Сборники работ по искусству

Alice Neel's unstinting, visionary engagement with the lives of those around her resulted in an inclusive oeuvre. This aspect of queer representation in her work is explored for the first time in this new catalogue.

Curated by Hilton Als and organized in collaboration with the Estate of Alice Neel, At Home: Alice Neel in the Queer World highlights the artist’s vibrant involvement with the human condition. Within a lifetime of work, Neel painted many people from many walks of life –– this catalogue is the first to focus on queer communities, those who were part of their circle, as well as allies and others with whom the artist was in broader conversation — together forming a collective portrait that both embodies and complicates an understanding of the queer world of Neel’s moment and the artist’s place within it.

This collection of paintings includes rarely seen works depicting individuals including Frank O’Hara, Allen Ginsberg, and Adrienne Rich, as well as writers, artists, friends, and advocates. As Als notes, this book includes “not just portraits of gay people but those of theorists, activists, politicians, and so on who would qualify as queer by virtue of their different take in their given field and thus the world. So doing, they reflect Alice’s own interest in and commitment to difference.”

The catalogue accompanies Neel’s first significant exhibition in Los Angeles, at David Zwirner in 2024. Edited and with a text by Als, the volume includes newly commissioned contributions by Alex Fialho, Evan Garza, and Wayne Koestenbaum.

About the Authors:

Alice Neel (1900–1984) is widely regarded as one of the foremost American artists of the twentieth century. Working from life and memory, Neel depicted those around her with unfazed accuracy, honesty, and compassion.

Hilton Als is a writer with focus in theater criticism. He became a staff writer at The New Yorker in 1994, a theater critic in 2002, and chief theater critic in 2013. His most recent book, White Girls (2013), discusses various narratives around race, identity, gender, and sexuality, and was nominated for a National Book Critics Circle Award in Criticism.

Alex Fialho (he/they) is an art historian, curator, and PhD candidate in Yale University’s Combined PhD program in the History of Art and African American Studies. Fialho’s writing has been published in exhibition catalogues for the Whitney Museum of American Art, the Studio Museum in Harlem, Socrates Sculpture Park, and the Andy Warhol Museum, among other institutions.

Evan Garza is a curator, scholar, and a Curatorial Exchange Initiative Fellow at MASS MoCA in North Adams, Massachusetts. Their writing on the work of global contemporary artists has been published in several books and monographs and by IMMA, The Drawing Center, Flash Art, ART PAPERS, Hyperallergic, and Artforum.

Wayne Koestenbaum — poet, critic, fiction writer, artist, and filmmaker—has published more than twenty books, including The Queen’s Throat, Camp Marmalade, Humiliation, Hotel Theory. He is a Distinguished Professor of English, French, and Comparative Literature at the CUNY Graduate Center.

Sarah Schulman is a novelist, playwright, screenwriter, and nonfiction writer. Her twentieth book is Let the Record Show: A Political History of ACT UP, NY 1987–1993.
 

This 240-page book, Aubrey Beardsley: The Decadent Magician of the Light and the Darkness, reveals the core of the artist Aubrey Beardsley through more than 180 of his artworks, compiled under the supervision of Hiroshi Unno, a critic and a writer who has contributed to many books on the fin-de-siècle.

Aubrey Beardsley was an illustrator who was best known for his drawings in black ink filled with erotic and decadent features. He was born in Brighton, England on August 21, 1872. The Victorian era in which Aubrey lived was gripped by a strict, rigid, conservative morality. The society was male-dominated and forced women to be modest. However, in Brighton, which developed into a seaside resort for the upper classes full of entertainment, people were relieved from such strictness. Brighton was also a breeding ground of a sense of liberty in all things, and sexuality was no exception. In other words, it can be said that the Victorian era was a chaotic era during which open-minded thoughts on sexuality and strict, male-dominated morality coexist. Aubrey's mother, Ellen, was a person who embodied that Brighton atmosphere. Although she worried about raising her son in such an environment, she also taught literature and music to Aubrey. It was lucky for him to spend his youth with Ellen, and Brighton definitely became the basis of his talent for grasping the oddness of society in this era. Aubrey moved to London when he was 15 years old. When the Beardsley family left Brighton, Aubrey lost the feeling of liberty he had been raised with, but at the same time was able to develop his talent by interacting with Edward Burne-Jones, Oscar Wilde, and William Morris, the artists that coloured this period. Aubrey, whose talent blossomed in London, began to offer his illustrations to many literary and theatrical outlets.

The most famous examples are his illustrations for Oscar Wilde's Salome, Sir Thomas Malory's Le Morte d'Arthur, Edgar Allan Poe's Tales of Edgar Allan Poe, "Alibaba and the Forty Thieves" from One Thousand and One Nights, the French magazine Yellow Book, and the play Lysistrata. The illustrations for these literary and theatrical artworks had also been drawn by many other illustrators, but Aubrey's work was totally different from anyone else's. The seductive motifs that he drew, using only black ink, such as a woman with a fearless smile, a gentleman with disdainful contempt, and figures with extremely exaggerated genitals, all express Aubrey's incomparable talent for grasping the chaos and unsettled atmosphere of the period. The rebellious nature and imagery of his illustrations were often controversial. People even called him "the Devil's younger brother". But there is no doubt that he was a star of the age, which is evident from the many influential illustrators who came after him who were influenced by Aubrey's work, such as Harry Clarke, Alastair, John Austin, Kay Nielsen and George Barbier.

Unfortunately, Aubrey's genius illuminated the end of the nineteenth century, the era of fin-de-siècle decadence, only briefly before fading away, when his tragically short life ended after just twenty-five years. How did the rebellious, yet refined, monochrome artworks were drawn by "the Devil's younger brother" come about? Was his life simply the art itself? This book is a gem that presents the artwork that is most identified with "Beardsley" himself, revealing both the artist and the idea, through his life and his masterpieces.

American artist Barkley L. Hendricks (1945–2017) revolutionized contemporary portraiture with his vivid depictions of Black subjects beginning in the late 1960s. This book contextualizes Hendricks’s portraits at different stages of the country’s history and places him in the pantheon of innovative twentieth-century artists.

Hendricks developed his signature style at a time of significant social and cultural change in the United States, especially with regard to Black artists, and amid a perceived bifurcation between abstraction and representation. He produced portraits from the late 1960s through the early 1980s. Following a hiatus during which he made landscapes, basketball paintings, works on paper, and photographs, he resumed his portraiture practice from 2002 until his death in 2017. Hendricks’s portrait paintings, often derived from photographs of friends and family, hired models, or figures he encountered on the street, were inspired by the artist’s research, international travels, and visits to museums like The Frick Collection, where he studied centuries-old European paintings by artists such as Rembrandt, Van Dyck, Bronzino, and others.

This publication presents some of the most inventive and striking examples from Hendricks’s first period of portrait painting, including “limited-palette” canvases—featuring Black figures dressed in white against white backgrounds—a self-portrait, and boldly colorful works that spotlight their subjects’ spectacular styles and poses. An assessment of this great artist acknowledges his significant contributions to the canon of American art and portraiture in general. In the book, Hendricks’s art and its impact are explored by artists and creative figures including Derrick Adams, Hilton Als, Nick Cave, Awol Erizku, Rashid Johnson, Fahamu Pecou, Mickalene Thomas, and Kehinde Wiley.

About the Author:

Aimee Ng is Curator at The Frick Collection. Antwaun Sargent is a curator and a writer. Thelma Golden is director and chief curator of The Studio Museum in Harlem.

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The Show that never Was

Numerous publications and exhibitions have examined Jean-Michel Basquiat's extensive oeuvre that consists of more than 3000 works, this catalogue though focuses on eight paintings only: In the summer of 1982, Basquiat traveled to Modena, Italy, for one of his first solo exhibitions in Europe at the gallery of Emilio Mazzoli. Within just a few days, he painted a group of large-format paintings that surpassed his previous work not only in terms of their scale. Each at least two by four meters in size, they mark the transition from graffiti spraying in the streets of Manhattan to painting on canvas. At the same time, they reflect an artist coming into his own. The paintings - including masterpieces that today are considered pivotal and among the most outstanding of his oeuvre - have never been shown together. This catalogue revisits this crucial moment of Basquiat's career some 40 years ago and reunites them for the first time.

Jean-Michel Basquiat (1960–1988, New York) is one of the most important artists of the 20th century. Emerging from the underground post-punk scene in Lower Manhattan, he attracted the attention of the art world in 1981 with the legendary group exhibition New York/New Wave. In nine prolific years, he created an oeuvre that formulated a new visual language of raw gestural painting fused with dense writing, and repeatedly reflected the oppression, exclusion and exploitation of People of Color.

Accompanying a major travelling exhibition, this first-ever survey of the rarely seen notebooks of Basquiat features the artist’s handwritten notes, poems, and drawings, along with related works on paper and large-scale paintings. 

With no formal training, Jean-Michel Basquiat (1960–1988) succeeded in developing a new and expressive style to become one of the most influential artists in the postmodern revival of figurative during the 1980s. In a series of notebooks from the early to mid-1980s, never before exhibited, Basquiat combined text and images reflecting his engagement with the countercultures of graffiti and hip-hop in New York City, as well as pop culture and world events. Filled with handwritten texts, poems, pictograms, and drawings, many of them iconic images that recur throughout his artwork — teepees, crowns, skeleton-like silhouettes, and grimacing masks — and these notebooks reveal much about the artist’s creative process and the importance of the written word in his aesthetic. 

With over 150 notebook pages and numerous drawings and paintings, this important book sheds new light on Basquiat’s career and his critical place in contemporary art history.

About the Authors:

Dieter Buchhart is a critic, art historian, and curator based in Vienna. Henry Louis Gates, Jr., is the Alphonse Fletcher University Professor at Harvard University, where he directs the W. E. B. Du Bois Research Institute and the Hutchins Center for African and African American Research. Tricia Laughlin Bloom is associate curator of exhibitions at the Brooklyn Museum, New York. Franklin Sirmans is department head and curator of contemporary art at the Los Angeles County Museum of Art. Christopher Stackhouse is a writer and visual artist based in Brooklyn.

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A dazzling collection of works by one of the world's most acclaimed illustrators

Noma Bar’s innovative, playful style has made him one of the most sought-after illustrators working today, with a broad range of commissions from magazines and newspapers – including Empire, the New York Times, Wired, the Guardian and Time Out – and numerous private and advertising clients. His use of negative space and minimalist forms creates images with multiple readings that delight and surprise in equal measure. Each of Bar’s illustrations tells a story that is hidden in the details, with the message revealing itself in the double-take as you look more closely.

Noma Bar has handpicked his most iconic illustrations and favourite works, each one displaying the distinctive style that has established his reputation. Each book focuses on topics he has explored in his inimitable style: ‘Less More’ (daily life), ‘Pretty Ugly’ (portraits), ‘In Out’ (sex), ‘Life Death’ (conflict) and ‘Rough Smooth’ (personal sketches).

Contents List:

Foreword • Less More • Pretty Ugly • In Out • Life Death

About the Authors:

Noma Bar is an acclaimed illustrator whose work has appeared in many media outlets, including Time Out London, the BBC, the New York Times, the Observer, The Economist and Wallpaper*.

Michael Bierut’s career spans every genre of graphic design, from books and posters to packaging and signage, for a broad range of clients. He has won hundreds of design awards and his work is represented in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art in New York. Bierut is both a senior critic at Yale’s School of Art and a fellow of its School of Management.

Rarely seen and important paintings by this much-loved French postimpressionist, emphasizing his radical use of color and unconventional compositions. 

A new monograph brings together 30 important paintings by Pierre Bonnard (1867–1947) on loan from museums and private collections, including still lifes, nudes, interior scenes, and landscapes, many never seen together before and published here for the first time. The book reveals how Bonnard’s modern compositions transformed paintings in the first half of the twentieth century, while celebrating his unpar-alleled ability to capture fleeting moments, memories, and emotions on canvas. Rather than focus on a particular time period or subject, Bonnard: The Experience of Seeing aims to present Bonnard’s modernity and concentrate on his influence on contemporary painters working today. The book draws attention to how Bonnard translated the experience of perception—with his shifting spaces, camouflaged and dissolving figures going in and out of focus, and forms hidden at the periphery — and how we as viewers experience his paintings, with his works slowly revealing themselves to us over time. 

About the Author:

Barry Schwabsky is art critic for The Nation and coeditor of international reviews for Artforum. Sarah Whitfield is an art historian, writer, and curator. She is coauthor of the René Magritte Catalogue Raisonné. 

Celebrates one of the greatest and most beloved painters of the Early Renaissance with luxurious, large-format images

Sandro Botticelli, one of the greatest painters of the Italian High Renaissance, enjoyed the patronage of the greatest Florentine families. He spent most of his career in the humanist circle of the Medici, for whom he painted such masterpieces as Primavera and Venus and Mars, works that combine a decorative use of line with Classical elements in harmonious and supple compositions.

This sumptuously produced volume features an updated, full-colour selection of the artist's works made for the original 1937 edition by Ludwig Goldscheider, co-founder of Phaidon Press. The original essay by Lionello Venturi is accompanied by a new introduction from Renaissance specialist Alessandro Cecchi, putting Botticelli and his school into a contemporary context. Elegant design, fine papers and tipped-on image plates make this a true collector's edition.

About the Author:

Lionello Venturi (1885-1961) was a renowned Italian art historian, critic and Professor of Art History at the University of Turin and, later, at the University of Rome.

Carrie Moyer’s first major monograph expansively represents the influential abstract painter’s work and queer agitprop.

Carrie Moyer consciously centers her painting as a practice about painting, with history as a subtext. Known for her incursions into Color Field painting, Moyer also traces her influences to iconic female artists of the twentieth century, such as Georgia O’Keeffe, and surrounding questions of taste, once quipping of her paintings that “[Helen] Frankenthaler and [Fernand] Léger met in a dark corner and had Elizabeth Murray.”

Moyer’s complex work merges abstract aesthetics and legible imagery: vividly colored and textured forms are embedded with a range of historical, stylistic, and physical references to Surrealism, Modernism, 1960s and ’70s counterculture graphics, and ’70s feminist art. Moyer often works on the floor, pouring, rolling, stippling, mopping the paint, and embellishing with glitter. An exploration of acrylic’s unique properties is a driving force in her work. Beginning as an intern at HERESIES, the pioneering feminist art magazine, Moyer has also engaged in critical practices beyond the studio.

This monograph enriches a deep dive into Moyer’s painting practice, in particular her work of the past decade, with a portfolio of the artist’s agitprop from the 1990s, including Dyke Action Machine! (DAM!), one of the first lesbian public art projects.

About the Author:

Carrie Moyer is the director of Hunter College’s MFA program in Studio Art. Lauren O’Neill-Butler is a New York–based writer, editor, and educator. Katy Siegel is Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art at Stony Brook University. Johanna Fateman is a writer, musician, and founding member of the rock band Le Tigre.

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250 years after the painter’s birth, this luxurious exhibition catalog offers glimpses into the mystery of Friedrich’s largely posthumous popularity as well as the latest research into his training and techniques.

Largely ignored during his lifetime, Caspar David Friedrich was a meticulous painter of emotionally evocative landscapes, often featuring solitary figures or groups of people against dramatic scenery. His work has inspired many artists to the present day, and this volume explores the role that Berlin’s Nationalgalerie played in bringing Friedrich into the forefront of modern art history. It also shines a light on Friedrich's remarkable use of pairs in paintings — including his most famous pairing, Monk by the Sea and Abbey in the Oakwood — which he employed to express a range of different perspectives and the concept of change. Finally it examines the latest research into Friedrich’s technique: his early training in Copenhagen; his sketches, preparatory drawings and underdrawings; and his unconventional selection and use of pigments.

Throughout this monograph readers will find stunning reproductions of sixty paintings, including several iconic works, and fifty drawings—representing collections from around the world. Coupled with the latest research, they combine to offer a completely up-to-date appreciation of Friedrich’s extraordinary talent and his unquestionable status as a pioneer of modern art.

With contributions by Birgit Verwiebe, Johannes Grave, Hilmar Frank, Werner Busch, Anna Marie Pfäfflin, Gerd-Helge Vogel, Kristina Mösl, Ralph Gleis, Sintje Guericke.

About the Authors:

Birgit Verwiebe is curator at the Alte Nationalgalerie in Berlin for painting of the first half of the 19th century, and an expert on Caspar David Friedrich.

Raplph Gleis is director of the Alte Nationalgalerie in Berlin with numerous publications on the art of the 19th century.

A gorgeous new edition with the cover printed on silver. Towards the end of his life and much inspired by Japanese water gardens, Monet spent a great deal of time in his beloved Giverny. Adorned with poppies, blue sage, dahlias and irises, the waters were disturbed only by bamboos and water lilies. His water garden was originally created to satisfy a need to be near water, and to provide a visual feast that could be enjoyed from his house. 

The pond was fed by the river Ru, and weeping willow and silver birch hung over its edges, caressing the fronds of the greenery and blossoms below. Its famous green wooden footbridge was built across the water and it became the central focus of many of his works. He said, ‘It took me some time to understand my water lilies. I planted them for pleasure.’ and so he began to work on what is probably the most famous series of paintings the world has ever seen.

This is the first publication to survey the entirety of this hugely influential scholar and artist's groundbreaking 60-year career.  Driskell and his landmark exhibition, Two Centuries of Black American Art are also featured in a recently released major documentary film.

David Driskell (1931-2020) was one of the most revered and boundary-breaking American artists, long recognized for his vibrant and versatile painting and printmaking practice, which combined his sharp observation of American landscapes and his interest in the imagery and aesthetic innovations of the African diaspora. Driskell was equally well-known as a curator, art historian, and educator, and his career as both artist and scholar created a durable public record of the long history of art made by African Americans.
The exhibition and accompanying catalogue survey seven decades of the artist's painterly practice from the 1950s forward. Driskell's command of color and line is showcased through his beloved subjects, including the natural world, remembrances of the Southern Black experience, and the Black Christian church.

The book includes a primary essay by Driskell scholar and curator Julie McGee as well as many other testaments to Driskell by major American artists, art historians, and museum professionals. The catalogue also features a selection of Driskell's most significant writings, introducing the full range of his career to future generations of readers.

About the Authors:

Julie L. McGee is Associate Professor of Africana Studies and Art History, and Director of the Interdisciplinary Study Center at the University of Delaware. Jessica May is an independent curator and formerly Deputy Director and Robert and Elizabeth Nanovic Chief Curator at Portland Museum of Art, Maine. Thelma Golden is the Director of the Studio Museum in Harlem. Lowery Stokes Sims is an independent curator. Richard J. Powell is the John Spencer Bassett Professor of Art & Art History at Duke University. Renée Maurer is Curator at The Phillips Collection.

This book, which accompanies the first major exhibition devoted to David Hockney’s drawings in over 20 years, will explore Hockney as a draughtsman from the 1950s to now, with a focus on himself, his family and friends. From Ingres to the iPad – this book demonstrates the artist’s ingenuity in portrait drawing with reference to both tradition and technology.

David Hockney is recognised as one of the master draughtsmen of our times and a champion of the medium. This book will feature Hockney’s work from the 1950s to now and focus on his depictions of himself and a smaller group of sitters close to him: his muse, Celia Birtwell; his mother, Laura Hockney; and his friends, the curator, Gregory Evans, and master printer, Maurice Payne.

This book will examine not only how drawing is fundamental to Hockney’s distinctive way of observing the world around him, but also how it has been a testing ground for ideas and modes of expression later played out in his paintings.

From Old Masters to modern masters, from Holbein to Picasso, Hockney’s portrait drawings reveal his admiration for his artistic predecessors and his continuous stylistic experimentation throughout his career.

Alongside an in-depth essay from the curator, this book will feature an exclusive interview between author and curator, Sarah Howgate, and artist, David Hockney. In addition, an ‘In Focus’ essay by British Museum curator Isabel Seligman, will explore the relationship between Hockney, Ingres and Picasso drawings.

A beautifully illustrated, in-depth look at recent works by David Reed, an American artist who brings conceptual interests in process and duration to his abstract paintings. 

Since the outset of his career, David Reed’s central preoccupation has been to challenge and reinvent how to make a painting. Consistently, his paintings present a compelling tension between the gestural and the impersonal; in recent times this has been characterized by fluid, torquing, extended marks that reveal the viscosity of paint and the speed of color and light in a flattened manner that looks photographic or filmic.

David Reed documents the artist’s 2020 exhibition of new work at Gagosian in New York, presenting 15 outsize paintings that, in many cases, were over a decade in the making. The plates are punctuated by striking details of several works. The artist’s “working drawings,” which he has long made to document the many stages of a painting’s creation, are illustrated throughout the plate section, offering insights into his varied sources and complex processes. 

A new essay by art historian Richard Shiff examines the emotional tenor of Reed’s paintings.

About the Author:

Richard Shiff is the Effie Marie Cain Regents Chair in Art at the University of Texas at Austin, where he directs the Center for the Study of Modernism. 

The first international monograph dedicated to Eddy Kamuanga Ilunga, one of the most enterprising and exciting young artists working in Africa today.

Eddy Kamuanga’s large-scale figurative paintings display a wealth of historical understanding in a sophisticated interplay of strikingly colored forms juxtaposed on gray negative space.

Kamuanga’s work taps into the rich yet complex colonial history of the Democratic Republic of the Congo, or DRC. His politically nuanced and culturally sensitive work explores the seismic shifts in economic, political, and cultural identity in the DRC since colonization. Increasingly globalized in outlook, many in the DRC today are rejecting their ancestral heritage in favor of modernity, a conflict that fuels Kamuanga’s work.

The DRC is the world’s largest exporter of coltan, a mineral critical to the production of computer chips and mobile phones. In all of Kamuanga’s works, the skin of each figure is embedded with integrated circuits, referring to the harsh conditions experienced by workers who mine coltan by hand.

Eddy Kamuanga has been recognized internationally as one of the most interesting young contemporary African talents of today, and his reputation is growing fast worldwide.

His work has been shown across Africa, notably at Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), South Africa, and has been included in exhibitions in Europe and the United States, at institutions such as Fowler Museum at UCLA, Los Angeles; Hood Museum of Art at Dartmouth College, Hanover, New Hampshire; Saatchi Gallery, London; and Royal Academy of Arts, London. He is represented by October Gallery, London.

About the Author:

Sammy Baloji is an international contemporary artist. Sandrine Colard is a historian of modern and contemporary African arts. Gerard Houghton is director of special projects at October Gallery. Gabriela Salgado is a curator based in London. Gus Casely-Hayford is a museum director, cultural historian, broadcaster, and lecturer.