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Nocturnes and interiors in the key of blue from the acclaimed painter Matthew Wong Over the course of his brief career, Matthew Wong was celebrated for his paintings evoking diverse historical references ranging from Chinese scroll painting to Van Gogh and Vuillard. His colorful, dappled vignettes of imaginary landscapes and half-remembered interiors have the uncanny ability to, in his words, "activate nostalgia, both personal and collective." This first museum publication features more than 60 of Wong's deeply evocative blue paintings, of intimate interior scenes and luscious nocturnal landscapes, from his Blue Series made between 2017 and 2019. Wong's Blue Series paintings are notable for their saturated and richly varied blue palette and pervasive sense of melancholy, enhanced by solitary figures. The striking compositions reflect Wong's technique of flattening the depth of space between the foreground and background with deft combinations of wet and dry brushwork. From monumental oils on canvas to smaller gouache and watercolor paintings, this body of work reveals Wong's intimate and intense meditations on blue that is, as essayist Nancy Spector writes, "as much a mood as it is a color." With an introduction by Julian Cox, essays by Spector and Winnie Wong, and a chronology, this publication brings together scholarly voices to provide fresh insight and perspective on Wong's work and his short-lived but exceptionally brilliant career. Matthew Wong (1984-2019) was a self-taught Canadian artist, who held his first US solo exhibition at Karma in March 2018, garnering reviews in the New York Times and the New Yorker, among others. His work is in the collections of the Art Gallery of Ontario, the Dallas Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, New York and the Solomon R. Guggenheim Museum.
Luminous nocturnal paintings from acclaimed painter Matthew Wong's final exhibition This volume compiles oil and gouaches by the self-taught Canadian painter Matthew Wong (1984-2019) developed for his 2019 solo exhibition Matthew Wong: Blue at Karma Gallery in New York. The dusky and nocturnal scenes were intended as the coda to a previous series of day-lit oil and gouache paintings. All share a watery treatment, awash in blue and its proximal colors. For this body of work, completed over the past year of his life, Wong concerned himself with the "blueness of blue": its fluidity, its affect, and its uncanny ability to "activate nostalgia, both personal and collective." With the sensibility of a flaneur, Wong's semi-fictional subject matter refers to the sights he witnessed on walks while traveling in Sicily with his mother during the fall of 2018 and winter of 2019. The fully illustrated catalog is introduced with a short story titled 1996-2001, 2020, n.d., by Brad Phillips.
An intimate clothbound volume compiling the exquisite postcard paintings of Matthew Wong This fully illustrated volume collects Matthew Wong's small-scale postcard paintings made during the last year of his life in 2019. As Winnie Wong writes in her newly commissioned essay for the book, "Art critics have observed that Matthew Wong's landscapes are 'uncannily familiar, ' and they do prompt viewers to search our own memories, but he almost never titled them as places. Instead, he consistently named them as moments in time: midnight, 5:00am, dawn, daybreak, 12:30am, Autumn, Winter, the first snow, the gloaming, the moon rise ... For the postcard is a genre that seems to consciously elude a sense of stable locus, yet marks the times of our lives when we tried to grasp it. Matthew Wong painted at home, on the road, and in the studio. He spoke of the compulsion to finish each of his paintings in a single sitting, and talked of them always as process, rather than subject matter. Standing before paintings he finished years ago, he could recall every stroke and mark as if he had placed them just moments before." Matthew Wong (1984-2019) was a self-taught Canadian artist whose paintings evoke art historical precedents ranging Soutine and Van Gogh to abstract expressionism. His colorful, dappled vignettes of imaginary landscapes and half-remembered interiors have the uncanny ability to, in his words, "activate nostalgia, both personal and collective." Wong held his first American solo exhibition at Karma in March 2018, garnering reviews in the New York Times and the New Yorker, among others. His work is in the collection of the Dallas Museum of Art, Texas.
The Craft and Science of Coffee follows the coffee plant from its origins in East Africa to its current role as a global product that influences millions of lives though sustainable development, economics, and consumer desire.For most, coffee is a beloved beverage. However, for some it is also an object of scientifically study, and for others it is approached as a craft, both building on skills and experience. By combining the research and insights of the scientific community and expertise of the crafts people, this unique book brings readers into a sustained and inclusive conversation, one where academic and industrial thought leaders, coffee farmers, and baristas are quoted, each informing and enriching each other.This unusual approach guides the reader on a journey from coffee farmer to roaster, market analyst to barista, in a style that is both rigorous and experience based, universally relevant and personally engaging. From on-farming processes to consumer benefits, the reader is given a deeper appreciation and understanding of coffee's complexity and is invited to form their own educated opinions on the ever changing situation, including potential routes to further shape the coffee future in a responsible manner. - Presents a novel synthesis of coffee research and real-world experience that aids understanding, appreciation, and potential action - Includes contributions from a multitude of experts who address complex subjects with a conversational approach - Provides expert discourse on the coffee calue chain, from agricultural and production practices, sustainability, post-harvest processing, and quality aspects to the economic analysis of the consumer value proposition - Engages with the key challenges of future coffee production and potential solutions
The Book of Equanimity contains the first-ever complete English language commentary on one of the most beloved classic collections of Zen teaching stories (koans), making them vividly relevant to spiritual seekers and Zen students in the twenty-first century. Continually emphasizing koans as effective tools to discover and experience the deepest truths of our being, Wick brings the art of the koan to life for those who want to practice wisdom in their daily lives. The koan collection Wick explores here is highly esteemed as both literature and training material in the Zen tradition, in which koan-study is one of two paths a practitioner might take. This collection is used for training in many Zen centers in the Americas and in Europe but has never before been available with commentary from a contemporary Zen master. Wick's Book of Equanimity includes new translations of the preface, main case and verse for each koan, and modern commentaries on the koans by Wick himself.
In 1953, 27-year-old Henry Gustave Molaison underwent an experimental "psychosurgical" procedure -- a targeted lobotomy -- in an effort to alleviate his debilitating epilepsy. The outcome was unexpected -- when Henry awoke, he could no longer form new memories, and for the rest of his life would be trapped in the moment. But Henry's tragedy would prove a gift to humanity. As renowned neuroscientist Suzanne Corkin explains in Permanent Present Tense, she and her colleagues brought to light the sharp contrast between Henry's crippling memory impairment and his preserved intellect. This new insight that the capacity for remembering is housed in a specific brain area revolutionized the science of memory. The case of Henry -- known only by his initials H. M. until his death in 2008 -- stands as one of the most consequential and widely referenced in the spiraling field of neuroscience. Corkin and her collaborators worked closely with Henry for nearly fifty years, and in Permanent Present Tense she tells the incredible story of the life and legacy of this intelligent, quiet, and remarkably good-humored man. Henry never remembered Corkin from one meeting to the next and had only a dim conception of the importance of the work they were doing together, yet he was consistently happy to see her and always willing to participate in her research. His case afforded untold advances in the study of memory, including the discovery that even profound amnesia spares some kinds of learning, and that different memory processes are localized to separate circuits in the human brain. Henry taught us that learning can occur without conscious awareness, that short-term and long-term memory are distinct capacities, and that the effects of aging-related disease are detectable in an already damaged brain. Undergirded by rich details about the functions of the human brain, Permanent Present Tense pulls back the curtain on the man whose misfortune propelled a half-century of exciting research. With great clarity, sensitivity, and grace, Corkin brings readers to the cutting edge of neuroscience in this deeply felt elegy for her patient and friend.
Between the mid-1950s and the early '60s, the paintings of Joan Mitchell (1925-92) grew exponentially in sophistication and strength. In the summer of 1953 she began to paint outdoors in the Hamptons, developing an engagement with nature, but with a crucial distinction from her male counterparts in the abstract expressionist movement. As the late curator and writer Klaus Kertess wrote, "Pollock's [...] 'I am nature' is very different from Mitchell's being with nature in memory. Pollock is more a shaman, Mitchell more a lover. But both share with van Gogh a high tuned, visceral sensitivity to movement. And both share the quality that [Frank] O'Hara so aptly attributed to Pollock's paintings: 'lyrical desperation.'" This book looks at this period, in which Mitchell began to travel regularly between Paris and New York, and received her first major solo shows in the US and in France.
"This book looks at twenty-six houses by an international roster of contemporary architects"--P. [4] of cover.