ARTISTS' WRITINGS, LETTERS AND INTERVIEWS

PUBLISHER
Soberscove Press

BOOK FORMAT
Paperback, 6.5 x 8 in. / 312 pgs / 15 color / 11 bw.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2022 p. 18   

PRODUCT DETAILS
ISBN 9781940190303 TRADE
List Price: $32.00 CDN $44.00

AVAILABILITY
In stock

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SOBERSCOVE PRESS

Painting is a Supreme Fiction: Writings by Jesse Murry, 1980–1993

Edited with introduction by Jarrett Earnest. Foreword by Hilton Als.

Painting is a Supreme Fiction: Writings by Jesse Murry, 1980–1993

Art writing, theory, poetry and more from a leading champion of “painting as a poetic act”

This unprecedented collection compiles the writings of artist and poet Jesse Murry (1948–93), an extraordinary thinker who believed in the capacity of painting to hold the complexity of human meaning. Painting Is a Supreme Fiction brings together Murry’s published art criticism with previously unpublished philosophical writing and poetry from 1980 to his tragic death from AIDS-related illness at the age of 44. The result is a portrait of an original mind who sought to unite the histories of Romantic landscape painting with the realities of Black experience through “a belief in the restorative and creative powers of the imagination.” No artist before occupied the exact intersections Murry created through his work, which aimed to reclaim “painting as a poetic act” amid the “death of painting” discourse of the 1980s. In addition to Murry’s writings, this volume also includes reproductions of selected paintings; excerpts from a a pair of panel discussions on art criticism and expressionism that took place in 1980; as well as transcriptions of two of the artist's notebooks, in which the spatialization of the words across the page approaches the condition of thought. Painting Is a Supreme Fiction presents Jesse Murry in his own words, offering intimate access to this remarkable figure.


Featured image is reproduced from 'Painting is a Supreme Fiction: Writings by Jesse Murry, 1980–1993'.

PRAISE AND REVIEWS

BOMB

Sheryl Oppenheim

Reading Painting Is a Supreme Fiction is a profoundly moving experience, as is looking at a Jesse Murry painting—such is the effectiveness of his communication with paint and with words.

New York Review of Books

Jarrett Earnest

Jesse Murry’s abstract seascapes enabled him to explore the inner world of the mind while infusing his art with his life as a gay Black man.

Painting is a Supreme Fiction: Writings by Jesse Murry, 1980–1993

in stock  $32.00


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FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 3/8/2022

New York Studio School presents 'Clear Bright Edges of the Horizon: New Perspectives,' a panel on Jesse Murry

New York Studio School presents Lisa Yuskavage & Jarrett Earnest on Jesse Murry

Tuesday, March 8, from 6:30–7:30 PM, the New York Studio School presents Clear Bright Edges of the Horizon: New Perspectives, a panel discussion introduced by painter Lisa Yuskavage and moderated by critic Jarrett Earnest. Free and open to the public, this live Zoom / YouTube webinar panel will feature painters, poets and art historians including Gaby Collins-Fernandez, Alex Fialho, Camille Okhio and Jason Stopa in conversation with Yuskavage and Earnest on the art and poetry of Jesse Murry. Register here!
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FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 2/18/2022

'Painting is a Supreme Fiction: Writings by Jesse Murry, 1980–1993' is Back in Stock from Sobersove!

'Painting is a Supreme Fiction: Writings by Jesse Murry, 1980–1993' is Back in Stock from Sobersove!

“Untitled (Rising Abyss Study)” (1992) is reproduced from Painting is a Supreme Fiction, Soberscobe Press’s enlightening 312-page compendium of the underrecognized artist and poet Jesse Murry's art criticism, alongside previously unpublished philosophical writing and poetry from 1980 to his death from AIDS-related illness at the age of 44. "As a painter, I mis-read and substitute or make available priorities that address my needs,” Murry asserts in the titular essay, written while he was studying with Harold Bloom at Yale in the 1980s. "For weather, I substitute light, knowing as I do that light is color and color light; light is substance as color is substance or pigment; light as pigment-color is light-imbued substance which in its deployment makes space and in the making of space can assert, deepen, or deny the plane. It can also evoke weather as temperature, climate, light, etc. As an artist, I know these conditions are both part of the factual, visual nature of paint which has the transformative capacity to evoke and possess a metaphoric or poetic power which can be seen as weather. [Wallace] Stevens turns to the idea of weather as a theologian turns to the idea of God. I turn to the idea of God and the knowledge of weather and the experience of light as the materia poetica of painting which transforms painting into a supreme fiction. And I know that the light as weather, as God, takes on a spiritual force and poetic power as the tangible and concrete manifestation of the imagination makes the particulars of my subjectivity or inwardness tenable, actual, real." continue to blog