A new collection of photographs by Diane Arbus illuminates her singular ability to enter private worlds.
Diane Arbus: Sanctum Sanctorum brings together forty-four photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971.
Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923-1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate settings, the photographs collected in this volume convey no sense of intrusion or trespass--instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment.
Arbus's desire to know people embraced a vast spectrum of humanity. Her subjects featured in Sanctum Sanctorum include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom. Through a fresh consideration of little-known photographs among works that may be more familiar, this publication invites viewers to discover aspects of even well-known images that have previously gone unnoticed.
Published on the occasion of the exhibitions presented jointly by David Zwirner, London, and Fraenkel Gallery, San Francisco, Sanctum Sanctorum is an invaluable addition to the understanding of one of the most daring and transformative photographers of the twentieth century.
This momentous publication catalogues the last major group of William Eggleston's photographs to ever be produced using the dye transfer method, the format in which he originally presented them.
"Like finding a Beatles album that no one knew existed. Everything about it is mind-bogglingly good." --The Guardian
Eggleston's vivid photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. One of the foremost practitioners in the medium's history, Eggleston is widely considered the father of color photography. He pioneered the use of dye-transfer printing for art photography in the 1970s. The technically advanced process--first developed by Kodak in the 1940s--allowed him to achieve the richness of tonal depth and color saturation that he had been searching for. In the early 1990s, Kodak stopped producing the dyes, paper, and film used in the process. With the necessary materials now discontinued, and the bulk of what remained being used for this exhibition, The Last Dyes marks the final presentation of new works completed in this medium.
With a foreword by William Eggleston III and Winston Eggleston, and an essay by Jeffrey Kastner, this publication will offer critical insights into Eggleston's enduring influence at this turning point in the history of photography.
Written between 1913 and 1929, revolutionary years in art history, Dix Portraits conveys the deep human engagement between an artist and her subject. The artist's book unites Stein's ten portraits in prose with sketches by five artists: Pablo Picasso, Christian Berard, Eugene Berman, Pavel Tchelitchew, and Kristians Tonny. Utilizing the interplay between word and image, Stein's writing and the artists' images provide nuance and depth, balancing humor and sincerity.
With a new introduction by Lynne Tillman, Dix Portraits is an unforgettable artistic collaboration. The subjects represented include Pablo Picasso, Guillaume Apollinaire, Erik Satie, Pavel Tchelitchew, Virgil Thomson, Christian Berard, Bernard Fay, Kristians Tonny, Georges Hugnet, and Eugene Berman. Originally printed in an edition of 100 copies with the lithography, and now widely accessible for the first time, Dix Portraits captures Stein's legacy as a champion of artists and a pioneer of creativity.
An important exploration of the lives and art of Hilma af Klint and Wassily Kandinsky, two pioneers of abstraction at the turn of the twentieth century
The Swedish artist Hilma af Klint is one of the art world's major rediscoveries of the twenty-first century. While the Russian artist Wassily Kandinsky has famously been credited for creating the first abstract artwork, this designation has been called into question with the resurfacing and renewed study of af Klint's non-figurative paintings. In this captivating volume, the af Klint biographer and scholar Julia Voss and the curator and writer Daniel Birnbaum convey in depth the two artists' nearly parallel development away from figuration and into the liberating, mystical vision of art.
In this engrossing account of the affinities and divergences between af Klint and Kandinsky's lives and work, supported by more than 100 illustrations, we are invited to witness the conditions in which the art world was forever changed.
The Outlands, a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist's lens: vibrant colors and a profound sense of nostalgia echo throughout Eggleston's breathtaking oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. With its in-depth selection of unforgettable images - a wood-paneled station wagon, doors flung open, parked in an expansive rural setting; the artist's grandmother in the moody interior of their family's Sumner, Mississippi home - The Outlands is emblematic of Eggleston's dynamic, experimental practice. The breadth of work reenergizes his iconic landscapes and forms a new perspective of the American South in transition.
Accompanying the ninety brilliant Kodachrome images and details, a literary, fictional text by the critically acclaimed author Rachel Kushner imagines a story of hitchhikers trekking through the Deep South. New scholarship by Robert Slifkin reframes the art-historical significance of Eggleston's oeuvre, proposing affinities with work by Marcel Duchamp, Dan Graham, Jasper Johns, and Robert Smithson. A foreword by William Eggleston III offers important insights into the process of selecting and sequencing this series of images.
En 1967, les architectes renommés Ricardo Legorreta et Luis Barragán ont chargé Anni Albers de créer une oeuvre pour le nouvel hôtel Camino Real de Mexico. Achevée en 1968, sa superbe tenture murale Camino Real est fortement influencée par l'art et la culture d'Amérique latine. Ce livre se concentre sur une étude approfondie de cette tenture murale monumentale, redécouverte après de nombreuses années. Il présente l'approche d'Anni Albers pour travailler avec les textiles en tant que pratique aux multiples facettes, et est accompagné d'oeuvres réalisées par l'artiste après son déménagement aux États-Unis en 1933, y compris des oeuvres sur papier.
Cet ouvrage a été fait pour rendre compte d'une exposition sur Robert crumb à la galerie David Zwirner en 2019. Il balaye l'ensemble de la carrière de l'illustrateur et artiste américain, entre extraits de ses bandes dessinées cultes, croquis sur feuilles volantes, ephemera, comme des ex libris ou des flyers d' invitation à ses expositions, pour rendre compte de sa créativité débridée et de sa virtuosité technique.
Connue pour ses sculptures en fil de fer complexes et dynamiques, la sculpteure, éducatrice, ancienne élève du Black Mountain College et activiste artistique américaine Ruth Asawa a défié les notions conventionnelles de matière et de forme en mettant l'accent sur la légèreté et la transparence. Offrant un aperçu important de l'oeuvre de l'artiste, cette monographie rassemble une large sélection de ses sculptures, oeuvres sur papier et archives photographiques. Ensemble, ils démontrent la centralité de la pratique innovante d'Asawa à l'héritage historique de l'art du XXe siècle.
With a career spanning more than sixty years, the renowned painter Gerhard Richter is one of the greatest artists of the twentieth and twenty-first centuries. This book celebrates the artist's continued dedication to experimentation and innovation.
The Abstract Pictures were created when Richter, a few years ago, poured colored enamel paints onto a glass plate and allowed them to flow into one another in order to take shapes. He then captured these ephemeral moments with his camera and selected 100 of these "pictures" for inclusion in the book alongside equally abstract texts formed by randomly generated letter combinations.
An artwork of its own, this intimate volume inspires both close looking and a beautiful interpretation of abstraction.
"For Blue there are no boundaries or solutions." -Derek Jarman.
Originally released as a feature film in 1993, the year before the acclaimed artist and filmmaker Derek Jarman's death due to an AIDS-related illness, Blue is a daring and powerful work of art. The film - and this highly-anticipated book's text - serve as iconoclastic responses to the lack of political engagement with the AIDS crisis.
Written poetically and surrealistically, Jarman's text moves through myriad scenes, some banal, others fantastical. Stories of quotidian life--getting coffee, reading the newspaper, and walking down the sidewalk--escalate to visions of Marco Polo, the Taj Mahal, or blue fighting yellow. Facing death and a cascade of pills, Jarman presents his illness in delirium and metaphors. He contemplates the physicality of emotions in lyrical prose as he grounds this story in the constant return to Blue - a color, a feeling, a funk. Michael Charlesworth's compelling introduction brings Blue into conversation with Jarman's visual paintings as never before.
Adieu Maria Magdalena considers recurring themes and motifs from Andersson's oeuvre and suggests complex and potent feelings related to loss.
Employing trompe l'oeil, the artist produces a subtly claustrophobic effect in this domestic space by layering uncanny interior scenes taken from her own home and her imagination, an interplay of surfaces and imagery that, like other works in the exhibition, probes the nature of representation.
L'artiste abstraite américaine Joan Mitchell a établi une approche singulière de l'abstraction au cours de sa carrière. Sa réinterprétation inventive de la relation figure-sol traditionnelle et de l'utilisation synesthésique de la couleur la distingue de ses pairs, résultant en des compositions intuitivement construites et chargées d'émotions qui évoquent alternativement des individus, des observations, des lieux et des points dans le temps. Publié à l'occasion de l'exposition éponyme à David Zwirner New York en 2019, ce livre offre une occasion unique d'explorer les oeuvres à grande échelle de l'artiste et son expérimentation formelle. Avec des essais de Suzanne Hudson et de Robert Slifkin.
Featuring a single work made up of twenty-six drawings, Gerhard Richter''s newest artist book feels like a facsimile. ''[Richter''s drawings] are of stringent individuality and recognizably by Richter''s hand, not based on their signature style but rather because they make their theme the act of drawing itself, gauging the conditions of drawing.'' --Dieter Schwarz
In this new body of work, Richter combines various elements from a limited set of forms and techniques--including meandering lines, broad tonal planes applied with angled strokes of graphite, and passages of smudging, hatching, and erasure--thereby uniting choice and chance through this infinitely generative process. The resulting works on paper serve as condensed expressions, encapsulating and refining the fundamental principles that have consistently defined Richter''s artistic journey.
Reproduced at actual size, the drawings encourage in-depth observation as well as inspire compelling reimagining of abstraction.
A selection of texts on art and artists by the Belgian French novelist and essayist Marguerite Yourcenar.
Best known for her seminal novel Memoirs of Hadrian (1951), an imagined autobiography of the Roman emperor, Yourcenar brings the same depth of inquiry and inventive speculation to her lyric prose on art and artists in this newest title in the ekphrasis series.
The quest for discovery through looking is the driving force of Bridget Riley''s work, as she has written: ''More than anything else I want my paintings to exist on their own terms. That is to say they must stealthily engage and disarm you. There the paintings hang, deceptively simple- telling no tales as it were-resisting, in a well-behaved way, all attempts to be questioned, probed or stared at and then, for those with open eyes, serenely disclosing some intimations of the splendours to which pure sight alone has the key.'' This publication unfolds along the lines of Riley''s 2018 exhibition at David Zwirner, London. Beginning with an exploration of black-and-white equilateral triangles, Riley leads the viewer into an awareness of the ways in which a surface-wall or canvas-can affect a seemingly simple form: the triangle. While she demonstrates these subtle changes, Riley manipulates this form by bending its sides. At first sight the viewer may experience this as a breaking apart, but as one continues to look, serpentine movements appear, or large shadowy triangles, which advance and recede. These paintings constantly reinvent themselves through looking.
Riley is revisiting and developing works which she initiated over fifty years ago, as is shown here by the inclusion of Black to White Discs (1962-1965) in the exhibition. This diamond formation of discs, which graduates in tone from white to black and back again, offers a lead-in to her new body of work. In Cosmos and the Measure for Measure series, Riley recalls a group of subtly shaded colors used this time in discs. While the compositions remain fundamentally the same, the play of colors changes every time.
The exhibition ends with a surprisingly spacious wall painting that offers the viewer many delights, not least among them a dance of fugitive white lights. Here, Riley disarms the viewer, encouraging us once again in an adventure of discovery. In his essay, Richard Shiff explores Riley''s ability to give new life to basic forms as she invites the audience, any audience, to help participate in the painting.
In this volume, the writer and Rodin scholar Rachel Corbett selects excerpts from the famous sculptor's book Cathedrals of France, first published in 1914, just before the outbreak of World War I. Cathedrals were central to the way Rodin thought about his art: he saw them as visual metaphors for the human figure, among the finest examples of craftsmanship known to modern man, and as a model for how to live and work-slowly, brick by brick. Here, Corbett takes the fire at Notre Dame and the concerns over its restoration as an entry point in an exploration of Rodin's cathedrals.
Nouvel opus dans la collection Ekphrasis, de petits livres de texte au format poche. Dans celui-ci, Le salon de 1846, Baudelaire développe les principes du romantisme et propose un parcours méthodique à travers des peintures de Delacroix et Ingres, éclairant sa conviction que la poursuite de l'idéal doit être primordiale dans l'expression artistique. Le texte est accompagné d'une préface critique de l'historien de l'art Michael Fried.
Best known for his iconic print Under the Wave off Kanagawa, also known as the Great Wave, Katsushika Hokusai was a revolutionary printmaker. His mastery of ukiyo-e in the nineteenth century has inspired generations of artists since, and his works exposed the world to the delicate beauty and power of Japanese woodblock technique. In addition to his remarkable artistic output, Hokusai was also a dedicated teacher who sought to pass down his deep understanding of color and painting to practicing artists through immensely detailed written tutorials. Here, for the first time in centuries, are excerpts from his manuals, many available for the first time in English. It is an invaluable insight into the psyche of a true master, and a rare personal account of an artist's life during a fascinating period in Japan's history.
Connecting Hokusai's prints from the Edo period to manga, author Ryoko Matsuba foregrounds Hokusai's contributions to Japanese creative expression from the 1800s to today. Also included in this book: Vincent Van Gogh's letter about Hokusai's Great Wave and the contemporary artist Ikeda Manabu's concise observations about Hokusai's lasting influence.
Ce catalogue très attendu, accompagnant la première exposition de Gerhard Richter avec David Zwirner, présente les dernières peintures de Richter ainsi que ses récentes explorations en dessin, en estampe et en sculpture. Connu pour ses peintures abstraites et réalistes, Gerhard Richter a poursuivi une pratique diversifiée et influente caractérisée par un engagement de plusieurs décennies envers le médium et ses possibilités formelles et conceptuelles. Des plaques en couleur et des vues d'installations présentent une sélection des dernières oeuvres sur toile de l'artiste - réalisées juste avant qu'il n'annonce sa retraite de la peinture à l'huile en 2017 - ainsi qu'une vaste série de nouveaux dessins réalisés à l'encre, au graphite et au crayon de couleur sur papier, une remarquable série de tirages à jet d'encre chromatiques intitulée "mood" et une superbe sculpture en verre qui a fait ses débuts à l'exposition à New York.
Ce récit direct du peintre et poète Émile Bernard sur la vie de Vincent van Gogh offre une perspective profonde sur le processus, les préoccupations artistiques et les difficultés du peintre néerlandais. Dans les années 1890, Bernard rédigea des préfaces pour des recueils de lettres de Van Gogh, dont seulement une partie fut publiée. En 1911, il rassemble ces préfaces pour une nouvelle publication, à laquelle il apporte également un nouveau texte introductif, des lettres et des croquis de l'artiste qu'il joint à sa correspondance. Ce volume comprend ces préfaces, publiées pour la première fois en anglais, ainsi qu'une sélection de lettres de Van Gogh à Bernard. En plus d'inclure des détails biographiques et des réflexions sur l'art et l'amitié, Bernard raconte ses tentatives pour faire reconnaître l'oeuvre de Van Gogh après sa mort. Mettant en lumière la communauté artistique dont ils faisaient partie, il évoque également des personnalités emblématiques de l'époque telles que Claude Monet et Paul Gauguin.
Dans un format poche, ce livre rassemble des écrits de Virgina Woolf sur les arts visuels et nous offre une nouvelle perspective sur l'autrice anglaise.
Kerry James Marshall est un artiste et professeur américain, connu pour ses peintures de personnages noirs. Il a auparavant enseigné la peinture à la School of Art and Design de l'Université de l'Illinois à Chicago.
Cette publication accompagne une exposition présentée en 2015 à la galerie David Zwirner. Elle se concentre sur la période allant de 1948 à 1964, pendant laquelle Morandi a développé ses recherches sur les séries, les réductions, les jeux de forme et de composition.
