Painting Is A Supreme Fiction Writings By Jesse Murry 1980 1993

"Painting is a Supreme Fiction presents the writings of artist and poet Jesse Murry (1948-1993), an original mind who sought to unite the histories of Romantic landscape painting with the realities of Black experience"--

Lisa Yuskavage: Babie Brood is the first survey of the artist’s small-scale paintings. While Yuskavage is primarily known for larger canvases, these intimate works offer a new window into her transgressive paintings and complex and influential oeuvre. Based on the artist’s imagination, live models, maquettes, and found and staged photographs, the small paintings in this book demonstrate Yuskavage’s methodical exploration of how images are created and their sources. Some of the small works are studies for large paintings, while others revisit preexisting images. Yet others are one-of-a-kind compositions only created on this intimate scale. As places for experimenting with color, form, and characters as well as a variety of formats—including stretched and unstretched linen, canvas boards, wood, and paper—these paintings play a remarkably dynamic role within her work. This catalogue presents the paintings to scale so readers can explore the works as if seeing them in person. Documenting the artist’s exhibition at David Zwirner, New York, in 2018, this catalogue includes an essay by Jarrett Earnest that illuminates Yuskavage’s early influences and explores the constant, often surprising themes that can be found throughout her art.

Since 2000, The Brooklyn Rail has been a platform for artists, academics, critics, poets, and writers in New York and abroad. The monthly journal’s continued appeal is due in large part to its diverse contributors, many of whom bring contrasting and often unexpected opinions to conversations about art and aesthetics. No other publication devotes as much space to the artist’s voice, allowing ideas to unfold and idiosyncrasies to emerge through open discussion. Since its inception, cofounder and artistic director Phong Bui and the Rail’s contributors have interviewed over four hundred artists for The Brooklyn Rail. This volume brings together for the first time a selection of sixty of the most influential and seminal interviews with artists ranging from Richard Serra and Brice Marden, to Alex Da Corte and House of Ladosha. While each interview is important in its own right, offering a perspective on the life and work of a specific artist, collectively they tell the story of a journal that has grown during one of the more diverse and surprising periods in visual art. There is no unified style or perspective; The Brooklyn Rail’s strength lies in its ability to include and champion difference. Selected and coedited by Jarrett Earnest, a frequent Rail contributor, with Lucas Zwirner, the book includes an introduction to the project by Phong Bui as well as many of the hand-drawn portraits he has made of those he has interviewed over the years. This combination of verbal and visual profiles offers a rare and personal insight into contemporary visual culture. Interviews with Vito Acconci, Ai Weiwei, Lynda Benglis, James Bishop, Chris Burden, Vija Celmins, Francesco Clemente, Bruce Conner, Alex Da Corte, Rosalyn Drexler, Keltie Ferris, Simone Forti, Andrea Fraser, LaToya Ruby Frazier, Suzan Frecon, Coco Fusco, Robert Gober, Leon Golub, Ron Gorchov, Michelle Grabner, Josephine Halvorson, Sheila Hicks, David Hockney, Roni Horn, House of Ladosha, Alfredo Jaar, Bill Jensen, Alex Katz, William Kentridge, Matvey Levenstein, Nalini Malani, Brice Marden, Chris Martin, Jonas Mekas, Shirin Neshat, Thomas Nozkowski, Lorraine O’Grady, Genesis Breyer P-Orridge, Joanna Pousette-Dart, Ernesto Pujol, Martin Puryear, Walid Raad, Dorothea Rockburne, Tim Rollins and K.O.S., Robert Ryman, Dana Schutz, Richard Serra, Shahzia Sikander, Nancy Spero, Hiroshi Sugimoto, Sarah Sze, Rirkrit Tiravanija, James Turrell, Richard Tuttle, Luc Tuymans, Kara Walker, Stanley Whitney, Jack Whitten, Yan Pei-Ming, and Lisa Yuskavage Special thanks to Furthermore, a program of the J.M. Kaplan Fund, for their support of The Brooklyn Rail.

Der amerikanische Fotograf Nicholas Nixon ist für seine großformatigen Schwarz-Weiß-Fotografien bekannt, in denen er eine besondere Verbindung zu den Betrachtenden herstellt und sie an intimen Momenten im Leben teilhaben lässt. Für seine wohl ikonischste Serie, The Brown Sisters, begleitete er vier Schwestern über 46 Jahre hinweg. Seine Praxis umfasst jedoch ein viel breiteres Spektrum, etwa das einfache Leben im Süden der USA oder Landschaftsporträts der rohen industriellen Gegenden rund um Detroit. Ausgehend vom Aspekt der Intimität gibt die Monografie einen erstmaligen Überblick über Nixons Œuvre. Sie ist eine Reise durch das Leben und Werk des Künstlers – einerseits aus der Ferne, andererseits intim und nah – und zeigt auch neue, bislang unveröffentlichte Fotografien.

The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time. In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide. Equal parts oral history and analysis of craft, What It Means to Write About Art offers an unprecedented overview of American art writing. These thirty in-depth conversations chart the role of the critic as it has evolved from the 1960s to today, providing an invaluable resource for aspiring artists and writers alike. John Ashbery recalls finding Rimbaud’s poetry through his first gay crush at sixteen; Rosalind Krauss remembers stealing the design of October from Massimo Vignelli; Paul Chaat Smith details his early days with Jimmy Durham in the American Indian Movement; Dave Hickey talks about writing country songs with Waylon Jennings; Michele Wallace relives her late-night and early-morning interviews with James Baldwin; Lucy Lippard describes confronting Clement Greenberg at a lecture; Eileen Myles asserts her belief that her negative review incited the Women’s Action Coalition; and Fred Moten recounts falling in love with Renoir while at Harvard. Jarrett Earnest’s wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists—each of whom approach the subject from unique positions—illustrate different ways of writing, thinking, and looking at art. Interviews with Hilton Als, John Ashbery, Bill Berkson, Yve-Alain Bois, Huey Copeland, Holland Cotter, Douglas Crimp, Darby English, Hal Foster, Michael Fried, Thyrza Nichols Goodeve, Dave Hickey, Siri Hustvedt, Kellie Jones, Chris Kraus, Rosalind Krauss, Lucy Lippard, Fred Moten, Eileen Myles, Molly Nesbit, Jed Perl, Barbara Rose, Jerry Saltz, Peter Schjeldahl, Barry Schwabsky, Paul Chaat Smith, Roberta Smith, Lynne Tillman, Michele Wallace, and John Yau.

Lauded by Jerry Saltz as “one of the most reactionary yet radical visions of art,” The Young and Evil tells the story of a group of artists and writers active during the first half of the twentieth century, when homosexuality was as problematic for American culture as figuration was for modernist painting. These artists—including Paul Cadmus, Fidelma Cadmus Kirstein, Charles Henri Ford, Jared French, Margaret Hoening French, George Platt Lynes, Bernard Perlin, Pavel Tchelitchew, George Tooker, Alexander Jensen Yow, and their circle—were new social creatures, playfully and boldly homosexual at a time when it was both criminalized and pathologized. They pursued a modernism of the body—driven by eroticism and bounded by intimacy, forming a hothouse world within a world that doesn’t nicely fit any subsequent narrative of modern American art. In their work, they looked away from abstraction toward older sources and models—classical and archaic forms of figuration and Renaissance techniques. What might be seen as a reactionary aesthetic maneuver was made in the service of radical content—endeavoring to depict their own lives. Their little-known history is presented here through never-before-exhibited photographs, sculptures, drawings, ephemera, and rarely seen major paintings—offering the first view of its kind into their interwoven intellectual, artistic, and personal lives. Edited by Jarrett Earnest, who also curated the exhibition, The Young and Evil features new scholarship by art historians Ann Reynolds and Kenneth E. Silver and an interview with Alexander Jensen Yow by Michael Schreiber.

This origin story of history’s most vivid color pigments is perfect for artists, history buffs, science lovers, and design fanatics. Did you know that the Egyptians created the first synthetic color and used it to create the famous blue crown of Queen Nefertiti? Or that the noblest purple comes from a predatory sea snail? In the Roman Empire, hundreds of thousands of snails had to be sacrificed to produce a single ounce of dye. Throughout history, pigments have been made from deadly metals, poisonous minerals, urine, cow dung, and even crushed insects. From grinding down beetles and burning animal bones to alchemy and pure luck, Chromatopia reveals the origin stories behind over fifty of history’s most vivid color pigments. Featuring informative and detailed color histories, a section on working with monochromatic color, and “recipes” for paint-making, Chromatopia provides color enthusiasts with an eclectic story of how synthetic colors came to be. Red lead, for example, was invented by the ancient Greeks by roasting white lead, and it became the dominant red in medieval painting. Spanning from the ancient world to modern leaps in technology, and vibrantly illustrated throughout, this book will add a little chroma to anyone’s understanding of the history of colors.

A portrait of a keen social observer at the center of the last 50 years of cultural life, captured through a vivid selection of O'Brien's own writings on music to fashion to downtown art and, just as importantly and unexpectedly, the political temperature of America.