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The most comprehensive monograph on Turner Prize-nominated artist Peter Doig. In every generation of artists, there are a few-or perhaps just one-who propose a new set of questions and alter the way we understand art. Peter Doig is such an artist. While stories of painting's demise in the early 1990s deemed painters and their work quaintly anachronistic, Doig-looking ahead as much as back for inspiration-forged a new painterly language: an ironic mix of Romanticism and post-impressionism to create haunting and sometimes dreamlike landscape vistas. In this lavish new volume devoted to his entire career-which includes paintings, drawings, and reference material, such as found photographs-art historians Richard Shiff and Catherine Lampert mine the artist's rich and varied work. Doig's landscapes have been inspired by the many places the artist has lived-England, Canada, Trinidad. So, too, does memory, or the idea of memory, inform much of his production. This handsome slipcased volume is designed in close collaboration with the artist, with Doig specially creating the cover and various elements of the interior. Every facet of the painter's singular vision is explored, from his earliest paintings of the early 1990s to the most recent series of works. Published in association with Michael Werner Gallery
Peter Doig is well known for the exotic atmospheres and dreamy narratives that appear in his work. With an uncommonly rich color palette and a unique material sensibility, he has created some of the most resonant and evocative images in contemporary painting, placing him among the most inventive painters working today. But, as this extensive volume makes clear, he is also a sophisticated visual thinker, endlessly preoccupied with the process and history of painting. No Foreign Lands is the first publication to examine in depth the conceptual underpinnings of Doig's oeuvre. Particular attention is given to the importance of motifs, themes and variations in his work, explored in over 200 paintings and works on paper from the past 13 years, among them new works never before published.Born in Edinburgh in 1959, Peter Doig was raised in Canada and spent two decades in London before moving to Trinidad, where he now lives and works. Doig graduated from St. Martin's School of Art in 1983 and the Chelsea School of Art in 1990. He was nominated for the Turner Prize in 1994, and was included in the 2006 Whitney Biennial. In February 2013, his painting "The Architect's Home in the Ravine" sold for $12,000,000 at a London auction. The exhibition No Foreign Lands, which opened at the Scottish National Gallery before traveling to the Museum of Fine Arts, Montreal, showcases works created during the past ten years, much of which the artist spent in Trinidad. The Independent called the exhibition "a thrilling show," and The Observer praised it as "mesmerizing."
This monograph, published to accompany Housley s solo exhibition of paintings at the Reg Vardy Gallery, 2005, is the result of a year-long residency at Durham Cathedral. Painting, for Housley, is a "dumb muse": a medium which, whilst only able to offer still, silent and hand-made single images, is also able to offer the most complex, nuanced and double-edged forms of visual experience. Working on an intimate scale, Housley's images elicit an unlikely poignancy and tenderness from subject matter that might initially seem to offer slight returns.
A vibrant meditation on the difficult beauty of the Caribbean, taking the form of a dialogue between a Nobel Prize winning poet and a renowned figurative painter.
Works on paper play an important role in Peter Doig's oeuvre, from the artist's adept maneuvering through drawing, etching and watercolor, to the various commercial and personal source materials he uses in the studio. This first publication devoted to Peter Doig's work on paper includes over 40 large, full-color illustrations, plus an insightful essay on Doig's work.
Andrew Cranston once described himself as a storyteller of sorts, though without a clear story to tell. He draws on a variety of sources including personal recollections – family histories; his circuitous route to art school via an initial, unsuccessful, foray into carpentry; and his 25-year association as both student and lecturer at Gray's School of Art in Aberdeen. Interwoven with passages culled from literature, anecdotes, jokes, and images from cinema these elements combine to make his idiosyncratic, intimate, and often dream-like, paintings. But the dream had no sound is the largest exhibition of Andrew Cranston’s work to date. It is accompanied by a 164pp publication, available for purchase, featuring an interview between the artist and his friend and colleague, painter Peter Doig. The book also includes over 60 illustrations - each with notes written by the artist - revealing the thoughts and associations that emerge in the process of making a painting.--Ingleby Gallery website.
A deeply researched warning about how the digital economy threatens artists' lives and work—the music, writing, and visual art that sustain our souls and societies—from an award-winning essayist and critic There are two stories you hear about earning a living as an artist in the digital age. One comes from Silicon Valley. There's never been a better time to be an artist, it goes. If you've got a laptop, you've got a recording studio. If you've got an iPhone, you've got a movie camera. And if production is cheap, distribution is free: it's called the Internet. Everyone's an artist; just tap your creativity and put your stuff out there. The other comes from artists themselves. Sure, it goes, you can put your stuff out there, but who's going to pay you for it? Everyone is not an artist. Making art takes years of dedication, and that requires a means of support. If things don't change, a lot of art will cease to be sustainable. So which account is true? Since people are still making a living as artists today, how are they managing to do it? William Deresiewicz, a leading critic of the arts and of contemporary culture, set out to answer those questions. Based on interviews with artists of all kinds, The Death of the Artist argues that we are in the midst of an epochal transformation. If artists were artisans in the Renaissance, bohemians in the nineteenth century, and professionals in the twentieth, a new paradigm is emerging in the digital age, one that is changing our fundamental ideas about the nature of art and the role of the artist in society.
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Installation of 13 paintings of rhesus macaque monkeys in a large walnut-panelled room designed by architect David Adjaye. The room is approached through a dimly-lit corrridor, which is designed to give a sense of anticipation. Each painting depicts a monkey based around a different colour theme (grey, red, white etc.). The twelve smaller paintings show a monkey from the side and they are based on a 1957 Andy Warhol drawing. The larger monkey is depicted from the front. Each painting is individually spotlit in the otherwise darkened room. The room is designed to create an impressive and contemplative atmosphere. The paintings each rest on two round lumps of elephant dung, treated and coated in resin. There is also a lump of the dung on each painting. Strictly speaking, each work is mixed media, comprising paint, resin, glitter, mapping pins and elephant dung. The Upper Room as a whole is described by the Tate (which bought the piece in 2005) as an "installation". The Upper Room is a reference to the Biblical Last Supper of Jesus and his disciples, hence the thirteen paintings. Ofili states the work is not intended to be offensive, but rather to contrast the harmonious life of the monkeys with the travails of the human race.