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Originally published on the occasion of the 2010 exhibition at David Zwirner in New York, Who is sleeping on my pillow marked the first time Andersson and Nordstrom presented their work in concurrent solo shows. The book showcases their work from the late 1980s to 2010 in over two hundred full-color plates, as well as numerous reproductions of family snapshots and source material. The Swedish artist couple Mamma Andersson and Jockum Nordstrom have been at the forefront of contemporary figurative art since the late 1980s. Updating Vuillard for a post-Hitchcock age, Andersson paints beguilingly eerie interiors and landscapes. Nordstrom’s detailed collages, watercolors, and drawings occupy a more folkloric realm peopled by historical and contemporary characters enacting sexual and social roles across broad narrative panoramas. Included in Who is sleeping on my pillow are texts by Paolo Colombo and Anders Kruger, a poem by Stig Claesson, and an interview with Nordstrom by Marcel Dzama. As Colombo notes in his accompanying essay, “The miracle is that Jockum and Mamma spent more than half of their life together, and that over the years their complicity has guided them into the artists they are, each the complement and the best sounding board for the other.” The publication was reissued to coincide with Nordstrom’s 2014 exhibition, For the insects and the hounds, at David Zwirner in London, and Andersson’s 2015 presentation, Behind the Curtain, at the gallery in New York.
Jockum Nordstrom is one of the most renowned Swedish artists of his generation. Stylistically the artist's works are based on poor materials like paper or cardboard, and developed in a manner that is naive as well as erudite, both descriptive and enigmatic. Dotted with objects, animals and people, they tell us stories that are elegant, endearing, and rather disconcerting. The publication comprises almost a hundred works of Jockum Nordstrom, unfolding a comprehensive panorama of his oeuvre, from the earlier pencil drawings to his more recent collages, including the architectural models and photographic collages.
Painters often draw from existing visual materials, such as photographs and reproductions of past works of art, to construct their work. Mamma Andersson is no exception but takes the process a step or two further, importing images of stacks of books and stray photographs, clipped from various sources, into her compositions. Her psychologically-charged paintings have an eerie sense of familiarity, as collaged dreamscapes cluttered with common imagery and accumulated biblio-ephemera.
One of the most beloved painters of the twentieth century, Giorgio Morandi created works that continue to exert their mysterious power on viewers worldwide. This publication focuses on the period from 1948 to 1964, during which Morandi developed and refined his investigations of serial, reductive, and permutational forms and compositions, a body of work that has had a profound influence on twentieth-century art and painting. Included here are five of the ten iconic “yellow cloth” paintings from 1952, a series featured prominently in the historic 1998 exhibition at the Peggy Guggenheim Collection in Venice, and numerous late paintings by the Italian master. Lavishly reproduced, these immersive plates draw attention to the idiosyncratic perspectival and color-driven decisions that give the work its abstract power. The catalogue is published on the occasion of the 2015 exhibition of Morandi’s paintings from this period at David Zwirner, New York—which, according to The New York Times, represent “lucid perfection, at once cerebral and impassioned.” It marked the first major presentation of the artist’s late work in America since the acclaimed 2008 retrospective at The Metropolitan Museum of Art, New York. In addition to an essay by Laura Mattioli and a foreword by David Leiber, who organized the exhibition, this catalogue includes a fantastic array of contributions by contemporary artists: John Baldessari, Lawrence Carroll, Vija Celmins, Mark Greenwold, Liu Ye, Wayne Thiebaud, Alexi Worth, and Zeng Fanzhi. They offer their personal responses to Morandi’s work and to the Zwirner exhibition in particular. Working in different media across many disciplines, this diverse list of contributors is a testament to the reach of Morandi’s paintings and their influence on contemporary art.
Five centuries of fascinating female creativity presented in more than 400 compelling artworks and one comprehensive volume The most extensive fully illustrated book of women artists ever published, Great Women Artists reflects an era where art made by women is more prominent than ever. In museums, galleries, and the art market, previously overlooked female artists, past and present, are now gaining recognition and value. Featuring more than 400 artists from more than 50 countries and spanning 500 years of creativity, each artist is represented here by a key artwork and short text. This essential volume reveals a parallel yet equally engaging history of art for an age that champions a greater diversity of voices. "Real changes are upon us, and today one can reel off the names of a number of first-rate women artists. Nevertheless, women are just getting started."—The New Yorker
Winner of the 2011 PEN Translation Prize A collection of autobiographical essays by one of the greatest poets to come from Palestine. Indispensable reading for anyone interested in the roots and ramifications of the Israeli and Palestinian conflict. Muhawi's own prose and meticulous footnotes are impeccable. An inspired and scholarly piece of research. —Words Without Borders “Every beautiful poem is an act of resistance,” writes Mahmoud Darwish. In these probing essays, Darwish, a voice of the Palestinian people and one of the most transcendent poets of his generation, interrogates the experience of occupation and the meaning of liberation. Calling upon myth, memory, and language, these essays delve into the poet’s experience of house arrest, his encounters with Israeli interrogators, and the periods he spent in prison. Meditative, lyrical, and rhythmic—Darwish gives absence a vital presence in these linked essays. Journal is a moving and intimate account of the loss of homeland and, for many, of life inside the porous walls of occupation—no ordinary grief.
With hundreds of pages of new and previously unpublished essays, notes, and letters, Donald Judd Writings is the most comprehensive collection of the artist’s writings assembled to date. This timely publication includes Judd’s best-known essays, as well as little-known texts previously published in limited editions. Moreover, this new collection also includes unpublished college essays and hundreds of never-before-seen notes, a critical but unknown part of Judd’s writing practice. Judd’s earliest published writing, consisting largely of art reviews for hire, defined the terms of art criticism in the 1960s, but his essays as an undergraduate at Columbia University in New York, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd’s early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now. The largest addition of newly available material is Judd’s unpublished notes—transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most. In these intimate reflections we see Judd’s thinking at his least mediated—a mind continuing to grapple with questions of its moment, thinking them through, changing positions, and demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary visual art. Edited by the artist’s son, Judd Foundation curator and co-president Flavin Judd, and Judd Foundation archivist Caitlin Murray, this volume finally provides readers with the full extent of Donald Judd’s influence on contemporary art, art history, and art criticism.
Both practical and inspiring, the first book from Jenni Kayne--the creator of the eponymous lifestyle brand--offers ideas and tips for entertaining and living well throughout the year. Jenni Kayne embodies an effortless aesthetic, where natural beauty is found in every detail. Pacific Natural illustrates Jenni's conscious way of living through personal anecdotes and tips with Jenni's home state of California serving as the backdrop. Organized by season, this entertaining book is your guide to creating special moments with family and friends. Each chapter includes tabletop ideas, simple crafts, tips for keeping a stocked kitchen and pantry, what to plant in your garden, and healthy, delicious recipes. From an apple harvest dinner and at-home herb drying in the fall, cocktail parties and DIY gift ideas in the winter, flower arranging in the spring and a beach picnic in the summer, Jenni shares her philosophy for creating traditions and living mindfully all year long. A thoughtful hands-on approach for stylish and balanced living, Pacific Natural shows us how to make the most of the time we spend together, treating life's details with creativity and care.
Set in an enchanted forest, Shakespeare’s A Midsummer Night’s Dream is the ideal subject for artist Marcel Dzama, whose work frequently references dreams, fairy tales, and mythical worlds. Inspired by Ovid’s Metamorphoses, Shakespeare’s celebrated romantic comedy intertwines multiple narratives under the influence of transformation and witchcraft. The play is often staged with actors wearing animal masks, an aspect which appeals particularly to Dzama, whose work is characterized by the fusion of human and animal, fantasy and reality. The second title in David Zwirner Books’s Seeing Shakespeare series revisits the ultimate fairy tale through the eyes of a contemporary artist who feels a special affinity for its imagery.