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Distributed Art Publishers
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Luc Tuymans is one of today's most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. As a European child of the 1950s, his relationship to painting is inevitably structured by television, cinema and by the lingering effects of World War II; more recent historical preoccupations have included the dramatic turn of world events post-9/11. Tuymans combines a muted palette with deteriorated surface effect and a singular use of cropping, close-up and sequencing--perfect devices with which to undertake his investigation of the pathological, the banal and the conspiratorial. Published in conjunction with the artist's first full-scale American survey, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter's main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers the nature of visual experience in light of Tuymans' recent work, and Bill Horrigan examines cinematic sources. This book is not only the most comprehensive survey of Tuymans' career to date, but also the most thorough chronology of his artistic development. Born in Mortsel, Belgium, in 1958, Luc Tuymans first exhibited his paintings in 1985, at Palais des Thermes in Ostend. His first U.S. exhibition came ten years later, at The Renaissance Society in Chicago. He has also worked in film and printmaking. |
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Frida Kahlo leans against a concrete wall, looking somberly down while an ankle-length skirt flutters around her. Elsewhere, the tight screws of plough blades stack interlocked on a warehouse floor, utilitarian subjects coalescing into a heady abstract pattern. From his first days as a photographer — with the backing of such greats as Tina Modotti, Edward Weston, Paul Strand and Henri Cartier-Bresson — Manuel Alvarez Bravo worked over a wide range of styles and subject matter — formalist abstraction, architecture, interiors, landscapes, still lifes, and portraits — with a consistent focus on the landscape and social geography of Mexico. In his concise vision of his homeland, it was both a real and symbolic landscape populated with subjects detained in dream world tableaux of desire, solitude, candor and foreboding. Eyes in His Eyes reintroduces some of the artist's overlooked masterpieces, and reveals, for the first time, a broad selection of never-before-seen images from his private archives. In his 80-year career, Alvarez Bravo printed, published and exhibited only a thousand images. This portfolio, culled with the help of the artist himself, and completed after his death, is full of unfamiliar abstractions, portraits, landscapes and street photography. It provides an invaluable re-entry into the visual poetry of one of Mexico's most gifted artists and a Modern master of photography. |
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In the Industrial North at the end of the 1970s, people were at work using hands and machinery to make things we all use. In the mid 80s, in Wisconsin, they built supercomputers; at the same time, near Boston, they typed on desktop computers. In New York City, in the early 90s, people stood on stock floors, trading. In 1995, in Omaha, they sat at computers, cold calling as telemarketers; and in Cleveland, in that same year, they used their human skills in traditional ways to once again craft products we all depend on. Work, work, work — we spend the better part of our lives on the job, be it in a factory or an antiseptic office, or somewhere else in the vast assembly line in between. Tireless photographer Lee Friedlander, the maniacally inclusive but blessedly nonchalant cataloguer of Americana — her monuments, jazz musicians, and urban landscapes — here presents 16 years of Americans at work. A collection of commissioned portfolios, some made at the request of art institutions, others at the behest of company CEOs, Lee Friedlander At Work also documents, albeit subtly, 16 years of one of America's most exceptional and hard-working photographers — at work. |
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Published on the occasion of the exhibition Barry McGee, University of California, Berkeley Art Museum and Pacific Film Archive, August 24-December 9, 2012, Institute of Contemporary Art, Boston, March 1-May 19th, 2013. |
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«Gerhard Richter: Panorama» is the first and most complete overview of one of the greatest artistic achievements of recent times. Where previous monographs have focused on a single genre within Richter's vast output, this stunningly illustrated survey encompasses his entire oeuvre, now stretching across more than a half-century of activity.» |
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Photographer Friedlander offers his view of America as seen through its architecture. Shot during the course of countless trips to urban and rural areas across the country, many of them made by car, these pictures capture an America as unblemished by romanticized notions of human nature as it is full of quirky human touches. 192 duotones. |
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«Patterns» represents a brilliant new adventure in image-making and book-making by Gerhard Richter, who in recent years has produced several fascinating explorations of the possibilities of the artist's book. For this latest project, Richter took an image of his work «Abstract Painting» (CR: 7244) and divided it vertically into strips: first 2, then 4, 8, 16, 32, 64, 128, 256, 512, 1,024, 2,048, up to 4,096 strips. This process, involving twelve stages of division, results in 8,190 strips, each of which is reproduced here at the height of the original image. With each stage of division, the strips become progressively thinner (a strip of the 12th division is just 0.08 millimeters; further divisions would only become visible by enlargement). Each strip is then mirrored and repeated, producing an incredibly detailed patterning. The number of repetitions increases with each stage of division in order to make patterns of consistent size. The resulting 221 patterns are reproduced here on landscape spreads, making for a truly extraordinary reading-viewing book experience. Born in Dresden, East Germany, in 1932, Gerhard Richter migrated to West Germany in 1961, settling in Dusseldorf, where he studied at the Dusseldorf Academy, and where he held his first solo exhibition in 1963. Over the course of that decade, Richter helped to liberate painting from the legacy of Socialist Realism (in Eastern Germany) and Abstract Expressionism (in Western Germany and throughout Europe). He has exhibited internationally for the last five decades, with a major European touring retrospective in London, Berlin and Paris in 2012. He lives and works in Cologne.» |
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Landscape photography may soothe or disturb; beckon one to forbidden corners of the world or remind us of those spaces only memory recalls. Award-winning photographer Lee Friedlander knows how to evoke such complex responses even when, as in The Desert Seen, the landscape is as strange and impenetrable as that of the Sonora Desert. Here cacti as expansive and preposterous as oceanic fauna are photographed with the reverence befitting nature's craftsmanship. Accompanied by a gentle but probing essay written by Friedlander especially for this book, the 94 magnificent tritone reproductions are an event for desert enthusiasts and photography connoisseurs alike. |
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«Frida Kahlo (1907-1954) and Diego Rivera's (1886-1957) legendary passion for each other and for Mexico's revolutionary culture during the 1920s and 1930s have made them among the twentieth century's most famous artists. During their life together as a married couple, Rivera achieved prominence as a muralist artist, while Kahlo's intimate paintings were embraced by the Surrealist movement and the Mexican art world--but neither were especially well known in the broader context of art and modernism. After their deaths in the 1950s, important retrospectives of Kahlo's work enshrined her as one of the most significant women artists of the twentieth century, somewhat eclipsing Rivera's international fame as Mexico's greatest muralist painter. «Frida & Diego: Passion, Politics and Painting» offers a new perspective on their artistic significance for the twenty-first century, one that shows how their paintings reflect both the dramatic story of their lives together and their artistic commitment to the transformative political and cultural values of post-revolutionary Mexico. «Frida & Diego» features newly photographed color reproductions of 75 paintings and works on paper by both Kahlo and Rivera, rarely reproduced archival photographs and new biographical information on the couple assembled by scholar Dot Tuer. It is published on the occasion of an exhibition assembled from three distinguished Mexican private collections on Mexican art, and presented at the Art Gallery of Ontario and the High Museum of Art Atlanta.» |
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Сфокусировавшись на работах первой военной корреспондентки, американки Маргарет Бёрк-Уайт, сделанных в 1930-1940 гг. в Чехословакии, Германии, Италии, Советском Союзе и Великобритании, «Мгновения истории» представляют 150 классических фотографий (среди которых фотографии, снятые в СССР) вместе с разоблачительными отрывками из писем и статей периодических изданий. М. Бёрк-Уайт побывала в СССР во время первой пятилетки. Она стала свидетелем немецкого вторжения в Советский Союз в 1941 году и союзной бомбардировки Германии. М. Бёрк-Уайт хотела быть «глазами века», ее снимки соответствуют, как она сама говорила, «неутолимому желанию быть там, где вершиться история». |
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Richard Meryman began an enduring friendship with Andrew Wyeth (1917-2009) while on the job as a Life magazine editor in 1964. For Meryman, this unique friendship yielded more than four decades of recorded conversations with Wyeth, his family, friends and neighbors in Wyeth's homes in Pennsylvania and Maine. The many hundreds of hours of tapes, eventually to be archived at the Brandywine River Museum in Chadds Ford, Pennsylvania, are of great interest to Wyeth scholars and followers. Meryman notes that, whether during formal interviews, shared meals, car rides or long walks, Wyeth applied to himself the same sensitive understandings that fueled his art. A lifelong realist who swam against the art world tide of modernism, he showed himself to be fundamentally a painter of emotion — of people and objects that somehow embodied his memories and imagination, triggering feelings inexpressible in words, but recognized by viewers. In five skillfully crafted monologues composed by Meryman around key themes in Wyeth's work, we hear the voices of not only the artist but also his subjects, neighbors, relatives and critics. The book includes reproductions of the works of art discussed by Wyeth in his own words, as well as previously unpublished photographs of Wyeth's studio taken in 2009. Richard Meryman is the author of the acclaimed biography Andrew Wyeth: A Secret Life (1996). |
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