From Irish painter Genieve Figgis (born 1972) comes a book-object that is both exquisite and utilitarian, nostalgic and new. Wrapped in plush suede of deep violet, Something for Lovers compiles 34 of Figgis' paintings into a compact coloring book. The works' dreamlike aspect and romantic yet, at times, banal subject matter--Victorian landscapes, tender portraits and passionate embraces--makes for images begging creative reinterpretation. Published by Karma to coincide with the opening of Figgis' exhibition at New York's Gallery Met, at the Metropolitan Opera, Something for Lovers lets you reimagine Figgis' seductive paintings, inviting you to infuse each artwork with colors befitting your surroundings. All 34 paintings are reproduced in color in the back of the publication.
"...trippy, drippy figurative paintings that are remixes of specific historical paintings, whose vibe is super fresh and funny." --JUXTAPOZ magazine Combining the dark wit of Francisco Goya with the lush painterly style of Elizabeth Peyton, Dublin-based artist Genieve Figgis is the painter of the moment. Within just a few years of leaving school, she has become a favorite of critics and artists alike, including Richard Prince, the art world's resident provocateur. Remarkably prolific, Figgis paints quickly but deftly, cycling through a range of painterly styles and highly charged content, from bawdy, sexual vignettes with women and men in various states of undress to darker, more macabre scenes. Regardless of theme, each work is a world unto its own. The beautifully packaged volume features the full complement of the artist's ravishingly intimate work, including select drawings. Dodie Kazanjian interviews the artist regarding one of her most recent projects, paintings and sketches devoted to the classic tale of Romeo and Juliet, and her immersive process as she undertook them. Alison Gingeras contributes an essay exploring Figgis's consummate storytelling and how this impulse relates to the artist's Irish roots.
The indispensable guide to the most exciting painters of recent years, chosen by leading arts professionals - now in paperback Despite its long history, painting continues to evolve and excite, with new generations taking it in unexpected directions. A central pillar of artistic practice, painting also has enduring appeal for collectors and still dominates the art market. Vitamin P3 takes the conversation forward, spotlighting more than 100 outstanding artists who are pushing the boundaries of the medium of paint. In its new paperback format, it's sure to inspire a wider-than-ever audience.
Author: Barry Schwabsky,Robert Shane,Louise Sørensen,Susan A. Van ScoyPublish On: 2019
From Pop Abstraction to New Romanticism
Author: Barry Schwabsky,Robert Shane,Louise Sørensen,Susan A. Van Scoy
Publisher: Distributed Art Publishers (DAP)
Landscape Painting Now is the first book of its kind to take a global view of its subject, featuring more than eighty outstanding contemporary artists--both established and emerging--whose ages span seven decades and who hail from twenty-five different countries.Through its thematic organization into six chapters--Realism and Beyond, Post-Pop Landscapes, New Romanticism, Constructed Realities, Abstracted Topographies, and Complicated Vistas--the book affords a generous window into the very best of contemporary landscape painting, from Cecily Brown's sensual, fleshy landscapes to Peter Doig's magic realist renderings of Trinidad, Maureen Gallace's serene views of beach cottages and the foaming ocean, David Hockney's radiant capturings of seasonal change in the English countryside, Julie Mehretu's dynamically cartographic abstractions, Alexis Rockman's mural-sized, postapocalyptic dioramas, and far beyond.Landscape Painting Now features an extensive essay by Barry Schwabsky, .
Writing in "Before the Image, Before Time: The Sovereignty of Anachronism," (2003) Georges Didi-Huberman identifies three discrete temporalities at work within a fresco painted by Fra Angelico for the San Marco convent in Florence during the 1440s. In the first instance, he observes that the painting's trompe l'oeil frame stems from what would have been the prevalent mimetic style during the period within which the fresco was painted and in this respect, is "euchronistic" or of its time. However, the fresco also betrays "anachronistic" qualities through its so-called "mnemonic" use of colour. Finally, and as Didi-Huberman notes, "the dissimilitudo, the dissemblance at work in this pointed surface goes back even further." Evidently then, both the production and subsequent interpretation of painting entails if not is foregrounded by multiple layers of chronology, tense and time. Such an admission is coincident with both a renewed interest in painting's relationship to its past and more broadly art's relationship with time. According to Laura Hoptman, writing in the exhibition catalogue that accompanied The Forever Now: Contemporary Painting in an Atemporal World at MoMA in 2015, "what attracts artists to painting at a time when digital technology offers seemingly limitless options with less art-historical baggage is precisely its art historical baggage..." Moreover, in Visual Time: The Image in History, Keith Moxey has recently asked "where and when is the time in the history of art?" Against a backdrop of artistic practices that are characteristic of the so-called "historiographic turn," an approach to art making that has encompassed strategies of excavation, re-enactment and memorialization but as such have notably been to the exclusion of painting, Sites of Time: Painting, History and Meaning seeks to examine painting's relationship with time and with events, ideas and paintings derived from the past. Following Jean-Francois Lyotard's determination of painting as entailing a series of temporal sites, the proposed study will examine key works by artists including Luc Tuymans, Gerald Byrne, Alison Watt, Marlene Dumas, Genieve Figgis, Wang Xingwei and Dexter Dalwood. Necessarily moving beyond the appropriationist strategies of postmodernism with its proclivity to quote from and tendentiously juxtapose elements that were historically or culturally remote, what the proposed study will evince is that through its engagement with history and historical materials, time as it is given within the context of contemporary painting is multi-directional, heterogeneous and resoundingly non-linear.
Author: Jill Vickers,Annette IsaacPublish On: 2012
Canada, the United States, and Australia
Author: Jill Vickers,Annette Isaac
Publisher: University of Toronto Press
The Politics of Race is an excellent resource for students and general readers seeking to learn about race policies and legislation. Arguing that 'states make race,' it provides a unique comparison of the development and construction of race in three white settler societies — Canada, the United States, and Australia. This timely new edition focuses on the politics of race after 9/11 and Barack Obama's election as president of the United States. Jill Vickers and Annette Isaac explore how state-sanctioned race discrimination has intensified in the wake of heightened security. It also explains the new race formation of Islamophobia in all three countries, and the shifts in how Hispanics and Asian Americans are being treated in the United States. As race and politics become increasingly intertwined in both academic and popular discourse, The Politics of Race aids readers in evaluating different approaches for promoting racial justice and transforming states.