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Essays by Michel Draguet, Dickram Tashjian, Sara Cochran, Theresa Papanikolas, Thierry de Duve and Stephanie Barron. Introduction by Stephanie Barron.
For René Magritte, painting was a form of thinking. Through paintings of ordinary objects rendered with illusionism, Magritte probed the limits of our perception—what we see and cannot see, the nature of representation—as a philosophical system for presenting ideas, and explored perspective as a method of visual argumentation. This book makes the claim that Magritte’s painting is about vision and the act of viewing, of perception itself, and the process of how we see and experience things in the world, including paintings as things.
Published in conjunction with the exhibition ... held at the Museum of Modern Art, New York, Sept. 28, 2013-Jan. 12, 2014, the Menil Collection, Houston, Feb. 14-June 1, 2014, and at the Art Institute of Chicago, June 29-Oct. 12, 2014.
By combining and colliding the unexpected, the US artist John Baldessari (1931-2020), created conceptual works that raise questions regarding what art is, how art is made, and what art can look like. After concluding in the 1960s that a photographic image or a text were more adequate expressions of his artistic intentions than painting, John Baldessari's practice took a new direction. Since then, Baldessari has combined subjects from the imagery of popular culture with linguistic examinations, creating works that challenge artistic norms and boundaries. Besides the two essays the book also includes a wide selection of Baldessari's own writings from 1968-2011.
The first major biography of the pathbreaking, perpetually influential surrealist artist and iconoclast whose inspiration can be seen in everyone from Jasper Johns to Beyoncé—by the celebrated biographer of Cézanne and Braque In this thought-provoking life of René Magritte (1898-1967), Alex Danchev makes a compelling case for Magritte as the single most significant purveyor of images to the modern world. Magritte’s surreal sensibility, deadpan melodrama, and fine-tuned outrageousness have become an inescapable part of our visual landscape, through such legendary works as The Treachery of Images (Ceci n’est pas une pipe) and his celebrated iterations of Man in a Bowler Hat. Danchev explores the path of this highly unconventional artist from his middle-class Belgian beginnings to the years during which he led a small, brilliant band of surrealists (and famously clashed with André Breton) to his first major retrospective, which traveled to the United States in 1965 and gave rise to his international reputation. Using 50 color images and more than 160 black-and-white illustrations, Danchev delves deeply into Magritte’s artistic development and the profound questions he raised in his work about the very nature of authenticity. This is a vital biography for our time that plumbs the mystery of an iconoclast whose influence can be seen in everyone from Jasper Johns to Beyoncé.
Examines the fascinating ties between Surrealist artist René Magritte and the cinema. Cinemagritte: René Magritte within the Frame of Film History, Theory, and Practice investigates the dynamic relationship between the Surrealist modernist artist René Magritte (1898–1967) and the cinema—a topic largely ignored in the annals of film and art criticism. Magritte once said that he used cinema as "a trampoline for the imagination," but here author Lucy Fischer reverses that process by using Magritte's work as a stimulus for an imaginative examination of film. While Fischer considers direct influences of film on Magritte and Magritte on film, she concentrates primarily on "resonances" of Magritte's work in international cinema—both fiction and documentary, mainstream and experimental. These resonances exist for several reasons. First, Magritte was a lover of cinema and created works as homages to the medium, such as Blue Cinema (1925), which immortalized his childhood movie theater. Second, Magritte's style, though dependent on bizarre juxtapositions, was characterized by surface realism—which ties it to the nature of the photographic and cinematic image. Third, Magritte shares with film a focus on certain significant concepts: the frame, voyeurism, illusionism, the relation between word and image, the face, montage, variable scale, and flexible point of view. Additionally, the volume explores art documentaries concerning Magritte as well as the artist's whimsical amateur "home movies," made with his wife, Georgette, friends, and Belgian Surrealist associates. The monograph is richly illustrated with images of Magritte's oeuvre as well as film stills from such diverse works as The Eternal Sunshine of the Spotless Mind, Eyes Without a Face, American Splendor, The Blood of a Poet, Zorns Lemma, The Island of Dr. Moreau, The Draughtsman's Contract, and many more. Cinemagritte brings a novel and creative approach to the work of Magritte and both film and art criticism. Students, scholars, and fans of art history and film will enjoy this thoughtful marriage of the two.
Translated into English for the first time, On Contemporary Art, a speech by the renowned novelist César Aira, was delivered at a 2010 colloquium in Madrid dedicated to bridging the gap between writing and the visual arts. On Aira’s dizzying and dazzling path, everything comes under question—from reproducibility of artworks to the value of the written word itself. In the end, Aira leaves us stranded on the bridge between writing and art that he set out to construct in the first place, flailing as we try to make sense of where we stand. Aira’s On Contemporary Art exemplifies what the ekphrasis series is dedicated to doing—exploring the space in which words give meaning to objects, and objects shape our words. Like the great writers Walter Benjamin and Hermann Broch before him, Aira operates in the space between fiction and essay writing, art and analysis. Pursuing questions about reproducibility, art making, and limits of language, Aira’s unique voice adds new insights to the essential conversations that continue to inform our understanding of art.
"Everything we see hides another thing, we always want to see what is hidden by what we see." —Rene Magritte D.B. Johnson writes and illustrates the surreal story of famous surrealist painter Rene Magritte and his very mysterious (and mischievous!) hat. While the art reflects some of Magritte's own work, the text sets readers on a fun and accessible path to learning about the simpler concepts behind Mr. Magritte's work. This delightful picture book captures the playfulness and the wonderment of surrealist art.
A richly illustrated book that dives into Ren� Magritte's photo and film archive, revealing a lesser-known side of the surrealist master. In this richly illustrated book, Xavier Canonne, director of the Museum of Photography in Charleroi, dives into Ren� Magritte's photo and film archive, revealing a lesser-known side of the surrealist master. Discovered in the 1970s, more than ten years after the artist's death, this collection gives us access to a family album, an informal Magritte, from his childhood to the last years of his life. We see Magritte with his parents and brothers, as a newly married man with his wife Georgette, and with his contemporaries in the Brussels Surrealist group. Spontaneous snapshots are complemented by posed scenes, including improvised tableaux with his fellow artists, parodies of famous movies consciously arranged with Georgette, portraits of Magritte at his easel at home, and staged photographs as models for his paintings. Images where the artist and his friends hide their faces or turn away from the camera particularly resonate with his paintings and his investigation of the 'hidden visible'. While other Surrealists such as Man Ray and Raoul Ubac made photography an essential part of their work, Magritte remained a true painter. Yet this book demonstrates that his photographs and home movies are so pervaded with his spirit that they are inseparable from his oeuvre of paintings.