Discover Joan Mitchell''s powerful and dynamic work--spotlighted in this book as never before
''An entry for one of the best shows of 2022. . . . Mitchell, then in her 50s, reaches peak form in gathering brushstrokes that flicker and burn like auras on fire.'' --Jerry Saltz, New York magazine
This highly anticipated publication focuses on the years 1979 to 1985--a significant and deeply generative period within Joan Mitchell''s decades-long career. As Mitchell became even more fully immersed in daily life at her property in Vetheuil, France--surrounded by lush gardens, and challenged and inspired by new creative relationships--her studio practice flourished and her work became even more ambitious and expansive. Executed in an increasingly bold palette, the works from this period exemplify Mitchell''s nuanced mastery of composition, scale, and color. In addition to her large-scale abstract works, this publication features numerous smaller paintings and a selection of archival materials.
Included in the book are several texts that complement the illustrated works. A new essay by the bestselling author Julie Otsuka recollects her encounters with Mitchell''s paintings over the years. A fascinating conversation between Mitchell and the French philosopher Yves Michaud from 1986 is featured. Reflections by the artists Shinique Smith and Lily Stockman each explore a unique component of Mitchell''s oeuvre or practice, underscoring Mitchell''s continued influence on artists today.
Featuring a single work made up of twenty-six drawings, Gerhard Richter''s newest artist book feels like a facsimile. ''[Richter''s drawings] are of stringent individuality and recognizably by Richter''s hand, not based on their signature style but rather because they make their theme the act of drawing itself, gauging the conditions of drawing.'' --Dieter Schwarz
In this new body of work, Richter combines various elements from a limited set of forms and techniques--including meandering lines, broad tonal planes applied with angled strokes of graphite, and passages of smudging, hatching, and erasure--thereby uniting choice and chance through this infinitely generative process. The resulting works on paper serve as condensed expressions, encapsulating and refining the fundamental principles that have consistently defined Richter''s artistic journey.
Reproduced at actual size, the drawings encourage in-depth observation as well as inspire compelling reimagining of abstraction.
The Outlands, a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist's lens: vibrant colors and a profound sense of nostalgia echo throughout Eggleston's breathtaking oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. With its in-depth selection of unforgettable images - a wood-paneled station wagon, doors flung open, parked in an expansive rural setting; the artist's grandmother in the moody interior of their family's Sumner, Mississippi home - The Outlands is emblematic of Eggleston's dynamic, experimental practice. The breadth of work reenergizes his iconic landscapes and forms a new perspective of the American South in transition.
Accompanying the ninety brilliant Kodachrome images and details, a literary, fictional text by the critically acclaimed author Rachel Kushner imagines a story of hitchhikers trekking through the Deep South. New scholarship by Robert Slifkin reframes the art-historical significance of Eggleston's oeuvre, proposing affinities with work by Marcel Duchamp, Dan Graham, Jasper Johns, and Robert Smithson. A foreword by William Eggleston III offers important insights into the process of selecting and sequencing this series of images.
En 1967, les architectes renommés Ricardo Legorreta et Luis Barragán ont chargé Anni Albers de créer une oeuvre pour le nouvel hôtel Camino Real de Mexico. Achevée en 1968, sa superbe tenture murale Camino Real est fortement influencée par l'art et la culture d'Amérique latine. Ce livre se concentre sur une étude approfondie de cette tenture murale monumentale, redécouverte après de nombreuses années. Il présente l'approche d'Anni Albers pour travailler avec les textiles en tant que pratique aux multiples facettes, et est accompagné d'oeuvres réalisées par l'artiste après son déménagement aux États-Unis en 1933, y compris des oeuvres sur papier.
Written between 1913 and 1929, revolutionary years in art history, Dix Portraits conveys the deep human engagement between an artist and her subject. The artist's book unites Stein's ten portraits in prose with sketches by five artists: Pablo Picasso, Christian Berard, Eugene Berman, Pavel Tchelitchew, and Kristians Tonny. Utilizing the interplay between word and image, Stein's writing and the artists' images provide nuance and depth, balancing humor and sincerity.
With a new introduction by Lynne Tillman, Dix Portraits is an unforgettable artistic collaboration. The subjects represented include Pablo Picasso, Guillaume Apollinaire, Erik Satie, Pavel Tchelitchew, Virgil Thomson, Christian Berard, Bernard Fay, Kristians Tonny, Georges Hugnet, and Eugene Berman. Originally printed in an edition of 100 copies with the lithography, and now widely accessible for the first time, Dix Portraits captures Stein's legacy as a champion of artists and a pioneer of creativity.
The newest book from the widely revered Japanese artist Yayoi Kusama features her latest monumental and vibrant work and is the first to explore the experience of seeing it from the lens of the visitor
''My entire life has been painted here. Every day, any day. I will never cease dedicating my whole life to my love for the universe.'' --Yayoi Kusama
One of the most influential artists of the twentieth and twenty-first centuries, Yayoi Kusama occupies a unique position within recent art history. Since the 1950s, she has created a profoundly personal oeuvre that resonates with a global audience. Distinctly recognizable, her works frequently deploy repetitive elements--such as dots--to evoke both microscopic and macroscopic universes.
Celebrating the visitor experience, this publication offers an immersive tour of Kusama''s 2023 exhibition at David Zwirner New York. Illustrating thirty-five paintings, a gigantic sculptural maze of pumpkin walls, a lush garden of towering flowers, and a fan-favorite Infinity Mirror Room, the result is a book that offers the sense of experiencing the work in person for readers who have not had the chance.
New scholarship by Robert Slifkin looks at how Kusama innovates and complicates art historical traditions of image production and how her art seeks to connect humans with the greater cosmos. An essay by Lynn Zelevansky reflects on her own long-standing engagement with Kusama''s work and the ways in which it, across the decades, can be seen as a record of love in all its complexity: full of humanity, generosity, affection, sadness, and pain.
L'artiste abstraite américaine Joan Mitchell a établi une approche singulière de l'abstraction au cours de sa carrière. Sa réinterprétation inventive de la relation figure-sol traditionnelle et de l'utilisation synesthésique de la couleur la distingue de ses pairs, résultant en des compositions intuitivement construites et chargées d'émotions qui évoquent alternativement des individus, des observations, des lieux et des points dans le temps. Publié à l'occasion de l'exposition éponyme à David Zwirner New York en 2019, ce livre offre une occasion unique d'explorer les oeuvres à grande échelle de l'artiste et son expérimentation formelle. Avec des essais de Suzanne Hudson et de Robert Slifkin.
Cet ouvrage a été fait pour rendre compte d'une exposition sur Robert crumb à la galerie David Zwirner en 2019. Il balaye l'ensemble de la carrière de l'illustrateur et artiste américain, entre extraits de ses bandes dessinées cultes, croquis sur feuilles volantes, ephemera, comme des ex libris ou des flyers d' invitation à ses expositions, pour rendre compte de sa créativité débridée et de sa virtuosité technique.
With a career spanning more than sixty years, the renowned painter Gerhard Richter is one of the greatest artists of the twentieth and twenty-first centuries. This book celebrates the artist's continued dedication to experimentation and innovation.
The Abstract Pictures were created when Richter, a few years ago, poured colored enamel paints onto a glass plate and allowed them to flow into one another in order to take shapes. He then captured these ephemeral moments with his camera and selected 100 of these "pictures" for inclusion in the book alongside equally abstract texts formed by randomly generated letter combinations.
An artwork of its own, this intimate volume inspires both close looking and a beautiful interpretation of abstraction.
Cette publication accompagne une exposition présentée en 2015 à la galerie David Zwirner. Elle se concentre sur la période allant de 1948 à 1964, pendant laquelle Morandi a développé ses recherches sur les séries, les réductions, les jeux de forme et de composition.
Stunning translations of images from the internet and the artist''s iPhone to canvas, Luc Tuymans''s quiet paintings belie an underlying moral complexity.
''Once Tuymans''s muted compositions felt fatalistic; now they appear as committed assaults on our digital fragmentation and the lies that thrive in its cracks.'' - Jason Farago, The New York Times
One of the most important painters working today, Luc Tuymans pioneered a distinctive figurative style beginning in the 1980s that has proven singularly influential among his peers as well as subsequent generations of artists. Tuymans''s deeply resonant compositions insist on the power of images to simultaneously convey and conceal meaning. Rendered in a restrained and muted palette, the artist''s canvases are based on preexisting imagery from a range of historical, cultural, and popular media sources.
This monograph of recent work reveals how Tuymans''s paintings grasps the mystery, strangeness, and possibilities of contemporary image making. It highlights a body of work that Tuymans has been working on since 2020, bringing together three exhibitions: Good Luck, at David Zwirner, Hong Kong; Eternity, at David Zwirner, Paris; and The Barn, at David Zwirner, New York. For this trilogy, Tuymans has heightened the contrast and saturation in his paintings, underscoring the urgency of our contemporary global moment. With an introduction by Joshua Cohen, and texts by the art historians Jonathan Crary and eric de Chassey, the writer and critic Lynne Tillman, and the writer Su Wei, this publication offers an in-depth, dimensional understanding of both Tuymans''s outlook and his assertion of the relevance of painting in our digitally saturated world.
Dans un format poche, ce livre rassemble des écrits de Virgina Woolf sur les arts visuels et nous offre une nouvelle perspective sur l'autrice anglaise.
This volume brings together twenty-five of R. Crumb's most ambitious, acclaimed, and profound comics.
One of the most influential and iconic cartoonists of our time, R. Crumb is celebrated for pushing the boundaries of representation, mass consumerism, and polite society. The comics in this volume exemplify Crumb's creative output over twenty-five years following his early experimentation in the 1960s and 1970s.
The comics collected here depict characters searching for an understanding of the world around and within themselves. Through adaptation, autobiography, biography, and short fiction, Crumb-much like his subjects-demands we pay attention to our darkest desires, compulsions, fears, and obsessions. Existential Comics also features a new, introductory comic strip by Crumb, reflecting on his practice in the context of this volume.
Editor Dan Nadel's essay further weaves together Crumb's life, career, and influences, delving into the creative environment that informed some of the artist's most outstanding comics.
Connue pour ses sculptures en fil de fer complexes et dynamiques, la sculpteure, éducatrice, ancienne élève du Black Mountain College et activiste artistique américaine Ruth Asawa a défié les notions conventionnelles de matière et de forme en mettant l'accent sur la légèreté et la transparence. Offrant un aperçu important de l'oeuvre de l'artiste, cette monographie rassemble une large sélection de ses sculptures, oeuvres sur papier et archives photographiques. Ensemble, ils démontrent la centralité de la pratique innovante d'Asawa à l'héritage historique de l'art du XXe siècle.
Pettibon is known for his characteristically youthful aesthetic and sharply satirical critique of American culture. Though drenched in cynicism, his work empathizes with the dizzying madness of our own humanity as it engages both so-called high and low culture. Perhaps most poetic of the many motifs present in Pettibon's oeuvre is the surfer. In 1985 Pettibon began Surfers--a series he continues to work on to this day--popular for its depiction of the lone surfer silently carving "a line of beauty," along an impossibly large wave.
This publication traces a selection of one hundred surfers from the series, from smaller monochromatic works on paper to colorful large-scale paintings applied directly to the wall. For Pettibon's protagonist in these works-his countercultural hero-surfing exists apart from all else. Momentarily he achieves sublimity on the wave, distant yet synced with turbulent reality. We are forced to confront our own scale: small and feeble in the face of so much sublime power. Pettibon's lyrical writings on these painted surfaces-both his own and taken from literature-reference his own philosophies and the confusions of reality-he critiques the hypocrisies and vanities of the world he engages. To help navigate, the renowned New Yorker writer and Pulitzer Prize-winning author of Barbarian Days: A Surfing Life, William Finnegan, perfectly distills the transcendent nature and lack thereof in Pettibon's work.
Ce catalogue très attendu, accompagnant la première exposition de Gerhard Richter avec David Zwirner, présente les dernières peintures de Richter ainsi que ses récentes explorations en dessin, en estampe et en sculpture. Connu pour ses peintures abstraites et réalistes, Gerhard Richter a poursuivi une pratique diversifiée et influente caractérisée par un engagement de plusieurs décennies envers le médium et ses possibilités formelles et conceptuelles. Des plaques en couleur et des vues d'installations présentent une sélection des dernières oeuvres sur toile de l'artiste - réalisées juste avant qu'il n'annonce sa retraite de la peinture à l'huile en 2017 - ainsi qu'une vaste série de nouveaux dessins réalisés à l'encre, au graphite et au crayon de couleur sur papier, une remarquable série de tirages à jet d'encre chromatiques intitulée "mood" et une superbe sculpture en verre qui a fait ses débuts à l'exposition à New York.
Alice Neel''s unstinting, visionary engagement with the lives of those around her resulted in a queered, inclusive oeuvre. This aspect of her work is explored for the first time in this new catalogue.
Curated by Hilton Als and organized in collaboration with the Estate of Alice Neel, At Home: Alice Neel in the Queer World highlights the artist''s vibrant involvement with the human condition and extends the reach of her recent retrospectives at The Metropolitan Museum of Art, the Barbican, and the Centre Pompidou. Within a lifetime of work, Neel painted many people from many walks of life--this catalogue is the first to focus on queer communities and those who circled within them. This collection of paintings includes rarely seen works of individuals including Frank O''Hara, Allen Ginsberg, and Adrienne Rich, as well as the bohemian theorists, Greenwich Village activists, artists, and politicians who populated these spaces.
This catalogue accompanies Neel''s first significant exhibition in Los Angeles, at David Zwirner in 2024. Edited and with a text by Als, the volume includes newly commissioned contributions by Alex Fialho, Evan Garza,Wayne Koestenbaum, and Sarah Schulman.
The quest for discovery through looking is the driving force of Bridget Riley''s work, as she has written: ''More than anything else I want my paintings to exist on their own terms. That is to say they must stealthily engage and disarm you. There the paintings hang, deceptively simple- telling no tales as it were-resisting, in a well-behaved way, all attempts to be questioned, probed or stared at and then, for those with open eyes, serenely disclosing some intimations of the splendours to which pure sight alone has the key.'' This publication unfolds along the lines of Riley''s 2018 exhibition at David Zwirner, London. Beginning with an exploration of black-and-white equilateral triangles, Riley leads the viewer into an awareness of the ways in which a surface-wall or canvas-can affect a seemingly simple form: the triangle. While she demonstrates these subtle changes, Riley manipulates this form by bending its sides. At first sight the viewer may experience this as a breaking apart, but as one continues to look, serpentine movements appear, or large shadowy triangles, which advance and recede. These paintings constantly reinvent themselves through looking.
Riley is revisiting and developing works which she initiated over fifty years ago, as is shown here by the inclusion of Black to White Discs (1962-1965) in the exhibition. This diamond formation of discs, which graduates in tone from white to black and back again, offers a lead-in to her new body of work. In Cosmos and the Measure for Measure series, Riley recalls a group of subtly shaded colors used this time in discs. While the compositions remain fundamentally the same, the play of colors changes every time.
The exhibition ends with a surprisingly spacious wall painting that offers the viewer many delights, not least among them a dance of fugitive white lights. Here, Riley disarms the viewer, encouraging us once again in an adventure of discovery. In his essay, Richard Shiff explores Riley''s ability to give new life to basic forms as she invites the audience, any audience, to help participate in the painting.
Nouvel opus dans la collection Ekphrasis, de petits livres de texte au format poche. Dans celui-ci, Le salon de 1846, Baudelaire développe les principes du romantisme et propose un parcours méthodique à travers des peintures de Delacroix et Ingres, éclairant sa conviction que la poursuite de l'idéal doit être primordiale dans l'expression artistique. Le texte est accompagné d'une préface critique de l'historien de l'art Michael Fried.
Cet ouvrage présente un nouveau travail de l'artiste suédoise Mamma Andersson : des peintures figuratives mélancoliques et colorées qui interrogent la féminité, la fantaisie et la mémoire. Les peintures sont accompagnées d'un texte de Karl Ove Knausgaard.
Cette collection des dernières peintures de Mamma Andersson met en lumière la beauté et le mystère de la nature et l'effacement du temps. Dans une série d'oeuvres oniriques inspirées des intérieurs et des paysages de son enfance, la peintre suédoise Mamma Andersson s'interroge sur la frontière entre réalité et illusion. Elle introduit des teintes chaudes et réfléchies dans une palette de couleurs autrement froides et sourdes, conférant un sentiment d'un autre monde aux scènes et aux sujets du quotidien qui peuplent ce nouveau corpus d'oeuvres, toutes réalisées entre 2020 et 2021.Avec un essai de Karl Ove Knausgaard conçu comme une méditation sur les souvenirs d'enfance d'exploration insouciante et sur le portail que l'art crée entre le monde dans lequel nous vivons et les mondes qu'Andersson évoque avec son pinceau.
A selection from the memoir of Elisabeth Louise Vigee Le Brun, the renowned eighteenth-century French portraitist and one of the most important women painters in art history
In her memoir, Elisabeth Louise Vigee Le Brun offers a candid and thoroughly enjoyable account of her life and art. She relates her encounters among the royalty and aristocracy she painted--including, most famously, her patron Marie Antoinette--and the effusive reception they extended to her across Europe. Forced to flee during the French Revolution, Vigee Le Brun traveled through Italy, Russia, Germany, and England, returning twelve years later to France under Napoleon I. These pages demonstrate her unflagging creativity during unstable times and her remarkable savvy. Her observations provide unique insight into the art world of eighteenth- and nineteenth-century Europe, a time when women were rarely allowed success.
In her introduction to this volume, the scholar Anne Higonnet conveys Vigee Le Brun''s unique position at a turning point in the art world, as well as the larger world beyond, and navigates in particular how one retroactively reconstructs a relationship to a world-changing revolution.
