PUBLISHER
Matthew Marks Gallery

BOOK FORMAT
Clth, 9.75 x 10 in. / 164 pgs / 131 color / 2 bw.

PUBLISHING STATUS
Pub Date 8/22/2017
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2017 p. 165   

PRODUCT DETAILS
ISBN 9781944929039 FLAT40
List Price: $60.00 CDN $79.00 GBP £53.00

AVAILABILITY
In stock

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 10/22/2017

Join Richard Meyer, Bob Nickas, Jack Pierson, Collier Schorr & Beau Rutland for a Peter Cain panel at Matthew Marks

Tuesday, October 24 at 6:30 PM, Matthew Marks Gallery presents Paintings Capital 'P', a panel discussion in celebration of the first comprehensive monograph on Peter Cain (1959–1997). Richard Meyer, Bob Nickas, Jack Pierson, and Collier Schorr will discuss the artist's paintings in the context of the 1980s–90s New York art world and beyond. The panel will be moderated by Beau Rutland.
continue to blog

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 8/11/2017

Peter Schjeldahl on Peter Cain, 1997

In a February 1997 Village Voice review, Peter Schjeldahl wrote about the image featured here, as reproduced on a now-legendary announcement from Matthew Marks Gallery. “New York artworldlings ploughing through our daily curse of not-invariably-100-percent-useless art mail last month unfolded copies of a modestly sized poster and instantly reacted in ways that caused anyone who was in the room with us to stare quizzically. My wife heard me laugh from sheer startlement. Then she saw the poster and was wowed, too. Many exhibition announcements are intended to do this, and maybe two or three a decade do it: go off in one’s hands like letter bombs of unique, original beauty. It was — and is, and will be, as already a classic — the painter Peter Cain’s announcement for his present, posthumous show.” Read more in this gorgeous new release. continue to blog

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 10/24/2017

Collier Schorr on Peter Cain

Matthew Marks’ new Peter Cain monograph feels like the right book at the right time. More than 130 luscious reproductions of the revered late cult artist’s work are featured alongside essays by Beau Rutland, Richard Meyer and Collier Schorr. She writes, “Muscle cars are American sculpture and painting and photography. I know I was startled and excited when I first saw Peter’s work because it worshipped the only religion our family had, the steel garish show-off monsters my father would drive home every week. And suddenly what was half pride (how cool is that Indianapolis pace car parked in our driveway), half fear (why is everyone else driving a normal car that doesn’t scream), was suddenly a masterpiece. A thing moved inside and hoisted up and gentled and softened and quiet. In the same way one experienced one’s body when standing next to a Robert Morris or a Richard Serra, I experienced my memory of form for the first time when seeing a car that was not a car.” continue to blog