Klaus Kertess has long been one of the most consistently original, innovative, and insightful voices in the art world. After launching in 1966 and directing for ten years the influential Bykert Galleryùand with it the careers of several of today's most important artistsùKertess turned full time to writing about and curating contemporary art. Seen, Written brings together for the first time a wide selection of his essays from the last three decades. These texts expertly chart the course of American art from the 1960s through the present, exploring the foundation of art as well as the global context of art making in the twenty-first century. With lucid, beautifully written prose that deeply conveys both the look and the experience of art, Kertess's essays offer new understandings of well-known artists and point to those working today who are making groundbreaking and lasting contributions to contemporary art practice. Artists discussed in depth in the book include John Marin, Willem de Kooning, Joan Mitchell, Malcolm Morley, Brice Marden, Alfonso Ossorio, Barry Le Va, Alan Saret, Keith Sonnier, John Chamberlain, Peter Hujar, Carroll Dunham, Matthew Ritchie, and Chris Ofili. Seen, Written is a joy to read and is certain to become an indispensable source for those interested in the art and culture of our time.
Published on the occasion of his debut exhibition at David Zwirner, New York, Devils Pie presents new work by Chris Ofili. Deriving its title from singer-songwriter DAngelos 1998 lyrical meditation on temptation and retribution, the project continues Ofilis previous thematic and formal explorations, uniting for the first time the artists work in sculpture, painting, printmaking, and graphite drawing. The catalogue includes texts by art writer and curator, Klaus Kertess, and writer Cameron Shaw.
The original edition of this ambitious reference was published in hardcover in 1998, in two oversize volumes (10x13"). This edition combines the two volumes into one; it's paperbound ("flexi-cover"--the paper has a plastic coating), smaller (8x10", and affordable for art book buyers with shallower pockets--none of whom should pass it by. The scope is encyclopedic: half the work (originally the first volume) is devoted to painting; the other half to sculpture, new media, and photography. Chapters are arranged thematically, and each page displays several examples (in color) of work under discussion. The final section, a lexicon of artists, includes a small bandw photo of each artist, as well as biographical information and details of work, writings, and exhibitions. Ruhrberg and the three other authors are veteran art historians, curators, and writers, as is editor Walther. c. Book News Inc.
Presenting a world that pulses with excesses and appetites, Cecily Brown explores the breadth of human experience in her tactile oil paintings. Broadly inspired by the history of painting—from Rubens and Veronese to the muscular expressionism of Willem de Kooning—Cecily Brown’s personal vision transcends classical notions of genre and narrative, freeing her subject matter from its original context and positioning it within a new aesthetic reality. Submerged within her vigorous gestural abstractions are scenes in which tangles of flesh dissolve into sensuous textures. Eschewing fixed meaning, Brown’s paintings reflect the flux of life through fragmentary glimpses of form. This volume is published on the occasion of an exhibition of new paintings by the artist held in November 2011 at the Gagosian Gallery in Rome.
This exceptional volume encompasses an extraordinary retrospective of paintings, all presented at Pace Gallery, which illustrates Rothko's contributions to early American modernism, his unprecedented transition into abstraction, and his groundbreaking mature work. Pace Gallery founder, Arne Glimcher's influence in highlighting Rothko's visionary aesthetic and analyzing the progression of his career is embodied in this definitive publication, with original essays from esteemed art historians and exquisite color reproductions. Featuring an illuminating reminiscence by Glimcher, Mark Rothko at Pace faithfully preserves the artist's legacy while also extending his artistic achievements to new audiences alike." -- Amazon.com.
Limited to 1,000 copies, each numbered and signed by the artist, each signed by the artist. Often wryly funny and just as smart, Albert Oehlen's paintings play the medium for all it's worth. After an early realization that the so-called death of painting actually freed his enthusiasm as to the number of aspects through which one could expand painting, Oehlen, got to work on a wide variety of figurative and non-objective offerings, in what he has called his post-non-representational art. In his most recent work group Oehlen expands painting through the use of blatant advertising posters whose in-your-face aesthetics he transforms with subtle brushwork. Never without a touch of tongue-in-cheek humor, his work seems to be winking at us as it dares us to change the way we look at an image. Klaus Kertess throws a light on the years from 1988 onwards, when Oehlen saw himself self-consciously as a painter and started his first abstract works, then continued to probe the limits of the medium.
The realist years /by Klaus Kertess --The surrealist years /by Robert Rosenblum --The watercolors 1941-1947 /by James Lawrence --Multifomrs /by Mark Stevens --A painter's progress /by Bernice Rose --Paintings 1948-1969 /by Irving Sandler --Dark Palette /Arne Glimcher --The 1958-1959 murals /interview by Arne Glimcher with Dan Rice --The dark paintings 1969-1970 /by Brian O'Doherty --The last paintings /by Brian O'Doherty --Bonnard-Rothko : color and light /by Bernice Rose.
The single studio photograph that closes this volume shows a framed print of an octopus clinging to a human figure and, nearby, a model helicopter. Both subjects figure regularly in DiBenedetto's close encounters of the painted kind--over the course of 20 years the Bronx native and Guggenheim Fellow has created a cosmology of enigmatic motifs including ferris wheels, helicopters, octopi, dilapidated TV sets and haloed figures glowing with energy. He assembles them in eerie, industrial wastelands and cavernous, menacing reliquaries, creating an imminently self-destructing and at the same time wildly regenerating world where the eye ricochets from point to point, slithers from one embellishment to another. DiBenedetto's furiously worked oil paintings, composed in a dense palette of decaying, mucky tones, sometimes take him several years. Recent Drawings and Paintings illustrates his most recent works on paper and on canvas, which align him with the Surrealism of Roberto Matta and Max Ernst and the mysticism of William Blake, and with contemporaries like Carroll Dunham, Terry Winters and Gerhard Richter.
Gerhard Richter's abstractions are profound and beautiful, though perplexing. After all these years, they still present a curious challenge: what, exactly, are they? "Richter 858" explores this question by focusing on one suite of extraordinary pictures painted in 1999, soon after his return to work after a silence caused by a stroke. Both investigation and celebration, this book brings together image, music and text in a uniquely compelling way: contributors include the great guitarist and composer Bill Frisell, two sharp-eyed critics, and a baker's dozen of prominent, award-winning poets. Housed in an aluminum slipcase, this lavish, oversized volume features the largest, most sumptuous, and most accurate reproductions of any Richter work. The eight paintings of the suite are shown at more than half-scale, and also, quite untraditionally, presented unbound on heavy paper in a pocket at the back of the book -- allowing readers to mix, match, and re-present the work for themselves outside the confines of the,printed volume. Forty details from the paintings are also reproduced in large-format, accompanied by the poems and texts. These brilliant passages -- rich in incident and intervention, and ranging from the coolly sublime to the loudly riotous -- make fascinating pictures in their own right. Additionally, a double gatefold opens to show all eight paintings in panoramic view. In essence, "Richter 858" presents an elegant, if raucous, meeting ground for our most important contemporary artist and a diverse chorus of American music, poetry, and criticism.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.