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Guy Bourdin
An introduction to the work of the groundbreaking fashion photographer, Guy Bourdin
A Four Dimensional Being Writes Poetry on a Field with Sculptures
A four dimensional being writes poetry on a field with sculptures is the title Ray gave to both the exhibition, which took place at Matthew Marks Gallery in New York, and this small, beautifully-produced volume, which accompanies it.
Erna Rosenstein
The first overview on Erna Rosenstein, surrealist, poet and creator of mesmerizing dreamscapes in painting and assemblage A New York Times critics' pick Best Art Books 2021 This is the first ever English-language monograph on the vast and complex oeuvre of Erna Rosenstein (1913-2003), a prolific artist whose varied output was informed by her experience as a Polish Jew during the Holocaust. Released on the occasion of the eponymous, upcoming exhibition at Hauser & Wirth in New York, and edited and with a text by exhibition curator Alison Gingeras, this book serves as an introduction to Rosenstein and her story. Alongside an extensive plates section, poems by Rosenstein are included in the book, as well as a special insert reproducing a fairy tale authored and illustrated by the artist. Art historian Dorota Jarecka has also contributed an essay, and the book additionally includes Rosenstein's own narrative testimony of the war in Poland.
Friedrich Kunath's You Owe Me a Feeling
Artist's book produced in conjunction with an exhibition held at Blum & Poe, Los Angeles, Sept. 8-Oct. 27, 2012.
John Currin
John Currin's paintings sit at the crossroads where Old Master painting technique and 20th-century kitsch collide. His figurative paintings mix humour with traditional painterly skills and have earned him comparisons with artists ranging from Breugel to Rockwell. 1989.
William N. Copley - True Confessions
This first publication after William N. Copley's death in 1996 gives a comprehensive survey of the so far scarcely known complete work that is however important for the tradition of Dada and surrealism in America as well as for pop art painting. For a short time owner of a gallery for surrealistic art in Los Angeles, Copley began to paint at the end of the forties. 1951 the American by birth went to Paris together with Man Ray where he lived about 13 years within the circle of the surrealists. Subsequently he worked in New York. In his work he is focusing on trivial motifs, induced by sex and eros, pin-ups or comic-like portrayals of American everyday's myths. To treat the symbols of state, such as flage, with irony is one of his subjects as well as the subtle persiflage of standard masterpieces of art.
Unrealism
Figurative painting of the past five years, represented here by an exciting young generation of artists and vital practitioners, addresses the challenge of contemporary representation through expressionistic compositions and new techniques reflecting digital fluency. Figuration is one of the oldest art forms, but it continually evolves, along with our changing understanding of human identity. The artists featured here often source imagery from the Internet, and draw on aesthetics developed in Internet-first channels. Digital techniques and affordances are incorporated into rendering processes with traditional media: brushstrokes are more precise, lines are sharper, and color is more highly keyed. In these works, expressionism is located more in the composition than in the paint handling. This richly illustrated collection of figurative works is accompanied by texts that connect the present moment in painting to the early 1980s, when the emergence of artists such as Jean-Michel Basquiat, Francesco Clemente, David Salle, and Julian Schnabel revitalized the art dialogue after the extended dissolution of Minimalism, and to its roots in the practice of painters like Picabia.
Sequence 1
This catalogue features 16 international artists whose work engages with the traditional mediums of both painting and sculpture, yet subject to constant conceptual revisions and ever-evolving techniques.
The Conundrum of Control
Various forms of control play a central role in our lives. However, the nature of control is a difficult conundrum to probe. Believing we "control" ourselves, nature or others may seem like a sign of autonomy, power and self-determination, but it is often an illusion and not always desirable. Art practices help us make sense of the questions and paradoxes related to the enhancing interplay between control and non-control by putting them on display. What happens if this interplay between the two poles collapses? What are the consequences for our forms of life?
