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The Colombian-born, London-based artist Oscar Murillo is known for an inventive practice that encompasses paintings, works on paper, installations, actions, live events, collaborative projects, and videos. Taken as a whole, his body of work demonstrates a sustained emphasis on the notion of cultural exchange and the multiple ways in which ideas, languages, and even everyday items are displaced, circulated, and increasingly intermingled. In recent years, Murillo has traveled extensively throughout the world to research and prepare exhibitions and other projects, making works both in the studio and in unexpected locations. As a result, airplanes, which are able to move more or less freely and without regard for borders, and the contemplative isolation afforded by these long journeys, have become an important site of production for the artist. His large-scale canvases, in turn, are a synthesis in both form and content of his experiences. By combining personal allusions with more universally recognizable references, Murillo aligns these paintings with preceding art-historical movements that conceptualized art not as a hermetic language but rather as a critical tool for interpreting a world outside of itself—comprising, as he notes, “an accumulation of thought, gesture, discourse, action, and motion.” Through his command of gesture, form, and spatial organization, Murillo is able to convey a complex and nuanced understanding of the specific conditions of globalization and its attendant state of flux, while nevertheless maintaining the universality of human experience within this milieu. Published on the occasion of the artist’s exhibition of paintings and works on paper at David Zwirner, Hong Kong, in 2018, the build-up of content and information is accompanied by an essay by curator and writer Victor Wang, who attests to Murillo’s work as being guided by mobility. This publication is available in both English only and bilingual English/traditional Chinese editions.
Timeless Painting presents the work of 17 contemporary painters whose works reflect a singular approach that is peculiarly of our time: they are a-temporal, a term coined by William Gibson and Bruce Sterling, the originators of the cyberpunk aesthetic. A-temporality or timelessness manifests itself in painting as an ahistoric free-for-all, where contemporaneity as an indicator of new form is nowhere to be found, and all eras co-exist. Published to accompany an exhibition at The Museum of Modern Art that explores the impact of this cultural condition on contemporary painting, this publication features work by an international roster of artists including Joe Bradley, Kerstin Brätsch, Matt Connors, Nicole Eisenman, Mark Grotjahn, Charline von Heyl, , Julie Mehretu, Oscar Murillo, Laura Owens and Josh Smith, among others. An overview essay by curator Laura Hoptman is divided into thematic chapters that explore topics such as re-animation and reenactment, recontextualization, 'Zombie' painting, and the concomitant 'Frankenstein approach', which describes a process of stitching together pieces of the history of painting to create a work of art that would be dead but for its juxtaposed parts, all working in association with one another to propel the work into life.
The must-have business guide for visual artists, written by the leading specialist in the global art trade
This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past.
This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.
In 1988, Gerhard Richter created one of the most controversial and fascinating political painting-cycles of all time, with his Baader-Meinhof series. In 2002, he returned to the theme of media and political truth with his artist's book War Cut. For this project, Richter photographed 216 details of his abstract painting "No. 648-2" (1987), and, working on a long table over a period of several weeks, combined these 4 x 6-inch details with 165 texts on the Iraq war, published in the German Frankfurter Allgemeine Zeitung newspaper on the dates of the war's outbreak (March 20 and 21, 2003). "My method was to attach a number of texts to a number of images without having to think about whether something would be better positioned to the left or the right, above or below," Richter told an interviewer, for a New York Times feature on the publication. "I placed these images so that a connection develops in terms of colors, structures and other characteristics. . . . Some images match the cruelty and the madness described in the texts shockingly well. And others can even serve as illustrations when the texts speak of deserts and other landscapes." Originally published only in German in 2004, this long-awaited English version of this important artist's book presents Richter's powerful attempt to accommodate the extremity of war. For this edition, Richter applied the same process of text selection to The New York Times, using the same dates of the war's outbreak.
"Angel Otero: Everything and Nothing, the artist's first survey exhibition, encompasses more than a decade's worth of painting and sculpture. This resplendent monograph, which accompanies the exhibition yet is intended to endure long beyond it, reveals both the overt themes and the more ambiguous substructures of Otero's oeuvre to date, from his early still lifes and famous "skins"--paintings made of fragments and scraps of oil paint culled from previously painted images--to his more recent "transfers" and innovative sculptural work in porcelain and steel or iron. Born and raised in Puerto Rico, Otero has enjoyed massive acclaim since he first began exhibiting his work in Chicago in the mid-2000s. Like so many artists, he continued his trajectory to New York, and today, from his studio in Brooklyn, he continues to push against a myriad of personal and art-historical narratives in ways that are palpable in his lush, seductive canvases and in the hybrid products of his kiln. This volume contains, in addition to many dazzling images and large-scale details of Otero's work, two incisive essays and a wide-ranging interview, which, from their quite different perspectives, reveal the corporeal, cultural, and intellectual repositories that have shaped Otero as an artist as well as the vast web of connective tissues that have sustained his creative endeavors over the past decade."--Publisher's website.
One of The New York Times Best Art Books of 2019 This full-scale retrospective monograph of Julie Mehretu's work traces the development of one of America's most celebrated abstract painters. Over the past twenty-five years Julie Mehretu has emerged as a major force in American art. Known mostly for her enormous abstract paintings, she also produces exquisite drawings, often created as studies for larger works. This sumptuous volume accompanies a major mid-career survey of Mehretu's work. Designed to allow close viewing of Mehretu's vast canvases, it features lush reproductions of her paintings in their entirety, as well as numerous full-page details. The genesis for much of Mehretu's work lies in the black ink drawings she created in the late 1990s. From these early drawings and paintings, Mehretu moved onto large-scale canvases. These drawings and paintings are maplike and colorful, with diagrammatic elements that reflect her life experience. Each of these stages of her oeuvre is represented here, including works from her landmark exhibition Drawing into Painting, the twelve-panel intaglio, Auguries, and the paintings she created as a result of time spent in Africa and the Middle East. Accompanying these images are numerous essays by leading curators, scholars, and writers. Long overdue, this magnificent volume pays tribute to an artist whose work and process intermingle in a unique and important examination of painting, history, geopolitics, and displacement. Published with the Whitney Museum of American Art
Bold new readings of recent and canonical Black creative works that excavate how time, space, and blackness intersect to show how through Afro-pessimism, Black people can fight the anti-Black cosmos.
The Joyner/Giuffrida Collection of Abstract Art is widely recognized as one of the most significant collections of modern and contemporary work by artists of the African diaspora and from the continent of Africa itself. 'Four Generations: The Joyner/Giuffrida Collection of Abstract Art' draws upon the collection's unparalleled holdings to explore the critical contributions made by black artists to the evolution of visual art in the 20th and 21st centuries.0This revised and expanded edition updates 'Four Generations' with several new texts and nearly 100 images of works that have been added to the collection since the initial publication of this influential and widely praised book. Lavishly illustrated and featuring important contributions by leading art historians, critics, and curators, Four Generations gives an essential overview of some of the most notable artists and movements of the past century, with an emphasis on black artists and their approaches to abstraction in its various forms.0Filled with countless insights and visual treasures, 'Four Generations' is a journey through the momentous legacy of postwar art of the African diaspora.