ARTIST MONOGRAPHS

PUBLISHER
Hatje Cantz

BOOK FORMAT
Hardcover, 9.75 x 12 in. / 112 pgs / 43 color / 8 bw.

PUBLISHING STATUS
Pub Date
Out of print

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2011 p. 143   

PRODUCT DETAILS
ISBN 9783775727495 TRADE
List Price: $45.00 CDN $55.00

AVAILABILITY
Not available

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HATJE CANTZ

Bernard Frize: And How and Where and Who

Edited by Markus Heinzelmann.

Featured photograph is <I>Palette in Leibnitzastrasse</I> (2001), reproduced from<a href="9783775727495.html">Bernard Frize: And How and Where and Who</a>.The serial abstract canvases of French artist Bernard Frize (born 1949) are generated by constraints--Frize describes his process as "inventing a little mechanism--a motor that runs all by itself, that no longer has any need of me." The results, surprisingly fluid and light in touch, are surveyed in this new monograph.

Featured photograph is Palette in Leibnitzastrasse (2001), reproduced fromBernard Frize: And How and Where and Who.

Bernard Frize: And How and Where and Who

STATUS: Out of print | 00/00/00

For assistance locating a copy, please see our list of recommended out of print specialists

FROM THE BOOK
"No longer do the titles of Bernard Frize’s paintings carry any indication of meaning… Today, Bernard Frize’s paintings are called Schorl or Meauz, Doum or Lerte. They may trigger indeterminate memories or associations (Schorl, for example, with the German expression 'Schorle' for a mixed drink, or Meauz with 'mots,' the French plural for 'words.') Each of these titles, nevertheless, indicates quite clearly that it is an artificial structure, and thus contains no semantic links that could lead to an interpretation.
The artist extends this reductionist approach to as many components of his work as possible: His strategy of using large numbers of colors for every painting as a rule liberates him from deciding on any one color shade as a possible vehicle for meaning. His habit of sealing surfaces with synthetic resin after painting means that any form of brushwork is available to him without it being possible to interpret it as an act of personal expression. And conversely, the equally frequent smoothing of the picture ground with synthetic resin before paint is applied, leading to an overemphasis of every detail of brushwork, however small, draws the viewer’s attention to the painting process, 'somewhat like a news report,' is Frize’s comment. In turn, this process embodies the idea that the picture manifests. As subject, the artist tries to make himself as invisible as possible. The answer to the question of how the idea, the process, and the concrete picture relate to each other in Frize’s work turns out to be almost as tricky as evaluating his titles."

Markus Heinzelmann, excerpted from Bernard Frize: And How and Where and Who.

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