Text by Gianni Jetzer, Harmony Korine, Scott Griffin, Rita Ackermann
Tensions of creation and destruction in the latest paintings from Rita Ackermann, shifting between representation and abstraction
Rita Ackermann’s vibrant, large-scale Mama paintings layer drawings with applications and scrapings of impasto and oil stick, expressing complex histories and emotions. The immersive nature of the Mama suite is fully illustrated and expressed in this book, with a critical essay by Gianni Jetzer that explores and contextualizes Rita’s evolution as an artist and the significance of the Mama works, complementing filmmaker Harmony Korine’s fake interview with Ackermann and a tribute to the artist by Scott Griffin. The importance of Ackermann’s drawings in her painting practice is elucidated in a poem by the artist and seen in the book’s robust plate section, which features all of the Mama paintings made to date.
PRAISE AND REVIEWS
Financial Times
Baya Simons
For these paintings, Ackermann allowed her subconscious to guide her mark-making as she layered pastels, paint, china marker and oils, which were then scraped away to reveal the drawings below. The paintings “combine the elements of line and gesture, leading the conversation into the unknown”.
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
FORMAT: Hbk, 10 x 11.25 in. / 178 pgs / 84 color / 1 bw. LIST PRICE: U.S. $50.00 LIST PRICE: CANADA $69.95 ISBN: 9783906915593 PUBLISHER: Hauser & Wirth Publishers AVAILABLE: 2/23/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: NA LA
Published by Hauser & Wirth Publishers. Text by Gianni Jetzer, Harmony Korine, Scott Griffin, Rita Ackermann
Tensions of creation and destruction in the latest paintings from Rita Ackermann, shifting between representation and abstraction
Rita Ackermann’s vibrant, large-scale Mama paintings layer drawings with applications and scrapings of impasto and oil stick, expressing complex histories and emotions. The immersive nature of the Mama suite is fully illustrated and expressed in this book, with a critical essay by Gianni Jetzer that explores and contextualizes Rita’s evolution as an artist and the significance of the Mama works, complementing filmmaker Harmony Korine’s fake interview with Ackermann and a tribute to the artist by Scott Griffin. The importance of Ackermann’s drawings in her painting practice is elucidated in a poem by the artist and seen in the book’s robust plate section, which features all of the Mama paintings made to date.
