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Vincent van Gogh was a restless soul. He spent his twenties searching for a vocation and once he had determined to become an artist, he remained a traveller, always seeking fresh places for the inspiration and opportunities he needed to create his work. Living with Vincent van Gogh tells the story of the great artist's life through the lens of the places where he lived and worked, including Amsterdam, London, Paris and Provence, and examines the impact of these cityscapes and landscapes on his creative output. Featuring artworks, unpublished archival documents and contemporary landscape photography, this book provides unique insight into one of the most important artists in history.
Zie Tzaro is a painter, illustrator and photographer. After spending many years travelling across Europe, he settled in France over 20 years ago. His unique style of illustration draws on everyday signs, graphics and his body as a starting point. His approach can be seen in the series Codes Bizarre, which utilises barcodes as a recurrent theme for constructing and disrupting narratives, 1001 Lines, which imagines a love story between two lines, and his more recent volumes of illustrations which incorporate hand and footprints. Following titles such as "The Secret of the Elephant" ("Le Secret de l Elephant"), this first publication with Black Dog Publishing will appeal to fans of artists and illustrators such as David Shrigley and Saul Steinberg, and the quietly surreal line drawing found in The New Yorker. Though not widely known outside of a cult audience, this portable volume of Zie Tzaro s off-beat and witty drawings would make an excellent gift for the uninitiated and longtime fans alike."
The Art of Dave Seeley brings together the acclaimed fantasy artist's finest book cover work in one deluxe volume. Seeley works in a digital format and uses photo collages to begin each piece. Blending in specially photographed models and other elements, Seeley seamlessly forges these disparate pieces together, creating imagery of unparalleled imagination, scope, and beauty.
Scholarly considerations of Andy Warhol abound, including very fine catalogues raisonne, notable biographies, and essays in various exhibition catalogues and anthologies. But nowhere is there an in-depth scholarly examination of Warhol's oeuvre as a whole until now. Jonathan Flatley's Like Andy Warhol is a revelatory look at the artist's likeness-producing practices, not only reflected in his famous Campbell's soup cans and Marilyn Monroe silkscreens, but across Warhol's whole range of interests including movies, drag queens, boredom, and his sprawling collections. Flatley shows us that Warhol's art is an illustration of the artist's own talent for "liking." He argues that there is in Warhol's productions a utopian impulse, an attempt to imagine new, queer forms of emotional attachment and affiliation, and to transform the world into a place where these forms find a new home. Like Andy Warhol is not just the best full-length critical study of Warhol in print, it is also an instant classic of queer theory.
A comprehensive presentation of the provocative, modernist graphic works of Britain's creator of Art Nouveau This is the first book to bring together the recorded works of the English artist Aubrey Beardsley. Despite his early death from tuberculosis in 1898, at the age of 25, these amount to nearly 1100 completed works of art (plus many related sketches) as well as more than 100 sketches in his letters and the books he owned, and this book includes over 50 that have never previously been published. In his brief career Beardsley made a defining contribution to Art Nouveau in Britain and abroad. He also influenced the early history of modern art, attracting the attention of the young Picasso, for example. His distinctive and innovatory graphic style, combined with highly provocative, often sexual subject matter, outraged critics and led to a period of intense notoriety. Beardsley's drawings span the grotesque, the delicately beautiful, the subtly erotic, and the frankly bawdy, and challenged the moral norms of Victorian society. They enthralled artists and art lovers the world over and continue to enthral today. Linda Gertner Zatlin's text presents Beardsley's drawings with a full record of their making, provenance, exhibition history and references in the art historical literature. This material record is accompanied by often extensive discussions of their themes, motifs and symbolism, as well as their critical reception. Unprecedented in its scope and thoroughness, this study presents Beardsley's work and explores its meanings more comprehensively than any previous work on him; it is likely to remain definitive. This superbly illustrated two volume catalogue, beautifully presented as a boxed set, is both an essential reference for specialists and an accessible and enchanting delight for Beardsley enthusiasts.
The artists in the Hardy family, Heywood, James, Frederick Daniel and several others, have always been popular with collectors. However, this is the first comprehensive assessment of their work, based on previously unpublished material and with illustrations of all their major paintings. Heywood Hardy was a remarkably versatile artist who did much to advance a more realistic portrayal of animals, landscapes, portraits and sporting scenes over a long and productive career from 1860 to 1927. His elder brother James Hardy junior became one of the most accomplished sporting artists of his day. And their cousin Frederick Daniel Hardy painted some of the most accurate and sympathetic pictures of life in country towns and villages. The book's author, Kimber Hardy, a descendant of the Hardy painters, has called upon a significant collection of letters and documents about the artists. His revealing, intelligent narrative on their lives and works provides engaging accompaniment to the wealth of colour reproductions featured in the book.
CLEWORTH: An ARTFULLlife is an amazing coffee table book for automobile aficionados. Chronicling the work of world-renowned artist, Harold Cleworth, this book takes us on a captivating visual journey though the illustrious career of a man called the painter laureate of the car . With a profession that started at Decca Records, creating album covers for then newcomers Rolling Stones and The Who, Cleworth has had two incredibly successful careers, this book focuses on the second that of an automobile portrait artist. Original automobile paintings that use his trademark technique of super-realism decorate the walls of celebrity s homes such as Jay Leno, Nicolas Cage, and John Schneider. With such photo-like quality to his pieces, it is no surprise that he was commissioned by automotive giants Chevrolet, Ford, Lincoln, Mercury, Isuzu, and Saab to paint originals of their newest models. In addition to corporations, Cleworth has been commissioned by international private collectors to paint portraits of their automobiles. As a result of the high demand for his paintings, he typically only paints six or seven a year! CLEWORTH: An ARTFULLlife is the first publication to feature Harold Cleworth s collection of highly coveted artwork to date, and is a must have for collectors of both art and automobiles."
Born to a prominent family in Havana but exiled to the United States as a girl, Ana Mendieta (1948-1985) is regarded as one of the most significant artists of the postwar era. During her too-brief career, she produced a distinctive body of work that includes drawings, installations, performances, photographs, and sculptures. Less well known is her remarkable and prolific production of films. This richly illustrated catalogue presents a series of sequential color stills from each of twenty-one original Super 8 films that have been newly preserved and digitized in high definition for the 2015 exhibition, combined with related photographs, and reference still images from all of the artist's 104 filmworks; together these illustrations sample the full range of the artist's film practice from 1971 to 1981. The book includes Mendieta's first published comprehensive filmography resulting from three years of collaborative research conducted by the Estate of Ana Mendieta Collection and the University of Minnesota as well as original essays by John Perreault, Michael Rush, Rachel Weiss, Lynn Lukkas, Raquel Cecilia Mendieta, and Laura Wertheim Joseph. The first book-length treatment of Mendieta's moving-image practice, Covered in Time and History aims to locate her films centrally within her larger oeuvre and at the forefront of the multidisciplinary shifts that characterized visual arts practice during the 1970s. Published in association with the Katherine E. Nash Gallery at the University of Minnesota. Exhibition dates: University of California, Berkeley Art Museum & Pacific Film Archive (BAMPFA): November 9, 2016-February 12, 2017 NSU Art Museum Fort Lauderdate: February 28-July 3, 2016 Katherine E. Nash Gallery, University of Minnesota: September 15-December 12, 2015
Vincent van Gogh's story is one of the most ironic in art history. Today, he is celebrated the world over as one of the most important painters of all time, recognized with sell-out shows, feted museums, and record prices of tens of millions of dollars at auction. Yet as he was painting the canvases that would subsequently become these sell-out modern masterpieces, van Gogh was battling not only the disinterest of his contemporary audiences but also devastating bouts of mental illness, with episodes of depression and paralyzing anxiety which would eventually claim his life in 1890, when he committed suicide shortly after his 37th birthday. This comprehensive study of Vincent van Gogh (1853-1890) pairs a detailed monograph on his life and art with a complete catalogue of his 871 paintings.
For four decades the internationally renowned French artist ORLAN has interrogated every defining aspect of being human-gender, ethnicity, religion, beauty, physiognomy, and even physiology itself-through an endlessly mutating oeuvre that defies categorization. Performance, sculpture, photography, poetry, design-ORLAN not only creates within these media, she disappears into them, willfully dissolving and reconfiguring her identity through her work. ORLAN is most famous for her series of cosmetic-surgery performances in the 1990s in which she reconfigured her face and body as a critique of the standards of beauty imposed on women. In 2008, in a seemingly radical departure, ORLAN chose to disappear from her work entirely, effacing her famously protean features from her creations. In fact, she had chosen an even more dramatic way to dismantle her identity and perform it anew. With her Harlequin Coat project ORLAN borrows the commedia dell'arte trickster hero, the harlequin, as her alter ego, using his patchwork motif as a metaphor for the fragmented, multicolored, multilayered performance of the human signature. It is her most collaborative work to date, involving, at different stages, artists from the worlds of fashion, design, film, and technology. In reaching back to this Italian Renaissance character ORLAN simultaneously reaches forward into the most pressing of contemporary concerns: How can we be sure of who and what we are? Fabulous Harlequin showcases photographs of ORLAN's projects along with critical essays on ORLAN's work.
The first three volumes of this series were met with fervent acclaim from our readers, most of whom have been lying in wait for an affordable trade edition since the $ 1,000 boxed sets appeared. They laud these 440-page editions for their quality hardcover, elegant matte paper, and impeccable reproduction as the best of the best-the perfect tribute to the world's favorite dirty old man. Expect this book to be no different. Combining volumes 7 and 8 from the first boxed set (confusing, we know), it spans the years 1982 to 1989, a period when the artist was comfortably ensconced in rural California, raising his young daughter Sophie, who appears throughout this volume. But Crumb was still Crumb, declaring in one drawing, above a lovingly rendered tree, "As I get older I get more twisted, convoluted, depraved, cynical, embittered, self-centered, jaded, debauched, ruthless, greedy, conceited, set-in-my-ways, long-winded, absent-minded, prejudiced, closed-minded, misanthropic, nervous..." To prove this self-flagellating analysis he fills the pages with his signature perversions (in country settings), scathing social commentary, cruel self-portraits, experimental cubism... and some lovely sylvan landscape. His mastery of the Rapidograph pen is at its zenith here in his 40s; we only wish he'd chosen to include his prescient comic of Donald Trump from 1989.
In 1752 Charles-Joseph Natoire, then a highly successful painter, assumed the directorship of the prestigious Academie de France in Rome. Twenty-three years later he was removed from office, criticised as being singularly inept. What was the basis for this condemnation that has been perpetuated by historians ever since? Reed Benhamou's re-evaluation of Natoire's life and work at the Academie is the first to weigh the prevailing opinion against the historical record. The accusations made against Charles-Joseph Natoire were many and varied: that his artistic work was increasingly unworthy of serious study; that he demeaned his students; that he was a religious bigot; that he was a fraudulent book-keeper. Benhamou evaluates these and other charges in the light of contemporary correspondences, critics' assessment of his work, legal briefs, royal accounts and the parallel experiences of his precursors and successors at the Academie. The director's role is shown to be multifaceted and no director succeeded in every area. What is arresting is why Natoire was singled out as being uniquely weak, uniquely bigoted, uniquely incompetent. The Charles-Joseph Natoire who emerges from this book differs in nearly every respect from the unflattering portrait promulgated by historians and popular media. His increasingly iconoclastic students rebelled against the traditional qualities valued by the French artistic elite; the Academie went underfunded because of the effects of war and a profligate king, and he was caught between two competing institutional regimes. In this book Reed Benhamou not only unravels the myth and reality surrounding Natoire, but also also sheds light on the workings of the institution he served for nearly a quarter of a century.
Presenting stunning reproductions of oil paintings by landscape artist Philip Juras, this exhibition catalogue offers a glimpse of the pre-settlement southern wilderness as late eighteenth-century naturalist William Bartram would have experienced it during his famed travels through the region. Juras's work combines direct observation with historical, scientific, and natural history research to depict, and in some cases reimagine, landscapes as they appeared in the 1770s. Juras spent years researching Bartram and revisiting important sites the naturalist wrote about in his celebrated Travels. Juras's paintings recreate the lost southern frontier for contemporary viewers in much the same way that nineteenth century American landscape painters like Albert Bierstadt and Thomas Moran brought the western frontier to the consciousness of the rapidly industrializing East. Juras's work explores many of the important and imperilled ecosystems that remain in the South today. These little-known, remnant natural communities, depicted in well-researched and meticulous paintings, are further illuminated by essays placing them in the context of Bartram's legacy and the American landscape movement. The catalogue features more than sixty reproductions of Juras's paintings. Presented with essays by the artist as well as Dorinda Dallmeyer, director of the Environmental Ethics Certificate Program at the University of Georgia; Holly Koons McCullough, director of collections and exhibitions at the Telfair; and Janisse Ray, lauded poet and environmental advocate, the catalogue provides readers with a rare glimpse of the Southern frontier before its essence was irrevocably altered by European settlement.
Bharti Kher is a contemporary Indian artist whose work encompasses painting, sculpture and installation. Relocating to New Delhi after studying art in Newcastle, UK, Kher s practice explores cultural misunderstandings and social codes. Hers is an art of dislocation and transience. Likening herself to the well intentioned ethnographer investigating her culture, Kher delivers a forceful reinterpretation of India s present and its history. Following an accidental encounter with a woman wearing a sperm bindi on her forehead, Kher made bindis a central motif in her practice. Bindis swarm over Kher s sculptures and are deployed in vivid chromatic constellations. Arranged en masse, each dot or squiggle can be understood as a person, their placement analogous to demographic movementthe migrations of a population. "Bharti Kher" focuses on the artist s exploration of identity, aiming to bring together works that speak especially to the perceptions and realities of being female today. Kher s vivid representations of the ageing female body serve as witness to the pressures our society places on keeping bodies young. Other sculptural works explore women in relation to domestic spaces.Illustrated throughout with images of Kher s beguiling artworks, this publication features contributions from eight distinguished writers offering psychoanalytic, literary, cultural and political readings of Kher s sculptures, paintings and installations. Published in partnership with the Vancouver Art Gallery."
Generally known for his installation work encompassing sculpture, video and soundscapes, Fireflies focuses wholly on Parreno's lesser-known drawings. The drawings collected here showcase a delicate, personal touch, as they were created while Parreno was ill with cancer and were sent to his friends. In Parreno's drawings the fireflies' light is often created by an absence of darkness or pigment. This striking contrast perfectly encapsulates the bioluminescent glow emanating from the insect's abdomen. The book is edited by Hans Ulrich Obrist, artistic director of the Serpentine Galleries. An interview with the artist by Obrist and an essay by Belgian philosopher Vinciane Despret accompany the works.
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