Published by National Portrait Gallery, London. Text by Lucy Dahlsen, Nicholas Cullinan, Thomas Crow.
Created in close collaboration with the artist, Elizabeth Peyton: Aire and Angels surveys the work of American painter Elizabeth Peyton (born 1965), with a particular focus on the last decade of her practice, while positioning Peyton’s work within the context of historic portraiture.
Having occupied a central place within contemporary art and portraiture since the early 1990s, Peyton’s work demonstrates an intensely personal, increasingly expansive and indirect understanding of the genre. Known for her luminous pictures, Peyton’s diverse and ever-expanding repertoire of recurring subjects includes figures resonant to her, past and present. Composed using a variety of techniques—oil painting, pencil and pastel drawing, watercolour and printmaking—her art is made both from life and memory, as well as from a wide array of secondary sources. Contemporary figures including Isa Genzken and Kurt Cobain sit alongside figures such as Sir Antony van Dyck and a late 16th-century portrait of the poet John Donne.
A number of works capture Peyton’s personal environment, revealing private encounters between the artist and her subjects or intimate corners of her immediate surroundings and interleaving the genres of portraiture and still life.
Published by Walther König, Köln. Edited by Johan Holten, Elizabeth Peyton. Text by Johan Holten, Dodie Kazanjian.
Elizabeth Peyton rose to fame in the early 1990s as a painter energetically renewing portraiture’s relationship to popular culture. Consciously locating her work in the tradition of nineteenth-century painters of society and celebrity such as Manet, Peyton uses a loose, sensuous figuration to portray the young, the famous and the glamorous of our times. Alongside portraits of royalty and artist friends, she has become particularly famed for her portraits of musicians. This publication groups together her portraits of rock musicians such as David Bowie, Kurt Cobain, Jarvis Cocker, Pete Doherty, Noel and Liam Gallagher, John Lydon and Keith Richards, and opera singers such as Jessye Norman, Jonas Kaufmann and Ludwig Schnorr von Carolsfeld--depicted not in traditional poses, but in performance. Based on snapshots or archival photographs, these portraits express Peyton’s intensive examination of the vulnerability of live artistic creation. The source photographs are presented here en face with the final works, surveying oil paintings and works on paper from the last 20 years.
Elizabeth Peyton was born in Connecticut in 1965 and studied at the School of Visual Arts in New York. Her work is in the collections of leading museums including the Museum of Fine Arts, Boston; The Museum of Modern Art, New York; Whitney Museum of American Art, New York; San Francisco Museum of Modern Art; Seattle Art Museum; and Walker Art Center, Minneapolis. Her recent solo exhibitions include Live Forever (New Museum, Walker Art Center, 2008); Reading and Writing (Irish Museum of Modern Art, 2009); Wagner (the Gallery Met, New York, 2011); and Ghost: Elizabeth Peyton (Mildred Lane Kemper Art Museum, 2011). Peyton lives and works in Long Island, New York City and Berlin.
Published by Hatje Cantz. Text by Hilton Als, Sabine Eckmann, Beate Kemfert.
Famed for her painted portraits, Elizabeth Peyton (born 1965) has also created a wide range of prints over the past two decades, including monotypes, lithographs, woodcuts and etchings. Experimenting with different techniques, she uses a variety of diverse paper stocks and handmade papers as well as various colored and monochromatic inks. In comparison to the diminutiveness of her paintings, the relatively large scale of these prints--in particular of the lithographs and monotypes--is remarkable. Her portrayed subjects here include historical figures such as William Shakespeare, Oscar Wilde and his lover Lord Alfred Douglas (Bosie) and Richard Wagner; visual artists such as Frida Kahlo, David Hockney, Andy Warhol and Robert Mapplethorpe; pop stars such as Eminem and Kurt Cobain; as well as her friends. More recently, Peyton has turned to the genre of the still life to explore and renew its contemporary relevance. This monograph of Peyton's prints is the first in-depth exploration of the artist as a critical printmaker. It includes essays by Sabine Eckmann and Hilton Als as well as an interview with the artist conducted by Beate Kemfert. Featuring more than 70 of her prints in color, the catalogue also includes the first comprehensive index of her prints to date.
Published by Charta/Irish Museum of Modern Art. Text by Rachael Thomas. Afterword by Enrique Juncosa.
New York-based painter Elizabeth Peyton was at the vanguard of the 1990s return to figuration; she first gained critical attention with small-scale portraits that operated simultaneously as homage and pop culture snapshot, portraying musicians such as Kurt Cobain, Liam Gallagher and Jarvis Cocker. In Reading & Writing, a carefully chosen group of 24 paintings, drawings and prints from 1991 to 2009 reflects the profound influence of literature and poetry on Peyton's work. The book begins with her selection of writings by the Goncourt brothers, Honoré de Balzac, Oscar Wilde, Gustave Flaubert and Stendhal. Additional choices reference other subjects that have appeared in her paintings and works on paper such as Madame Bovary, Marie Antoinette, Napoleon and François Truffaut. Also included are poems and songs by Shakespeare and Jay-Z.
PUBLISHER Charta/Irish Museum of Modern Art
BOOK FORMAT Hardcover, 7.5 x 10 in. / 128 pgs / 28 color.
PUBLISHING STATUS Pub Date 8/31/2009 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2009 p. 77
PRODUCT DETAILS ISBN 9788881587384TRADE List Price: $49.95 CDN $60.00
Published by Damiani. Text by Richard Klein, Rirkrit Tiravanija.
She is one of the most celebrated portrait painters of recent times, but it is not as well known that Elizabeth Peyton has always practiced photography alongside painting. Her photographs, taken over the last two decades with 35-millimeter Polaroid and (more recently) digital cameras, reveal a more informal side to Peyton's aesthetic, in which the intrinsic serendipities of photographic exposure and development are allowed full play. The 62 portraits published in this volume are a mixture of celebrities and art stars of varying fame--such as Marc Jacobs, Matthew Barney, Chloë Sevigny, Jake Chapman, Nick Relph, Spencer Sweeney, Jarvis Cocker, Gavin Brown, Rirkrit Tiravanija, Olafur Eliasson, Jonathan Horowitz, Craig Wadlin, Urs Fischer, Franz Ackermann, Pauline Daly, Pati Hertling and Ben Brunnemer. These are the elegantly tousled, the glamorously at-ease, reclining in a world of Bohemian camaraderie under Peyton's gaze. "Again and again her camera seeks out pale young men with mussed hair," The New York Times observed when these pictures were exhibited at the Aldrich Contemporary Art Museum in July 2008, responding to the casual, beau monde atmosphere Peyton conjures here. Whether depicted at the elegant Chateau Marmont or in more intimate domestic settings, the people introduced in this volume emerge through the artist's spontaneous treatment and the uncalculated quirks of over- or underexposed images.
Published by Hatje Cantz. Edited by Zdenek Felix. Essay by Ronald Jones.
Elizabeth Peyton paints portraits of people who matter to her. Be they the iconic faces of Princess Diana, Andy Warhol, Liam Gallagher, and Leonardo DiCaprio or the unfamiliar visages of her friends, lovers, and acquaintances, all appear delicate and painterly, glossy and jewel-like, small in format, and distinctly intimate--as if Peyton knew and loved them all equally. Titles, which reveal only the models' first names, likewise suggest a closeness between the artist and her subject. Working with public photographs borrowed from books and pop magazines, and private photographs shot by herself, the media experience and mediated personality is questioned, transformed, and absorbed into her personal world via the process of painting. Her subjects, fragily beautiful and forever young, are glossed over with a melancholy that recognizes the high price paid for eternal youth.