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The legend of Jean-Michel Basquiat is as strong as ever. Synonymous
with 1980s New York, the artist first appeared in the late 1970s
under the tag SAMO, spraying caustic comments and fragmented poems
on the walls of the city. He appeared as part of a thriving
underground scene of visual arts and graffiti, hip hop, post-punk,
and DIY filmmaking, which met in a booming art world. As a painter
with a strong personal voice, Basquiat soon broke into the
established milieu, exhibiting in galleries around the world.
Basquiat's expressive style was based on raw figures and integrated
words and phrases. His work is inspired by a pantheon of luminaries
from jazz, boxing, and basketball, with references to arcane
history and the politics of street life-so when asked about his
subject matter, Basquiat answered "royalty, heroism and the
streets." In 1983 he started collaborating with the most famous of
art stars, Andy Warhol, and in 1985 was on the cover of The New
York Times Magazine. When Basquiat died at the age of 27, he had
become one of the most successful artists of his time. First
published in an XXL edition, this unprecedented insight into
Basquiat's art is now available in a compact, accessible volume in
celebration of TASCHEN's 40th anniversary. With pristine
reproductions of his most seminal paintings, drawings, and notebook
sketches, it offers vivid proximity to Basquiat's intricate marks
and scribbled words, further illuminated by an introduction to the
artist from editor Hans Werner Holzwarth, as well as an essay on
his themes and artistic development from curator and art historian
Eleanor Nairne. Richly illustrated year-by-year chapter breaks
follow the artist's life and quote from his own statements and
contemporary reviews to provide both personal background and
historical context. About the series TASCHEN is 40! Since we
started our work as cultural archaeologists in 1980, TASCHEN has
become synonymous with accessible publishing, helping bookworms
around the world curate their own library of art, anthropology, and
aphrodisia at an unbeatable price. Today we celebrate 40 years of
incredible books by staying true to our company credo. The 40
series presents new editions of some of the stars of our
program-now more compact, friendly in price, and still realized
with the same commitment to impeccable production.
Throughout his international career spanning more than thirty
years, artist and writer David Batchelor has long been preoccupied
with colour. ‘Colour is not just a feature of [my] sculpture or
painting,’ he notes, ‘but its central and overriding
subject.’ This new publication is devoted to an ongoing series of
sculptures titled Concretos. First made in 2011, Concretos combine
concrete with a variety of brightly coloured – and often found
– materials. The publication features a text by Batchelor
charting the origins and development of Concretos. He reveals that
the first Concreto was made after encountering coloured glass
shards embedded in a concrete wall in the back streets of Palermo.
Over time these Concretos, their title a nod to the Latin American
art movement to which Batchelor’s work is much indebted, have
become more complex adventures in layering, pattern and process.
Elements such as acrylic plastic, spray and household gloss paint,
steel, fabric and found objects all find themselves set in a
concrete base. The most recent works, titled Extra-Concretos
(2019–) retain much of the simplicity of the early pieces while
working on a much larger scale. In an essay commissioned for the
publication, curator Eleanor Nairne considers Concretos in light of
their material possibilities. Nairne’s vivid text draws
connections between the sculptures and a wide range of art
historical and literary references. Some of the playful and sensual
characteristics of Batchelor’s artistic vocabulary are considered
in relation to floral bouquets, sewing-machines, ice cream and
poetry. Architectural historian Adrian Forty’s essay discusses
concrete’s physical qualities and relationship with modernity. He
notes that the imperfect nature and apparent neutrality of the
material is key to its enduring place within architecture, design
and in Batchelor’s case, contemporary sculpture. ‘In the
Concretos,’ asserts Forty, ‘concrete plays a necessary part in
allowing colour to be itself. Present, but at the same time part of
the barely noticed, half-invisible infrastructure of the city,
concrete’s very neutrality performs an unexpectedly active part
in these works.’ The publication is edited by David Batchelor and
Matt Price, designed by Hyperkit, printed by Park, London, and
published by Anomie, London. The publication coincides with the
first large-scale survey exhibition of Batchelor’s work taking
place at Compton Verney, Warwickshire in 2022. The publication has
been supported by Goldsmiths’ College, University of London, and
Arts Council England. David Batchelor was born in Dundee in 1955
and lives and works in London. In 2013, a major solo exhibition of
Batchelor’s two-dimensional work, ‘Flatlands’, was displayed
at Fruitmarket Gallery, Edinburgh and toured to Spike Island,
Bristol. Batchelor’s work was included in the landmark group
exhibition ‘Adventures of the Black Square: Abstract Art and
Society 1915–2015’ at Whitechapel Gallery, London. ‘My Own
Private Bauhaus’, a solo exhibition of sculptures and paintings
by Batchelor was presented by Ingleby Gallery during the Edinburgh
Art Festival, 2019. Between 2017 and 2020 a large-scale work by
Batchelor was displayed in the collection of Tate Modern. He is
represented by Ingleby Gallery, Edinburgh, and Galeria Leme, São
Paulo. Batchelor’s portfolio also includes a number of major
temporary and permanent artworks in the public realm including a
chromatic clock titled ‘Sixty Minute Spectrum’ installed in the
roof of the Hayward Gallery, London. ‘Chromophobia’,
Batchelor’s book on colour and the fear of colour in the West,
was published by Reaktion Books (2000), and is now available in ten
languages. His more recent book, 'The Luminous and the Grey'
(2014), is also published by Reaktion. In 2008 he was commissioned
to edit ‘Colour’ an anthology of writings on colour from 1850
to the present published by Whitechapel/MIT Press.
The legend of Jean-Michel Basquiat is as strong as ever. Synonymous
with New York in the 1980s, the artist first appeared in the late
1970s under the tag SAMO, spraying caustic comments and fragmented
poems on the walls of the city. He appeared as part of a thriving
underground scene of visual arts and graffiti, hip hop, post-punk,
and DIY filmmaking, which met in a booming art world. As a painter
with a strong personal voice, Basquiat soon broke into the
established milieu, exhibiting in galleries around the world.
Basquiat's expressive style was based on raw figures and integrated
words and phrases. His work is inspired by a pantheon of luminaries
from jazz, boxing, and basketball, with references to arcane
history and the politics of street life-so when asked about his
subject matter, Basquiat answered "royalty, heroism and the
streets." In 1983 he started collaborating with the most famous of
art stars, Andy Warhol, and in 1985 was on the cover of The New
York Times Magazine. When Basquiat died at the age of 27, he had
become one of the most successful artists of his time. This book
allows an unprecedented insight into Basquiat's art, with pristine
reproductions of his most seminal paintings, drawings, and notebook
sketches. In large-scale format, the book offers vivid proximity to
Basquiat's intricate marks and scribbled words, further illuminated
by an introduction to the artist from editor Hans Werner Holzwarth,
as well as an essay on his themes and artistic development from
curator and art historian Eleanor Nairne. Richly illustrated
year-by-year chapter breaks follow the artist's life and quote from
his own statements and contemporary reviews to provide both
personal background and historical context.
In 1940s occupied Paris, Jean Dubuffet began to champion a
progressive vision for art; one that rejected classical notions of
beauty in favor of a more visceral aesthetic. Taking a pioneering
approach to materiality and technique, the artist variously blended
paint with sand, glass, tar, coal dust and string. At the same
time, he began to assemble a collection of art brut-work that was
made outside the academic tradition of fine art- even visiting
psychiatric wards from 1945 to collect work by patients. This book
features texts from leading scholars and is accompanied by images
that illuminate Dubuffet's attempts to move beyond the artistic
expectations of his time. The works are grouped into six thematic
sections that focus on specific series, from his graffiti-inspired
"Walls" and his notorious portrait series, "People are Much More
Beautiful Than They Think" to the "Corps de dames", a controversial
series of "female" landscapes, and his anthropomorphic sculptures,
"Little Statues of Precarious Life." Exquisitely produced, this
celebration of Dubuffet's work embraces his world view that art is
for everyone, not just the elite.
Alice Neel was one of the great American painters of the twentieth
century and a pioneer among women artists. A painter of people,
landscape and still life, Neel was never fashionable or in step
with avant-garde movements. “One of the reasons I painted was to
catch life as it goes by,” she explained, “right hot off the
griddle.” This beautifully designed volume takes a unique
approach to the exhibition catalog, highlighting Neel’s
understanding of the fundamentally political nature of how we look
at others, and what it means to feel seen. Long a favorite of
portrait lovers, Neel has recently gained an even wider
21st-century audience appreciative of the searing candor with which
she viewed the world, the depth of her humanity, and her
championing of the underdog. This beautifully produced catalog
features a thoroughly modern design, as well as an essay by
renowned critic Hilton Als and poetry by Daisy Lafarge.
This exhibition and accompanying book offers the first opportunity
to appreciate the resonances between the studio practices of Eva
Hesse and Hannah Wilke. Growing up in Jewish emigre homes, both
artists found themselves drawn to unconventional materials, such as
latex, plastics, erasers, and laundry lint, which they used to make
work that was viscerally related to the body. They shared an
interest in repetition to amplify the absurdity of their work.
These repeated forms--whether Hesse's spiraling breast or Wilke's
labial fold--sought to confront the phallo-centricism of
twentieth-century sculpture with a texture that might capture a
more intimate, psychologically charged experience. Eleanor Nairne,
the curator of the exhibition, writes the lead essay, followed by
texts by Jo Applin and Anne Wagner. An extensive chronology by Amy
Tobin includes primary-source materials, which bring a new history
of how both artists' work sits in relation to the wider New York
scene. Also included are excerpts of both artists' writing.
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