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"This book is the first monograph on the paintings of Lois Dodd. It provides invaluable analysis and contextualisation of her work alongside such New York City contemporaries as Alex Katz, Philip Pearlstein and other denizens of the Tenth Street milieu of the 1950s. Emerging from the shadow of Abstract Expressionism, Dodd and this circle cleaved to an observational painting based in the early modernist tradition. Beginning in the 1950s, Lois Dodd has steadfastly pursued her observational painting, remaining aloof from passing trends. She is widely admired as a 'painter's painter' whose landscapes and city scenes display subtle effects of place, light and weather within graphically distilled compositions. Dodd's works capture the intangible character of changing seasons or particular hours of day in locations throughout New York City, rural New Jersey and Maine, but the paintings betray no mark of era. They are curiously timeless. Through extensive studio visits and interviews, Faye Hirsch considers the processes, places and impulses behind Dodd's paintings and reveals her outwardly peaceful, reflective canvases to be the product of an alert and forceful eye and a powerfully efficient execution." -- Publisher's description
This catalog accompanies and interprets Lois Dodd's 2016 exhibition at List Gallery, Swarthmore College.
“An extraordinary record of a great artist in his studio, it also describes what it feels like to be transformed into a work of art.” —ARTnews Lucian Freud (1922-2011), widely regarded as the greatest figurative painter of our time, spent seven months painting a portrait of the art critic Martin Gayford. The daily narrative of their encounters takes the reader into that most private place, the artist’s studio, and to the heart of the working methods of this modern master—both technical and subtly psychological. From this emerges an understanding of what a portrait is, but something else is also created: a portrait, in words, of Freud himself. This is not a biography, but a series of close-ups: the artist at work and in conversation at restaurants, in taxis, and in his studio. It takes one into the company of the painter for whom Picasso, Giacometti, and Francis Bacon were friends and contemporaries, as were writers such as George Orwell and W. H. Auden. The book is illustrated with many of Lucian Freud’s other works, telling photographs taken by David Dawson of Freud in his studio, and images by such great artists of the past as van Gogh and Titian who are discussed by Freud and Gayford. Full of wry observations, the book reveals the inside story of how it feels to pose for a remarkable artist and become a work of art.
A panorama of painterly motifs, combined and reprised Ann Craven (born 1972) superimposes source photographs, historical works and her own paintings, creating mediated images that feature layer upon layer of referentiality--a collage of her most treasured curios. Peacocks showcase their plumage; birds perch on a branch; a trio of horses pose "just so." Through these acts of creation and recreation, Craven becomes both master and copyist, citing herself in her own art historical lineage. Animals, birds, flowers, moons: Craven's motifs are in themselves an incantation--a wish to repeat, reencounter, relive. In keeping with this process of revisitation, Craven's paintings are repeated in threes throughout this fully illustrated catalog, mimicking the tripartite structure of her Animals Birds Flowers Moonsexhibition. The book is divided into three parts, each paired with one of three texts: two newly commissioned essays by Durga Chew-Bose and Keith Mayerson, and a 2021 interview between Craven and Lois Dodd.
One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!
This enlightening and thought-provoking look at New York City’s postwar art scene focuses on the galleries and the artists that helped transform American art. While the achievements of New York City’s most renowned postwar artists—de Kooning, Pollock, Rothko, Franz Kline— have been studied in depth, a large cadre of lesser-known but influential artists came of age between 1952 and 1965. Also understudied are the early, experimental works by more well- known figures such as Mark di Suvero, Jim Dine, Dan Flavin, and Claes Oldenburg. Focusing on innovative artist-run galleries, this book invites readers to reevaluate the period—uncovering its diversity, creativity, and nuances, and tracing the spaces’ influence during the decades that followed. Inventing Downtown charts the development of artist-run galleries in Lower Manhattan from the early 1950s to the mid-1960s, showing how the area’s multicultural spirit played a major role in shaping the artworks exhibited there. The book explores 14 key spaces in which styles such as Pop, Minimalism, and performance and installation art thrived. Excerpts from 33 revealing interviews with artists, critics, and dealers, conducted by Billy Klu&̈ver and Julie Martin, offer unique personal insight into the era’s creative milieu. Taken together, the book’s essays and interviews provide a distinctly new assessment of how downtown New York’s fertile environment nurtured an innovative art scene.
"This is the first full-length monograph on the paintings of Bernard Frize (b.1949), an artist whose work straddles movements and styles from Colour Field to Minimalism, Fluxus, and Conceptual Art. Frize's works utilise a carefully constructed range of tools, processes, choreography and collaboration to catalogue, in complex and unexpected abstract form and colour, the possibilities of his chosen materials. Emerging from the politicised 1970s onwards, Frize swam against the tide of opinion regarding painting's apparent obsolescence to develop a painting practice that could express political commitment and social concerns, while avoiding both overt statement and pure decoration. David Rhodes' text provides a detailed consideration of Frize's development, from the earliest works onwards. Placing his paintings in a broader art-historical and philosophical context, a wider conversation about painting itself is presented alongside Frize's significant place within the medium's history. Exhibition: Centre Pompidou, Paris, France (29.05.-26.08.2019)."--