Сборники работ по искусству

Jackson Pollock (1912–1956) was a major figure in the abstract expressionist movement and the most influential American painter of the twentieth century. Although he died at the age of 44, he left an unsurpassed body of work.Throughout his life, Pollock wrote very little about his own art or that of others. Nevertheless, in the few writings we do have, and in a few unpublished, undated notes – all of which are gathered together in this volume – the themes are remarkably similar. After acknowledging his initial debt to the Native American sand painters, who gave him the idea for putting the canvas on the floor and working it “in the round”, Pollock routinely referred to his interest in the unconscious as the source of modern art, as it enabled the direct expression of an “inner world,” of individual feeling and experience of the modern age. Moreover, it is clear from his statements that Pollock himself was open to the possibility of such a subjective approach to painting as an international enterprise. He never suggested that the modern world, characterized, in his words, by “the airplane, the atom bomb, the radio,” and which the modern artist had the responsibility to express, was specifically American, but rather that these were features of modern life in a much broader sense. In her in-depth essay, Nancy Jachec sketches an accurate profile of the artist and takes a closer look at his work, as well as detailing the enormous number of studies on the artist.

 1.029 illustrations, 845 in color

A large-format, four-color illustrated catalogue raisonné of the paintings of the eccentric Belgian.

Like Vincent van Gogh and Edvard Munch, James Ensor (1860–1949) was the avant-garde painter in northernEurope and harbinger of the German Expressionists and French Surrealists. A legend in his own time, he achieved fame as the “painter of masks,” bizarre still lifes, and grotesque carnival scenes in harsh, contrasting, brilliant colors, evolving out of the traditional Flemish Danse Macabre. Furthermore, Ensor was skilled in an extraordinary number of styles and continually explored and varied different themes and motifs—facts that make his work seem surprisingly modern to this very day. Now the reader can explore the Belgian painter’s oeuvre in this opulently illustrated, all-color catalogue raisonné. A comprehensive illustrated chronology provides additional details about the artist’s life and work and forms an integral part of this splendid, highly valuable contribution to art-historical research.

150 illustrations

At a time when the dominant mode of painting, Abstract Expressionism, emphasized expressive drama through bold brushwork and largely abstract compositions, Johns’ paintings of
the American flag, targets, numbers and the alphabet demonstrated a decided departure from convention. Despite being painted with obvious care, they seemed emotionally reticent, cool and quiet, far from the emotional fireworks then fashionable. "It all began... with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn’t have to design it. So I went on to similar things like the targets - things the mind already knows. That gave me room to work on other levels. For instance, I’ve always thought of painting as a surface; painting it in one color made this very clear. Then I decided that looking at a painting should not require a special kind of focus like going to church. A picture ought to be looked at the same way you look at a radiator.” Unlike most artists’ statements in New York during the 1950s, Johns’ remarks contained none of the familiar talk of doubt and angst, and his selection of subject matter appeared deliberate, thoughtful, and far removed from emotional attachments and desires. To younger artists his art seemed not so much cold and unfeeling as clear-eyed and honest after the excesses of Abstract Expressionism.
Furthermore, in selecting recognizable subjects, Johns seemed to reject prevailing abstract modes of painting, yet his subjects themselves - flags, targets, numbers - each possessed a vital characteristic of classic abstraction, namely, a flatness rendering them all but indistinguishable from the picture plane itself. This books underlines how Johns’ work made the polarity between abstraction and representation that had dominated debates about modern art for decades seem suddenly obsolete, opening up other ways of thinking about art’s relation to the world. It also tries to understand why since his first exhibition at the Leo Castelli Gallery, at the age of twenty-seven, he has remained one of the major artists of the contemporary artistic scene until today.

About the author:
Catherine Craft is an art historian specializing in modern and contemporary art. She earned her Ph.D. from the University of Texas at Austin with a dissertation on the New York art world between 1951 and 1965. She is author of the forthcoming book An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism, 1945-1953 and has published numerous articles on Johns, Rauschenberg, Duchamp, Pollock, and other artists in such prestigious reviews as The Burlington Magazine. She has also lectured at important museums, including the Museum of Modern Art, the Metropolitan Museum of Art and the National Portrait Gallery in Washington, D.C. She currently lives between Texas and Germany, where she works as an independent scholar.

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 name 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 the artist's intricate marks and scribbled words, further illuminated by texts from writer and curator Carlo McCormick, a contemporary of Basquiat's on the New York scene, and 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.

The editor:

Hans Werner Holzwarth is a book designer and editor specializing in contemporary art and photography. His TASCHEN publications include Collector’s Editions like Jeff Koons, Christopher Wool, Albert Oehlen, Ai Weiwei, and the David Hockney SUMO A Bigger Book, as well as monographs like the XXL-sized Jean-Michel Basquiat and survey books such as Modern Art and Art Now! Vols 3 and 4.

The author:

Eleanor Nairne is a curator at the Barbican Art Gallery. She has worked on a number of critically acclaimed exhibitions and publications, including Basquiat: Boom for Real (2017) and Imran Qureshi: Where the Shadows are so Deep (2016). Prior to the Barbican, she was curator of the Artangel Collection at Tate. She is a regular catalogue essayist, a writer for frieze, and a previous Jerwood Writer in Residence.

The first book on the drawings and works on paper of this legendary cult artist.

Published on the occasion of an exhibition of the same name, Jean-Michel Basquiat Drawing is the first book on the Schorr Collection of Basquiat’s works on paper. Jean-Michel Basquiat (1960–1988) was barely out of his teens when he rocketed to the center of New York’s art scene; he was 27 when he died of a heroin overdose. A friend of Keith Haring and Andy Warhol, and always controversial, Basquiat is now established as a major contemporary painter whose unique work continues to enthral. Herbert and Lenore Schorr began collecting the work of Basquiat in 1981, before his first New York exhibition.

During the artist’s seminal years of 1982–83, the Schorrs acquired several of his most important paintings, but in contrast to virtually every other early collector, the Schorrs also pursued and acquired a great number of works on paper both directly from the artist and from his first dealer. Their collection demonstrates the focus and ambition that the artist invested in the medium of drawing.

About the Author:

Fred Hoffman met Jean-Michel Basquiat in 1982 and worked closely with him during the artist’s residency in Venice, California, from 1982 to 1984. He cocurated Basquiat’s retrospective at the Brooklyn Museum in 2005. Hoffman is the Ahmanson Curatorial Fellow at the Museum of Contemporary Art, Los Angeles.

From his early years spray painting the walls of lower Manhattan to his first solo show in 1982 and his untimely death at the age of 27 in 1988, Jean-Michel Basquiat has become a symbol of the 1980s New York art scene

Now, more than a quarter-century since his death, this book considers Basquiat’s works in light of their transformative power. Exquisitely reproduced full-page color illustrations of his paintings cover the full thematic range of Basquiat’s work. From the autobiographical elements of "Untitled" (1981) and the powerful critique of racial justice that is "Irony of a Negro Policeman" to an exploration of black heroes, "Untitled" (1982) and the tongue-in-cheek social commentary of "A Panel of Experts", Basquiat’s limitless palette of observation, criticism, and cultural references endows his art with lasting and provocative power. Author Dieter Buchhart explores how Basquiat’s success paved the way for an entire generation of black artists and how street culture has spread into popular culture. Texts by curators, art dealers, and cultural critics discuss the significance of Basquiat’s oeuvre and show how his approach and subject matter continue to influence artists around the world.

This book is published by DelMonico Books in association with the Art Gallery of Ontario, Toronto.

Jean-Michel Basquiat | Xerox is the first concentrated examination of the extraordinary body of work that the artist created using Xerox copies as his principal medium and compositional focal point.

These immersive, collaged Xerox paintings epitomize Basquiat’s extraordinary capacity for visual language. Their raw, allover compositions incorporate recycled and transformed signs and markings from the artist’s everyday experiences ― including motifs from his earlier artworks. The intricate web of content in this series presages the copy-paste sampling characteristic of the subsequent Internet and post-Internet generations, positioning Basquiat as a pioneer of the pre-digital age.

The Art Edition, limited to 100 copies, each with an original artwork by Jeff Koons.

From kinky to kitsch to conceptual, Jeff Koons’s art is anything but conformist. Since he stirred up the art world establishment in the 1980s with his unapologetic basketball sculptures and stainless steel toy blow-ups, Koons has been known as somewhat of a bad boy - a reputation he confirmed in the early 90s via works depicting him having sex with then-wife Cicciolina, the Italian porn star-cum-politician. Following this torrid phase, he changed gears to produce the gargantuan Puppy, the 43-foot tall floral terrier that now resides at the Guggenheim Museum in Bilbao, Spain. Koons’s exploitation of the banal, in the aggrandizement and/or embodiment of kitsch and pop imagery, has become his trademark; detractors may delight in their naysaying, but Koons’s work commands millions at auction and his position at the forefront of contemporary art is indisputable.

This exhaustive monograph begins with a biographical essay by Interview magazine editor-in-chief Ingrid Sischy that puts his work into context and tells his personal story, as well as a text by Eckhard Schneider’s analyzing Koons from a European perspective. Arranged in chronological chapters by work groups, the main body of the book features art historian and critic Katy Siegel’s detailed analyses alongside hundreds of large-format images tracing Koons’s career from 1979 to today. Rounding off the book are an extended bibliography and a lavishly illustrated biography. Fans of Jeff Koons’s work will find in this publication not only a sumptuous book-object, but also the most comprehensive study of the artist’s work ever published.

Joe Sorren’s oil paintings redefine naturalist scenery such as caves, reefs, and seashores, inserting a surreal mood through soft, eerie imagery, thick Impressionist-inspired brushstrokes, and animalistic figures caught mid-motion.

Although the subjects are often childlike, the postures and weariness betray adult maturity, drawing a fine line between the vulnerable and precocious. Bulls and minotaurs parade guiltily with parasols and umbrellas through both Sorren’s original paintings and the sculptures created in collaboration with Jud Bergeron.

This monograph of work from 2004-2010 is published in conjunction with the exhibition Joe Sorren—Interruption, for the Grand Central Art Center at CSU Fullerton.

"In the middle of the seventeenth century Johann von Nassau returned to his estate and castle at Idstein, which had been devastated by the Thirty Years War. A sophisticated collector, he acquired paintings, stuffed birds and objects of every kind for his cabinet of curiosities. He created a garden full of rare plant species, grottoes decorated with shells, fountains, and flower-beds in the shape of vegetables and fruit. In the desire to immortalize his garden, Johann von Nassau engaged Johann Walter (1604-1677), a painter from Strasbourg, to record it. This was the origin of the Florilegium, a work of great artistic quality.

Now kept in the department of Prints and Photography of the BNF, it comprises 54 gouaches on vellum, including a portrait of the prince in his cabinet of curiosities, a portrait of the painter, and views of the castle and garden, following by 30 plates depicting flowers and 12 depicting fruits, all remarkable originality."

"Au XIXe siècle, l’aquarelle n’était pas considérée comme un art à part entière, mais plutôt comme la technique préférée des amateurs, en particulier des dames de la bonne société, ou, pour les artistes de profession, comme des ébauches préparatrices en vue de tableaux achevés dans leur atelier. Il y avait des exceptions tout à fait notoires, en particulier au sein de l’école des aquarellistes anglais, dont J.M. W. Turner était l’un des plus éminents représentants. Mais, à la fin du siècle, Sargent devint l’un des premiers peintres dont les aquarelles furent appréciées pour leurs valeurs intrinsèques. À partir de 1910, il commença à les exposer, dans des expositions spécialisées d’abord, à Londres, à la Royal Watercolour Society entre autres, puis aux États-Unis.

(…) Homer, seul aquarelliste pouvant rivaliser avec Sargent, était très prisé pour ses valeurs américaines rustiques au détriment du style de Sargent considéré jusque-là comme trop mou et raffiné, ce que l’on imputait à ses influences européennes. Mais la puissance, la nouveauté et la vigueur de son art eurent le pouvoir de confondre toute critique et firent de lui un artiste de stature égale sinon plus grande."
Gabrielle Townsend

Choix lumineux de 60 aquarelles - marines, paysages, portraits... - exécutées par John Singer Sargent (Florence, 1856 - Londres, 1925) tout au long de ses différentes pérégrinations en Italie, en France, en Angleterre, en Espagne ou encore en Égypte...

The first monograph to celebrate the diverse and eclectic work of one of the true visionaries of the contemporary art world. Joseph Ari Aloi-aka JK5-is a compulsive artist for whom every free moment is an opportunity to create. Bringing together his work as a fine artist with the instincts and references that color his passions of tattoo and graffiti art, JK5 has an expansive, textured, and highly individual visual vernacular. Whether as a painter, illustrator, calligrapher, or designer, JK5 is preoccupied with the collision of personal and revelatory themes with profound pop-cultural iconography, resulting in a powerful and readily identifiable style.

This creatively designed monograph features work that extends from paintings on canvas to plastic vinyl toys, from storyboards for animation films to collages and scratch cards, and from outlines for tattoo work to a vast collection of sketchbooks-each completed with such regularity that they serve as a kind of artist diary, recording his changing preoccupations and varying visual interests. Edited by the artist-with contributions from fellow artists Mike Giant and Kenzo Minami-and designed to reflect the varying and tactile nature of the work, this is an artist's book that will exist as a unique and collectible object in its own right as much as a record of the remarkable output of one of the most prolific voices in contemporary art.

About the Author:

JK5, aka Joseph Ari Aloi, is an artist, designer, writer, and tattoo artist. Aloi opened a tattoo studio, expanding his signature styles and approaches to lettering and graphics into work in many mediums. He has collaborated with such companies as Nike, Kidrobot, and Wieden + Kennedy, and his work has been exhibited through Deitch Projects, Alife NYC, and other galleries worldwide.

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Пролистать книгу Joseph Ari Aloi AKA JK5: An Archive of Sketches, Tattoos, Drawings, Paintings, and Objects на сайте издательства.

145 illustrations, 100 in full-color

Henri Rousseau (1844–1910) was a self-taught artist with a unique style, exemplified in his visionary jungle scenes. These dream-like tableaux, for which he drew heavily on visits to Paris’ Botanical Gardens, captivate with the lushness of their plant and animal life, while unsettling the viewer with their heady combination of exoticism and romanticism.

This sumptuously illustrated book provides not only a comprehensive overview of Rousseau’s career, but also penetrating insights into his inspiration. With large, color reproductions of his paintings, many previously unpublished illustrations of his sources and influences, and a wealth of new research on his life and work (including the only interview conducted with the artist), Henri Rousseau: Jungles in Paris

Sexuality is one of the most enigmatic facets of the human psyche. Writers and artists have spent untold ink in an effort to unravel the mysteries of our libidinous tendencies.

‘Erotica’, the new book from Juxtapoz, features titillating explorations of the subject matter by two dozen of the most exciting artists working today.

Some featured works are meticulously illustrated, some abstract in style, some realistic, some forays into fantastic worlds that fuel the imagination.

‘Erotica’ includes samplings from David Choe, Audrey Kawasaki, Tara McPherson, James Jean, Rockin’ Jelly Bean, Gary Baseman, Tomer Hanuka, and many more.

The inner properties of colour and form

The artist who pioneered new dimensions of expression in art

Wassily Kandinsky was undoubtedly one of the most exciting artists of the twentieth century. He brought an equal passion and commitment to his work as a painter, a theoretician and a teacher of art. After conventional beginnings in Munich, he devoted his intellectual and artistic energies to pioneering new dimensions of expression in art. He ultimately arrived at an abstract style of painting based on the inner properties of colour and form.

Although Kandinsky may not be the first truly abstract artist, he was nevertheless the first to experiment with non-representational forms in a logical manner and to develop out of them a homogeneous style. His writings on art, including his ground-breaking work On the Spiritual in Art, have lost none of their significance, and the Compositions which caused such a furore at the first Blaue Reiter exhibition in 1911 are still full and dazzling today.

The author:
Ulrike Becks-Malorny studied free painting in Geneva and art history in Bochum, Germany. Since gaining her doctorate in 1990, she has worked as an exhibition organizer and freelance author. She lives in Bonn, Germany.