Published by D.A.P./Distributed Art Publishers. By Richard Barnett.
Bizarre and captivating images, including close-up details and revealing cross-sections, make all too clear the fascinations of both doctors and artists of the time
Published by MFA Publications, Museum of Fine Arts, Boston. Text by Stephanie Loeb Stepanek, Frederick Ilchman, Janis A. Tomlinson, Clifford S. Ackley, Jane E. Braun, Manuela B. Mena Marqués, Gudrun Maurer, Elisabetta Polidori, Sue W. Reed, Benjamin Weiss, Juliet Wilson-Bareau.
Francisco Goya has been widely celebrated as the most important Spanish artist of the late-eighteenth and early nineteenth centuries, the last of the old masters and the first of the moderns, and an astute observer of the human condition in all its complexity. The many-layered and shifting meanings of his work have made him one of the most studied artists in the world. Few, however, have made the ambitious attempt to explore his work as a painter, printmaker and draftsman across media and the timeline of his life. This book does just that, presenting a comprehensive and integrated view of Goya's most important paintings, prints, and drawings through the themes and imagery that continually challenged or preoccupied the artist. They reveal how he strove relentlessly to understand and describe human behavior and emotional states, even at their most orderly or disorderly extremes, in elegant and incisive portraits, dramatic and monumental history paintings, and series of prints and drawings of a satirical, disturbing and surreal nature. Derived from the research for the largest Goya art exhibition in North America in a quarter-century, this book takes a fresh look at one of the greatest artists in history by examining the fertile territory between the two poles that defined the range of his boundlessly creative personality.
Francisco José Goya y Lucientes (1746–1828) was born in Fuendetodos, Aragón, in the northeast of Spain. Goya was court painter to the Spanish Crown, and famously documented the Peninsular War (1807–1814) between France and Spain in his harrowing Disasters of War series. An important bridge to the modernist era, Goya's oeuvre provided a crucial precedent for artists such as Manet, Picasso and Francis Bacon.
Published by Radius Books. Text by Eugenia Parry, Elizabeth Siegel.
Family man, optician, avid reader and photographer Ralph Eugene Meatyard created and explored a fantasy world of dolls and masks, in which his family and friends played the central roles on an ever-changing stage. His monograph, The Family Album of Lucybelle Crater, published posthumously in 1974, recorded his wife and family posed in various disquieting settings, wearing masks and holding dolls and evoking a penetrating emotional and psychological landscape. The book won his work critical acclaim and has been hugely influential in the intervening decades. Dolls and Masks opens the doors on the decade of rich experimentation that immediately preceded the production of his final opus, The Family Album of Lucybelle Crater. Published to coincide with an exhibition at the Art Institute of Chicago, this handsome book presents more than 70 never-before-seen works from the Meatyard Archive, greatly expanding our understanding of Meatyard's elusive and captivating genius. Writer and historian Eugenia Parry and curator Elizabeth Siegel contribute essays that set the stage for this foray into the unknown work of one of the last century's most intriguing photographers. Ralph Eugene Meatyard (1925-1972) attended Williams College as part of the Navy's V12 program in World War II. Following the war, he married, became a licensed optician and moved to Lexington, Kentucky. When the first of his three children was born, Meatyard bought a camera to make pictures of the baby. Photography quickly became a consuming interest. He joined the Lexington Camera Club, where he met Van Deren Coke, under whose encouragement he soon developed into a powerfully original photographer. Meatyard's work is housed at the Museum of Modern Art, George Eastman House in Rochester, New York, Smithsonian Institution and many other important collections.
Published by RM. Text by Dr. Lakra, Gabriel Orozco.
A refined woman gazes elegantly from the cover of a mid-twentieth-century Mexican magazine--its title, Blanca Sol, lays bare the publication's Eurocentric character--but the cover girl's loveliness is compromised by the penciled-in skull that replaces the right side of her face. In another image, a sleek gentleman who might otherwise be debonair becomes fearsome and fierce with the addition of a pattern of contoured lines, like Aztec facial tattoos, over his entire face. This is the work of Mexican artist Dr. Lakra, who superimposes mystical, ancient or funerary symbolism--gang tattoos, bones and skulls, Aztec warrior heads, spider webs, serpents and demons--onto vintage advertisements, girlie pinups, Japanese prints, baby dolls, cast skulls and the like, attaining an effect that resembles a Dia de los Muertos altar slyly erected in place of a kitchen table in the home furnishings section of a Mexico City department store. "In one way or another, the noncivilized human, the nonrefined, the primitive, is always being repressed, in a way that's almost criminal," Dr. Lakra, who also works as a tattoo artist, has said. "I think that through these themes you can define the essence of culture." This lavishly illustrated volume contains 120 color images of Lakra's work, plus a contribution from renowned Mexican artist Gabriel Orozco.
Born Jerónimo López Ramírez in 1972, Dr Lakra is an artist and tattooist based in Oaxaca, Mexico. Lakra has shown his work internationally, at Tate Modern in London, The Drawing Center and Andrew Kreps Gallery in New York, The Institute of Contemporary Art, Boston and elsewhere.
In his fiction debut, the notorious British artist Jake Chapman satirizes the standard paperback romance novel in his own inimitable way, slashing the genre down to bare bones and creating a disfigured version from the remains. The Marriage of Reason & Squalor is a corollary to the visual work for which Jake Chapman, in collaboration with his brother Dinos, is best known. The novel opens when our heroine, Chlamydia Love, is gifted a desert island by her fiancée, but develops a fascination with its rightful owner, the devilishly unattractive writer Helmut Mandragorass, instead. A battle begins over the ownership of the island and, ultimately, Chlamydia's love. Included as an insert is Mandragorass' opus Come Hell or High Water, along with a number of actual rejection letters sent to Mandragorass/Chapman from publishers who perhaps should have known better. Also featured are 20 limited edition color prints by Chapman--in the guise of Chlamydia Love
In recent years, Marcel Dzama (born 1974) has expanded his widely acclaimed drawing practice to incorporate theatrical realizations of his magical, myth-laden cosmology in three-dimensional dioramas and films. Behind Every Curtain provides a kind of sketchbook companion or dossier on the making of his latest film, A Game of Chess. This work draws on the importance of chess for the early twentieth-century avant-garde (Man Ray, Duchamp, Picabia) and the game's curious overlap with dance, in films and ballets by René Clair and--of especial significance for Dzama--Oskar Schlemmer, whose 1922 Triadic Balletincluded puppet-like masked figures performing on a checkered surface. In Dzama's film, characters based on chess pieces, clad in costumes made from papier-mâché, plaster and fiberglass and wearing elaborate masks, dance across a checkered board to engage their opponents in fatal skirmishes. Distinctions between reality and fiction collapse as both costumed and “real-life” characters in the film are killed. The filming and the creation of the costumes for A Game of Chess were carried out in Guadalajara, Mexico, and the influence of local crafts and religious traditions can also be felt throughout this body of work. Published on the occasion of Dzama's sixth solo exhibition at David Zwirner, this charming and affordable artist's book is packed with full-bleed drawings, sculptures, dioramas and film and production stills that give vivid testimony to the craft and thoroughness of his immensely popular art.
PUBLISHER David Zwirner Books
BOOK FORMAT Paperback, 6 x 7.75 in. / 80 pgs / 80 color / 25 bw.
PUBLISHING STATUS Pub Date 3/31/2011 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 176
PRODUCT DETAILS ISBN 9781935202622TRADE List Price: $22.00 CDN $30.50
AVAILABILITY In stock
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From the Royal Museum of Fine Arts Antwerp and Swiss Collections
Published by Hatje Cantz. Edited by Anne-Birgitte Fonsmark, Nina Zimmer. Text by Herwig Todts, Nina Zimmer.
Phantoms, skulls, skeletons and other macabre figures populate the paintings, drawings and prints of James Ensor. His works are bizarre, ironic, occasionally belligerent and provocative, but always buoyed by a keen sense of humor, and his nightmarish motifs reveal the absurd and grotesque about everyday life. Ensor’s interests were wide-ranging; he was as enthusiastic about Rembrandt’s prints as he was about the Belgian Carnival festival and Japanese masks. In turn, early twentieth-century artists such as Alfred Kubin, Paul Klee and the German Expressionists Emil Nolde and Ernst Ludwig Kirchner were inspired by his creative power and radical rejection of traditional European ideals of beauty. This volume presents nearly 60 paintings and an equal number of drawings, which are published here for the first time.
James Ensor (1860–1949) was born in Brussels where he studied at the Académie Royale des Beaux-Arts. He first exhibited his work in 1881, and received his first solo exhibition four years later. Despite initial attacks in the press, Ensor quickly found favor in his native Belgium. By 1920 he was the subject of major exhibitions; in 1929 he was named a baron by King Albert; and in 1933 he was awarded the Légion d’honneur. Ensor rarely left Belgium, and endeared himself to the people of Ostend, where he spent most of his life, as a familiar figure about town.
Published by Damiani. Edited with introduction by Meredith Mowder. Text by Klaus Biesenbach, Gavin Brown, Jeffrey Deitch, Warren Fischer, Casey Spooner.
A chronicle of Fischerspooner’s quest to merge art, music and performance
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