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* This is an introduction to the life and work of Cindy Sherman.
'"As Paul Moorhouse shows in this thorough and sensitive first
biography, which concentrates on [Riley's] early years up to the
age of thirty-four, it was only after many false starts, bracing
shocks and firm decisions that Riley found her way as an abstract
painter in the early 1960s with her eye-dazzling lines, squares,
curves ... in ultra-hard-edged black-and-white". -Times Literary
Supplement "In "Bridget Riley: A Very Very Person - The Early
Years," Paul Moorhouse ... homes in on the period between the
artist's childhood and her earliest success, and makes a surprising
but compelling case for the influence of landscape on Ms Riley's
distinctive style." -Wall Street Journal "An entertaining and
informative text that adds greatly to our understanding of a very
prominent and still highly intriguing British artist."
-Hyperallergic In January 1965 the international art world
converged on New York to pay homage to a brilliant new star. The
glittering opening of The Responsive Eye, a major exhibition of
abstract painting at the Museum of Modern Art, signalled the latest
phenomenon, op art - and its centre of attention was a young
painter named Bridget Riley, whose dazzling painting Current
appeared on the cover of the catalogue. Riley's first solo show in
New York sold out, and, following a feature in Vogue magazine, the
Riley 'look' became a fashion craze. Overnight, she had become a
sensation, yet only three years earlier, she was a virtual unknown.
How did success arrive so suddenly? Authored by the acclaimed
curator and writer Paul Moorhouse, A Very Very Person is the first
biography of Bridget Riley and addresses that tantalising question.
Focusing on her early years, it tells the story of a remarkable
woman whose art and life were entwined in surprising ways. This
intimate narrative explores Riley's wartime childhood spent in the
idyllic Cornish countryside, her subsequent struggles to find her
way as an artist, and the personal challenges she faced before
finally arriving as one of the world's most celebrated artists in
Swinging Sixties London.
Matters of Life and Death is a limited-edition publication
documenting the remarkable new and recent paintings of celebrated
Dallas-based British artist Richard Patterson (b.1963). An engaging
introduction by Paul Moorhouse, Senior Curator at the National
Portrait Gallery, London, discusses the dynamic and complex
relationship between figuration and abstraction in Patterson's
oeuvre. Moorhouse observes: 'Visual ambiguity defines Patterson's
art, and its most conspicuous feature is the interaction between
figurative painting, abstraction and photography that his recent
work continues. From the outset he moved between these disparate
visual languages, combining them in ways that seemed deliberately
oppositional and subversive.' Patterson's latest works are as
provocative as ever, and as he enters mid-career, have become
increasingly accomplished, cryptic and, at times, haunting. In his
illuminating essay, art historian James Cahill explores the
subjects of portraiture and personae within the artist's works,
asserting that 'his strategy of distancing his figures - whether
through a broken veil (or enclosing frame) of abstract paint, or
the gauze-like intercession of a photographic source - throws into
relief the idea that selfhood is ultimately a succession of masks.'
Curator and critic Jane Neal deftly navigates ideas of gender and
sexuality in Patterson's practice, taking us into the realms of
fetish and the male gaze, proposing that his painting overtly
'points towards the patriarchal and often misogynistic attitude to
women's bodies still prevalent in magazines, films and social
media, even in the twenty-first century. Patterson sets us up to
confront the darkness that often underlies the male gaze, even
affording it physical form.' Featuring a selection of works
executed between 2013 and 2016, many of which are published here
for the first time, the cloth-covered book is presented in a
specially printed hard slipcase and has been published in an
edition of just 500 copies. Born in the UK in 1963, Patterson
graduated from Goldsmiths College in 1986. He was included in
Damien Hirst's renowned Freeze, Surrey Docks, London (1988); as
well as Sensation: Young British Artists from the Saatchi
Collection, Royal Academy of Arts, London, UK; Hamburger Bahnhof -
Museum fur Gegenwart, Berlin, Germany; Brooklyn Museum of Art, New
York, USA (1997-00). Other notable exhibitions include The Rowan
Collection: Contemporary British & Irish Art, Irish Museum of
Modern Art, Dublin, Ireland (2002); Painting Pictures, Kunstmuseum
Wolfsburg, Germany (2003); Nexus Texas, Contemporary Arts Museum
Houston, Texas, USA (2007) and Attention to Detail, curated by
Chuck Close, the FLAG Art Foundation, New York, USA. Patterson has
had solo exhibitions at Anthony d'Offay Gallery, London (1997);
James Cohan Gallery, New York, USA (1999 and 2002); Dallas Museum
of Art, Dallas, Texas, USA (2000), Timothy Taylor Gallery, London
(2005, 2008 and 2013); the Goss-Michael Foundation, Dallas, USA
(2009); and the FLAG Art Foundation, New York (2014). In February
2017 he will present new and recent works at Timothy Taylor 16x34,
New York.
With a career spanning more than five decades, Ian McKeever is one
of Britain’s most senior artists working on the international
stage. This publication documents the Henge paintings – a series
started in 2017 and completed over the course of five years,
inspired by prehistoric standing stones in the county of Wiltshire,
England, and continuing the artist’s long-standing investigation
into the languages and possibilities of abstract painting.
Comprising thirty paintings along with numerous works on paper, the
genesis of the series was a visit by McKeever to the world-famous
neolithic site in the village of Avebury in 2016, where he took
black and white photographs of the large stones that form three
discrete circles: two smaller ones contained within the largest.
Erected some 4500 years ago, Avebury is the largest stone circle in
Britain, and forms part of what English Heritage asserts to be ‘a
set of neolithic and Bronze Age ceremonial sites that seemingly
formed a vast sacred landscape.’ Art historian and curator Paul
Moorhouse, in his essay commissioned for the publication, describes
how McKeever ‘framed each megalith in close-up, their edges
visible at the extremity of the resulting images,’ explaining how
‘the experience of moving around Avebury and responding to the
huge stones’ monumental presence made an abiding impression that
resonated with deep-seated preoccupations.’ McKeever’s
resulting body of work is an earnest and considered exploration
into how paint can convey universal forces and properties such as
mass, gravity and time, and how colour, texture and abstraction can
converse with three-dimensional space, form and materiality. The
relationship between painting and sculpture in McKeever’s work is
discussed by means of an in-conversation between the artist and Dr
Jon Wood. ‘My interest in alluding to early megalithic sites in
titling the group of paintings Henge paintings,’ says McKeever,
‘was in touching that deeper sense of time, time’s weight, so
to speak. How to imbue a painting with its own weight of time,
forsake the immediacy of the here and now.’ Designed and produced
by Tim Harvey, the publication has been printed by Narayana Press
in Odder, Denmark. It is published by Anomie, London, with support
from Galleri Susanne Ottesen, Copenhagen, and Heather Gaudio Fine
Art, New Canaan, Connecticut. The publication accompanies
exhibitions of selected works from the Henge paintings at both
galleries in 2022. Ian McKeever was born 1946, Withernsea,
Yorkshire, UK. He lives and works in Hartgrove, Dorset. McKeever
has received numerous awards including the prestigious DAAD
scholarship in Berlin 1989/90 and was elected a Royal Academician
in 2003. He has held several teaching positions including Guest
Professor at the Städel Akademie der Kunst in Frankfurt, Senior
Lecturer, Slade, University of London and Visiting Professor at the
University of Brighton. He has also published many texts on
painting. Recent public solo exhibitions include Ian McKeever /
Tony Cragg – Painting and Sculpture, Skulpturenpark Waldfrieden,
Wuppertal, Germany (2020); Paintings 1992–2018, Ferens Art
Gallery, Hull, UK (2018); Hours of Darkness, Hours of Light,
Kunstmuseet i Tønder, Denmark (2015); Between Darkness and Light,
National Gallery of the Faroe Islands, Tórshavn, Faroe Islands
(2015); Hours of Darkness, Hours of Light, Kunst-Station Sankt
Peter Köln, Cologne, Germany (2014); and Hartgrove. Malerei und
Fotografie, Josef Albers Museum, Bottrop, Germany (2012).
McKeever’s work is represented in leading international public
collections, including Tate, British Museum, Royal Academy of Arts,
London; Museum Moderner Kunst (mumok), Vienna; Museum of Fine Arts,
Budapest; Louisiana Museum of Modern Art, Humlebæk; Glyptotek,
Copenhagen; Museum of Contemporary Art, Helsinki; Brooklyn Museum
of Art, New York; Metropolitan Museum of Art, New York; Boston
Museum of Fine Art and Yale Center for British Art, Connecticut.
This volume focuses on Bridget Riley's energetic 'curvilinear'
works from a 2006 exhibition by Bridget Riley. The paintings
incorporate complex layers of flowing forms that interlock and move
with one another, reflecting the artist's exploration of curves to
create paintings of great energy and movement. Using a patch of
colour that is similar to a brush mark, Riley's forms interrupt and
threaten to break out from the picture plane, overhanging the frame
to jostle and animate the visual field. Refining and developing
this form in recent paintings, the artist's work offers an
incredible melding of form and colour. Featuring over 20
full-colour illustrations, this publication includes an in-depth
essay by Paul Moorhouse examining the changes within Riley's work
throughout her multi-decade career.
This is a boxed set of Anthony Caro: Drawing in Space, Anthony
Caro: Interior and Exterior, Anthony Caro: Figurative and Narrative
Sculpture, Anthony Caro: Small Sculptures and Anthony Caro:
Presence. The box has been specially designed by Anthony Caro.
Anthony Caro restlessly explored an unpredictable range of
sculptural possibilities, testing limits and positing new ideas
about the nature of eloquent three-dimensional objects. Through his
expansion and transformation of the legacy of construction in metal
pioneered by Julio Gonzalez and Pablo Picasso, and further
developed by David Smith in the USA, Caro created a new,
multivalent language of three-dimensional abstraction. The Caro
pendulum swung between extremes of linearity and robustness,
abstractness and allusion. He countered his mastery of line and
transparency with investigations of our responses to mass and
perceptions of interior and exterior, even experimenting with
literally enterable sculptures. He made rigorously abstract
constructions that resemble nothing but themselves, intimate
table-based pieces, monumental constructions like metaphorical
architecture, and complex multi-part cycles of narrative works that
pulse in and out of explicit illusionism. And more. The range and
variety of Caro's sculpture notwithstanding, there are also common
threads that run through all of his work. The five volumes in this
set, each by a different critic, examine the various aspects of
Caro's evolution individually, tracing the permutations of
different themes - narrative, volume and mass, line and openness -
throughout his work, over time. Each volume is independent and
explores different territory, but cumulatively, by tracing these
dominant themes, they provide new insight into the achievement of
one of the undisputed giants of Modernist art.
In viewing the Great War through the portraits of those involved,
Paul Moorhouse looks at the bitter-sweet nature of a conflict in
which valour and selfless endeavour were qualified by disaster and
suffering, and examines the notion of identity - how various
individuals associated with the war were represented and perceived.
The narrative is structured chronologically, with thematic sections
devoted to conflicting pairs - `Royalty and the Assassin', `Leaders
and Followers', `The Valiant and the Damned' - which reveal the
radical differences between those caught up in the conflict in
terms of their respective roles, aspirations, experiences, and,
ultimately, their destinies. `Leaders and Followers', for example,
examines the dichotomy between the representation of senior
military leaders such as Blumer, Foch, Haig and Hindenburg, who
were responsible for directing the war, and that of the ordinary
soldiers charged with executing it. While portraits of the generals
emphasise their personal profile, gallantry and the trappings of
military power, paintings of the rank and file are characterised by
a tendency to anonymity, in which individual identity was subsumed
with the impression of `types'. Claude Rogers's imposing painting
Gassed, for instance, presented the individual soldier as a kind of
cipher, a depersonalised embodiment of common, degraded experience.
Illustrated throughout with images both well known and less
familiar, the book concludes with a section entitled `Tradition and
the Avant-Garde', which focuses on the struggle artists faced in
finding an appropriate language in which to depict those who had
experienced the unimaginable horror at the front: either by
resorting to the steadying hand of tradition or a radical visual
language of expressive distortion.
This beautifully illustrated book takes readers inside Samuel and
Gabrielle Lurie's dynamic private collection of contemporary
British art, an intended gift to the Yale Center for British Art.
Spanning the past four decades, the collection includes major works
by Ian Stephenson, Patrick Caulfield, and John Walker, as well as
important prints by Howard Hodgkin and R. B. Kitaj. At its core are
52 paintings and drawings by John Hoyland, widely considered one of
Britain's foremost abstract painters. The Independent Eye features
an interview with the Luries, as well as essays by leading critics
and writers, some of whom were and are personally acquainted with
the artists represented. These experts assess individual artists
and works, explore their inspirations and methods, and define their
shared experiences and values. They also address subjects such as
the overall importance of the collection and postwar art in
Britain. Distributed for the Yale Center for British Art Exhibition
Schedule: Yale Center for British Art (09/16/10-01/02/11)
Hans Hofmann (1880-1966) was a pivotal figure in Abstract
Expressionism and stands as one of the most important characters of
post-war American art. This ground-breaking catalogue raisonne of
paintings, which has been painstakingly researched over sixteen
years, is both an invaluable scholarly resource and a celebration
of Hofmann's remarkable artistic achievements. Hofmann's long and
productive career began in Paris in 1904 where the young artist
absorbed the manifold influences of the city's avant-garde. Drawn
back to Germany due to war, Hofmann, exempt from military service,
opened an innovative school for art in Munich. The school's
reputation spread internationally and, as the political situation
in Germany deteriorated during the 1930s, Hofmann re-located his
school to New York. The city, a center for emerging artistic
talent, was the perfect environment for Hofmann to continue his
teaching practice, which he did until 1958, when he devoted himself
entirely to painting. Throughout his American years, Hofmann
enlarged the expressive language of abstraction, through his
innovative use of color, materiality and structure. This impressive
three-volumed catalogue marks a milestone in the scholarship and
understanding of Hofmann's huge contribution to twentieth-century
art. Through insightful essays, meticulous catalogue entries and
supporting academic apparatus, it is shown how Hofmann's
exceptional body of work often defies categorization - his was a
highly personal visual language with which he endlessly explored
pictorial structures and chromatic relationships. Both visually
stunning and academically robust, this publication is an essential
purchase for all those with a keen interest in one of the twentieth
century's most significant and original artists.
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