Published by Holzwarth Publications. Text by Andreas Schalhorn.
This is the first publication focusing on the drawings of British artist Glenn Brown (born 1966). Far from mere studies or sketches, Brown’s drawings are artworks in their own right. The artist quotes and then disassembles drawings of the Old Masters, picking up the pieces and transmuting them.
Published by Holzwarth Publications. Text by Jean-Marie Gallais.
British painter Glenn Brown’s fourth exhibition at Galerie Max Hetzler in Berlin took place at the gallery’s temporary space: a small, well-lit apartment in the Charlottenburg district. This superbly produced, oversized publication records both the works and their intimate installation with extraordinary gatefolds that scrutinize the sensuous surfaces of Brown’s paintings and sculptures. Full of technical virtuosity and grotesque exaggeration, these works based on reproductions of historical art include a traditional flower painting mutated into bouquets of orifices; a portrait of an old man in sickly colors; fragmented female torsos; and sculptures smothered in thick chunks of oil paint. The extraordinary tension between relish and repulsion achieved by the sculptures can provoke extreme reactions of delight or fascination, as this volume reveals.
Best known and celebrated for his painting, Glenn Brown’s new etchings are an exciting change in medium that further establish his fascination with surface texture and mark-making.
The artist’s first ever group of etchings offers a striking approach to the portrait and its history, drawing upon portraiture of the past by repeated layering of single or multiple portraits by Urs Graf, Rembrandt and Lucien Freud.
Engaging with concepts of duplication and appropriation, the beautifully layered portraits are at once recognisable and completely unfamiliar. An essay by John-Paul Stonard accompanies reproductions of the twenty-one black and white prints.
Published by Holzwarth Publications. Text by Tom Morton.
I am a little bit like Doctor Frankenstein because I create my pictures with the remains and dead parts of other artists' works. So says the rising London painter, Glenn Brown, while essayist Tom Morton likens Brown's canvases to a zombie comedy. Thus, "Theater" is a half-length portrait of a skeleton whose bones resemble a slimy organic mass of meat, paste and raspberry ice cream, while the sad mutant heads in "Asylums of Mars" and "The Hinterland" look as if they were bred in a mad geneticist's laboratory. In this monograph, six recent works are presented on deluxe tipped-in color plates, each accompanied by a detail that reveals Brown's technique: the artist fills his grounds with flowing whirlpools of shifting colors--but what initially look like thick brushstrokes are revealed upon closer examination to be very thin layers of paint that could almost be mistaken for photographs or digitally manipulated prints.
Published by Domaine de Kerguehennec. Essays by Stephen Hepworth, Terry R. Myers, Frederic Paul.
Contemplating the work of Glenn Brown, one gets the feeling that this is what contemporary painting "should" be like: Brown's canvases play with our perceptions, appropriate and reconfigure past works, and offer intoxicating visions of our future-present. While some of his works seem to combine the influence of Gerhard Richter with science-fiction graphics, others are "re-paintings" of works by Rembrandt, de Kooning, Dali, Fragonard and Appel. This new monograph surveys Brown's recent output of remarkably vibrant works that combine the appeal of pop culture--from New Order songs to Bladerunner--with the best of the visual arts.
PUBLISHER Domaine de Kerguehennec
BOOK FORMAT Paperback, 8 x 9 in. / 84 pgs / 36 color / 3 bw.
PUBLISHING STATUS Pub Date 1/2/2001 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9782906574007TRADE List Price: $20.00 CDN $27.95
AVAILABILITY In stock
in stock $20.00
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