In 1988, Martin Kippenberger moved to Spain with Albert Oehlen. The self-portraits in huge underpants he painted there are directly linked To The famous photo from 1962, In which Picasso poses in giant underpants. The author looks speci'cally at the works by Kippenberger that link to his big role model Picasso: The Jacqueline Serie, The paintings Pablo couldn't paint anymore and Elite 88.
During his storied, 25-year career. Martin Kippenberger (1953-1997) assaulted and transformed the art world, casting himself as provocateur, jester, carouser, philosopher, musician, instructor and artist. He was one of the most important cultural figures of his generation, whose influence and impact has only increased since his death. Book jacket.
Hot Cold Heavy Light collects 100 writings—some long, some short—that taken together forma group portrait of many of the world’s most significant and interesting artists. From Pablo Picasso to Cindy Sherman, Old Masters to contemporary masters, paintings to comix, and saints to charlatans, Schjeldahl ranges widely through the diverse and confusing art world, an expert guide to a dazzling scene. No other writer enhances the reader’s experience of art in precise, jargon-free prose as Schjeldahl does. His reviews are more essay than criticism, and he offers engaging and informative accounts of artists and their work. For more than three decades, he has written about art with Emersonian openness and clarity. A fresh perspective, an unexpected connection, a lucid gloss on a big idea awaits the reader on every page of this big, absorbing, buzzing book.
Joshua's gallery 'Factual Nonsense' was quite unlike any other. Called a 'crazy powerhouse of ideas' it was a kind of cultural think-tank located in the then run-down East End area known as Shoreditch, which would later become a cohesive and creative hub (since rebranded as 'Silicon Roundabout'). Joshua was the driving force that turned the area's fortune and reputation around. Under the auspices of his Factual Nonsense banner, he held some of the most important and influential public art events of the late 20th Century. The first of these was an anarchic swipe at the notion of a traditional village fete called 'A Fete Worse than Death', with some of the biggest but the still yet unknown stars of the art world, including Damien Hirst and Angus Fairhurst, famously dressed as clowns and produced the first spin paintings at the Fete (for sale for the princely sum of £1). Whilst Hirst's spin machine has, from lowly beginnings at the Fete, gone on to appear recently at the World Economic Forum, a billionaire's playground, creating spin paintings for rich oligarch's wives as entertainment, Joshua was to die alone, poverty stricken back in 1996 on the cusp of international fame. Never reaping the rewards that were to come from the economic upturn and Charles Saatchi's Sensation exhibition, his death was a marker for the beginning of an era of international fame and success for his contemporaries and the end of the 'classic' avant-garde. The list of the seventy or so names of people I have interviewed for the book over the past year reads like a who's who of the contemporary art world, with contributions from the likes of Jay Jopling, Damien Hirst, Sarah Lucas, Sam Taylor-Wood, Gary Hume, Gavin Turk, Maureen Paley and Sir Peter Blake. Although Joshua never achieved the recognition that he deserved in his lifetime, he was a pivotal figure in the London art scene during the early 1990's. Josh moved into Hoxton and opened a gallery there and started a veritable art movement, while the place was a neglected London backwater. His lasting legacy was to bring together a group of artists and gallerists and create what is now known as the YBA scene. The text is illustrated with previously unseen photographs, letters and extracts from Joshua's diaries, which give insight into his thought process as well as the deterioration of his mental state towards the end of his brief but eventful life.
Mudpuppy's Andy Warhol Coloring Book features the iconic pop artist's greatest hits ready to be colored in and customized by young artists. Introduce well-known classics like Andy's Campbell's Soup Cans to a new generation in a creative and interactive way with this 32-page coloring book. Each page is perforated to easily tear out and display as a new work of art. • 32 pages, 9.5 x 12.25 in. (24 x 31 cm) • Staple-bound and perforated pages • Soft-touch finish
Since its founding in 1929, The Museum of Modern Art in New York has brought the history of modern and contemporary art to vivid life through its extraordinary holdings. MoMA Masterpieces provides a fresh look at the Museum's exceptional collection as it stands today. Ann Temkin's introduction addresses the historical construction of the Museum's collection and explores the shifting issues that have guided its acquisitions, while the thoughtful selection of reproduced works highlights the range of artworks and ideas that constitute the evolving foundation of the Museum's collection. With 126 years spanning the distance between the works on the first and last pages of this book, MoMA Masterpieces offers an unparalleled opportunity to immerse oneself in the multitude of artistic approaches encompassed under the banner of modern art.
Abstract painting meets theosophical spirituality in 1930s New Mexico: the first book on a radical, astonishingly prescient episode in American modernism Founded in Santa Fe and Taos, New Mexico, in 1938, at a time when social realism reigned in American art, the Transcendental Painting Group (TPG) sought to promote abstract art that pursued enlightenment and spiritual illumination. The nine original members of the Transcendental Painting Group were Emil Bisttram, Robert Gribbroek, Lawren Harris, Raymond Jonson, William Lumpkins, Florence Miller Pierce, Agnes Pelton, Horace Towner Pierce and Stuart Walker. They were later joined by Ed Garman. Despite the quality of their works, these Southwest artists have been neglected in most surveys of American art, their paintings rarely exhibited outside of New Mexico. Faced with the double disadvantage of being an openly spiritual movement from the wrong side of the Mississippi, the TPG has remained a secret mostly known only to cognoscenti. Another World: The Transcendental Painting Group aims to address this slight, claiming the group's artists as crucial contributors to an alternative through-line in 20th-century abstraction, one with renewed relevance today. This volume provides a broad perspective on the group's work, positioning it within the history of modern painting and 20th-century American art. Essays examine the TPG in light of their international artistic peers; their involvement with esoteric thought and Theosophy; the group's sources in the culture and landscape of the American Southwest; and the experience of its two female members.
Pablo Picasso’s endless fascination with his lover’s character and form led to radical shifts in his conception of portraiture and the mystical metamorphoses that the act of creation entails. Picasso’s secretive love affair with Marie-Therese Walter, which began in 1927, inspired a radical shift in his conception of portraiture. The exhibition and catalogue present Marie-Therese as a primary vehicle for his experimentation during the period, including several works never before seen in the United States as well as previously unpublished personal letters and photographs. Picasso and Marie-Therese sheds new light on the interpretation of one of the most creative relationships in Picasso’s rich and varied oeuvre.
