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The latest in the Spotlight series, which focuses on new bodies of work by contemporary artists, Sherrie Levine: Dominoes showcases several bodies of work that are central to Levine’s practice, and that distinctly engage the artist’s ongoing inquiry into notions of authorship, originality, and authenticity.
Exploring the development of groundbreaking artist Sherrie Levine’s work, this catalogue looks at four series central to her practice. The latest in the Spotlight Series, which focuses on new bodies of work by contemporary artists, Sherrie Levine: Hong Kong Dominoes showcases several series that distinctly engage the artist’s ongoing inquiry into notions of authorship, originality, and authenticity. Many of the works are consistent with Levine’s practice—the deliberate reproduction of other artists’ works and styles, so that her work and the original are nearly indistinguishable (as with the After Henri Matisse (1985) and After Feininger (2021) series). A number of the works make reference to modernist masterpieces, questioning the stereotypical construct of the heroic male artist. In her Monochromes After Renoir Nudes (2016) series, Levine used a computer program to calculate the average tone of the nude figures in Renoir’s paintings and then used this color to create monochrome panels. Published for the first time, Hong Kong Dominoes: 1–12 (2017) replicates the patterns of a set of dominoes that Levine purchased in Hong Kong, evoking both minimalist art and popular games. The catalogue also features a new essay by Larry List, which tracks the history of Levine’s inspirations and artistic practice, and an interview with Levine by Jeanne Siegel, originally published in the June/ Summer 1985 issue of Arts Magazine, which explores the artist’s use of appropriated imagery.
The first in a series of small-format publications devoted to single bodies of work, Fire from the Sun highlights Michaël Borremans’s new work, which features toddlers engaged in playful but mysterious acts with sinister overtones and insinuations of violence. Known for his ability to recall classical painting, both through technical mastery and subject matter, Borremans’s depiction of the uncanny, the perhaps secret, the bizarre, often surprises, sometimes disturbs the viewer. In this series of work, children are presented alone or in groups against a studio-like backdrop that negates time and space, while underlining the theatrical atmosphere and artifice that exists throughout Borremans’s recent work. Reminiscent of cherubs in Renaissance paintings, the toddlers appear as allegories of the human condition, their archetypal innocence contrasted with their suggested deviousness. In his accompanying essay, critic and curator Michael Bracewell takes an in-depth look into specific paintings, tackling both the highly charged subject matter and the masterly command of the medium. He writes, “The art of Michaël Borremans seems always to have been predicated on a confluence of enigma, ambiguity, and painterly poetics—accosting beauty with strangeness; making historic Romanticism subjugate to mysterious controlling forces that are neither crudely malevolent nor necessarily benign.” Published on the occasion of Borremans’s eponymous exhibition at David Zwirner in Hong Kong, this publication is available in both English-only and bilingual English/traditional Chinese editions.
Diaries and journals have a long, complex history within visual culture. American artist Sherrie Levine continues the tradition with Diary 2019 by making the private public. Inspired by Polish writer Witold Gombrowicz’s Diary and its famed opening entries, written in 1953— “Monday: Me. Tuesday: Me. Wednesday: Me. Thursday: Me.”—Levine prints the word “ME.” on each calendar page in Diary 2019. Levine’s diary is a playful riff on autobiography amidst our narcissistic culture.
"Many influential artists today draw on a legacy of 'stealing' images and forms from other makers. The term appropriation is particularly associated with the 'Pictures' generation, centred [sic] on New York in the 1980s; this anthology provides a far wider context. Historically, it reappraises a diverse lineage of precedents - from the Dadaist readymade to Situationist détournement - while contemporary 'art after appropriation' is considered from multiple perspectives within a global context." --back cover.
This classic text has introduced tens of thousands of students to sound reasoning using a wealth of current, relevant, and stimulating examples all put together and explained in a witty and invigorating writing style. Long the choice of instructors who want to keep students engaged, LOGIC AND CONTEMPORARY RHETORIC: THE USE OF REASON IN EVERYDAY LIFE, Twelfth Edition, combines examples from television, newspapers, magazines, advertisements, and our nation's political dialogue. The text not only brings the concepts to life for students but also puts critical-thinking skills into a context that students will retain and use throughout their lives. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
Jeanne Siegal takes a fresh approach in this work, concentrating on artists who have been profoundly influenced by Jackson Pollock's work. She argues that artistic roots are not limited to stylistic innovations, but include influences such as biography, cultural, political, and economic developments.
This volume assembles interviews with over thirty major artists to form a unique document of American art of the '60s and '70s. Between 1966 and 1973, Jeanne Siegel conducted interviews and panel discussions with most of the major art figures of the period. Here is Marcel Duchamp on his role as the major progenitor of the period; Ad Reinhardt on the importance of art as art; Don Judd, Andy Warhol, Robert Murray, Saul Steinberg, and others on Barnett Newman and his influence; Louise Nevelson on "feminine sculpture"; Romare Bearden on the role of African-American art in the civil rights movement; Leon Golub on the importance of social protest in art; Carl Andre on the Art Workers Coalition; Robert Rauschenberg and Larry Rivers on the possibilities of multi-media; Allen Kaprow and George Segal on environments and happenings; Claes Oldenburg on fragments of ordinary objects; Roy Lichtenstein on the influence of Art Deco:;Hans Haacke on systems aesthetics; and Joseph Kosuth on language art. Through these dialogues and others, Artwords exposes the foundations of the art of the '80s and '90s, illuminating the ideas which originated during this seminal period, and which are still very much alive today.