innovative ways. Preconceived ideas are kept to the minimum, and there is no storyboard; thinking evolves through activity." continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 6/15/2015 Normally associated with provocative sculpture, installation and performance/videos in which he enters into a "regressive persona with shamanistic abandon," LA-based Paul McCarthy first generates the imagery for his larger works through drawing, where he allows his unconscious to run riot. "323-825-0915 (Blockhead Drawing 2 of 4)" (2000) was produced for McCarthy's 2013 performance WS, a lurid parody of Disney's version of the German folk tale, Snow White. It is reproduced from Drawing People: The Human Figure in Contemporary Art, in which Roger Malbert writes, "McCarthy regards his drawings as performative works in their own right, made 'in a sort of trance.... It's more about making than telling. Drawing is a form of analysis. I'm not controlling it, just allowing it to unfold. It's not about clarity, it's about each piece suggesting the next one in a continuum.'" continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 4/13/2015 "The artist begs the public to be indulgent with him, because he has neither imitated other works, nor even used studies from nature," Goya wrote in 1799. "The imitation of nature is as difficult as it is admirable, if it is really perfect. But an artist may also, surely, remove himself entirely from nature and depict forms of movements which to this day have only existed in the imagination... Painting, like poetry, selects from the universe whatever it considers most suitable for its purposes. It unites qualities and characters which nature has scattered among different individuals and concentrates them in a single fantastic being. Thanks to this creative combination, the artist ceases to be a mere copyist and acquires the title of an inventor." Text excerpt and Raymond Pettibon's "No title (Once the judge)" (2006) are reproduced from Drawing People; Pettibon is one of 70 contemporary artists featured in this important new contemporary figurative drawing survey. continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 6/22/2015 Join us Wednesday, June 24 at the Drawing Center, where Executive Director Brett Littman will host a conversation with artists Chloe Piene and Dasha Shishkin, two of the featured artists in Drawing People, our new survey of innovative contemporary figure drawing. Piene and Shishkin will discuss their practices and lives within one of the most creatively rich and emotionally powerful forms of art being made today. Book signing to follow.
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