Sur plus de 50 années de carrière, Ellsworth Kelly a créé environ 400 cartes postales faites de collages, certaines ayant servi d'études pour des oeuvres d'autres medias ou de plus grand format. Cet ouvrage présente ces cartes, depuis les premières monochromes de 1949 jusqu'à celles de 2005 représentant des marines. Il permet ainsi de découvrir une facette moins connue et plus expérimentale du travail de l'artiste américain.
Luc Tuymans: La Pelle documents the most ambitious monographic exhibition of the work of Luc Tuymans (born 1958). The Pinault Collection at Palazzo Grassi has in the past mounted exhibitions of the work of Sigmar Polke, Damien Hirst and Urs Fischer in its elegant interiors along the Grand Canal in Venice. It was thus the appropriate venue for this survey of Luc Tuymans' work. Quiet, restrained and at times unsettling, his works engage with questions of history and its representation and with everyday subject matter in an unfamiliar and eerie light. Painted from preexisting imagery, they often appear slightly out-of-focus and sparsely colored, like third-degree abstractions from reality. Whereas earlier works were based on magazine pictures, drawings, television footage and Polaroids, recent source images include material accessed online and the artist's own iPhone photos, printed out and sometimes rephotographed several times.
«Contrapposto» se réfère à une pose dans laquelle le sujet humain est légèrement tourné de sorte que le buste est positionné hors de l'axe du bas du corps. L'artiste américain Bruce Nauman (né en 1941) explore cet ancien concept artistique avec son projet le plus récent, dans lequel il revisite sa pièce vidéo de 1968, Walk with Contrapposto, qui dépeint la tentative de l'artiste de tenir la pose classique alors qu'il marche dans un couloir étroit. Bruce Nauman utilise les technologies de manipulation numérique d'aujourd'hui pour revisiter ces premiers travaux dans un contexte entièrement nouveau. Ce volume présente la documentation de la nouvelle série de 2015 à 2019 ainsi que la vidéo originale.
Divisé en sections thématiques, ce volume accompagne une exposition de l'artiste égyptien Youssef Nabil au Palazzo Grassi. Il retrace la carrière du cinéaste et vidéaste, et présente ses portraits photographiques peints à la main - réalisés à l'aide de techniques de peinture égyptiennes traditionnelles trouvées dans de vieux portraits de famille ou des affiches de cinéma - mélangeant symbolisme et abstraction.
Commemorating Charles Ray's rotating exhibitions at Glenstone Museum.
This book is part of an ongoing series of publications commemorating rotating exhibitions of the artist's work at Glenstone Museum, the second of which opened in Spring 2020. The catalog includes an essay by the artist, a contribution from art historian Russell Ferguson and an introduction by Emily Rales, cofounder and director of Glenstone Museum.
In these stark black-and-white photographs, gallerist and photographer Mario Peliti (born 1958) transforms our perceptions of Venice. All the pictures were taken under the same lighting conditions, with no people. The lack of human presence induces the viewer to reflect on the city's possible fate as a city with no inhabitants.
Ce catalogue accompagne une exposition à la Punta della Dogana organisée par Thomas Houseago, Muna El Fituri et Caroline Bourgeois, organisée autour d'une reconstruction du studio de Houseago et rassemblant plus de 60 artistes, dont Deana Lawson, Marlene Dumas, Paul McCarthy, Barbara Kruger et Arthur Jafa .
A concise and affordable overview of Dumas' existential portraiture, with previously unseen works.
An engrossing compendium of more than 100 works from 1984 to the present day by South African painter Marlene Dumas (born 1954), Open-End offers a selective overview of her career to date, and a first look at pieces created over the course of the last few years.
Of her work, Dumas says: "I am an artist who uses second-hand images and first-hand emotions." While in the early years of her career she was known for her collages and accompanying texts, today Dumas works chiefly in oil on canvas and ink on paper. The majority of her production is made up of portraits of people in states of suffering, ecstasy, fear and despair. A crucial moment in the development of Dumas' style came with her use of images from newspapers and magazines, stills from films and Polaroids.
Open-End brings together pieces from international museums and private collections to provide new insight into Dumas' work and methods.
