Edited by Lionel Bovier. Text by Caoimhín Mac Giolla Léith, Dominic Molon.
This volume is an expanded edition of JRP|Ringier's popular 2006 reference monograph on Philadelphia-based artist Karen Kilimnik (born 1955). In the 1980s Kilimnik's jumbled narrative installations were compared by critics to the "scatter art" of the previous decade, but have become a cult for a younger generation of artists and exhibition curators. Her drawings and paintings from the beginning of the 1990s were included in the then-current discussions on art and glamour, and on the emergence of women artists whose sensibility was not driven by feminist theory. The source of numerous misunderstandings, the diversity of her work has veiled the internal coherence of a practice which increasingly attests to the continuous links between all these mediums. This book offers the complete panorama of Kilimnik's production and affords a view that goes beyond the distinctions between painting, drawing or installation.
Karen Kilimnik, "I Don't Like Mondays, the Boomtown Rats, Shooting Spree, or Schoolyard Massacre", 1991, is reproduced from Karen Kilimnik.
FORMAT: Pbk, 9.25 x 11.25 in. / 192 pgs / 143 color. LIST PRICE: U.S. $55.00 LIST PRICE: CANADA $72.5 ISBN: 9783037643853 PUBLISHER: JRP|Ringier AVAILABLE: 2/24/2015 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: NA LA ASIA AU/NZ AFR ME
Published by JRP|Ringier. Edited by Lionel Bovier. Text by Caoimhín Mac Giolla Léith, Dominic Molon.
This volume is an expanded edition of JRP|Ringier's popular 2006 reference monograph on Philadelphia-based artist Karen Kilimnik (born 1955). In the 1980s Kilimnik's jumbled narrative installations were compared by critics to the "scatter art" of the previous decade, but have become a cult for a younger generation of artists and exhibition curators. Her drawings and paintings from the beginning of the 1990s were included in the then-current discussions on art and glamour, and on the emergence of women artists whose sensibility was not driven by feminist theory. The source of numerous misunderstandings, the diversity of her work has veiled the internal coherence of a practice which increasingly attests to the continuous links between all these mediums. This book offers the complete panorama of Kilimnik's production and affords a view that goes beyond the distinctions between painting, drawing or installation.
