A catalog of an exhibition that surveys the work of the American artist.

Jean-Michel Basquiat

Richard Marshall

Klaus Kertess

Greg Tate

WHITNEY MUSEUM OF ART.

The Painterly figure, July 24-September 4, 1983

Parrish Art Museum

From Library Journal Two of the finest recent monographs on contemporary photographers, these publications use completely different presentations to highlight each artist's work to its best advantage. Jacobson's blurry black-and-white images, which he has described as an "ongoing meditation around desire, loss, and the role of photography as a vehicle for remembrance," offer hazy apparitions, stand-ins for our own lost acquaintances, friends, and lovers. Presented chronologically, the 49 pictures here progress from mostly light, nearly recognizable images of people in familiar settings through fading portraits to almost black, abstract seascapes. The design is minimal, with one exquisitely printed sheet-fed gravure per spread; there is no text, but a short story about a lost love by curator Kertess and a list of plates close the volume. Though she committed suicide in 1981 when she was just 22 years old, Woodman remains influential and her work looks as fresh and startling as that of anyone working today. The daughter of artists, she immersed herself in photography from the time she received her first camera and was recognized early as an exceptional talent. She most frequently used herself or, more precisely, her body as subject, and she produced a wide range of work, from surreal tableaux to story boards to fleeting portraits. These works that above all else seem to convey the imprecision of life are well analyzed in four introductory essays. Next come more than 110 pages of plates drawn from the full decade that she was active, followed by a biography, exhibition history, and bibliography. This is the only work on Woodman in print and by far the most comprehensive ever published; it deserves a place in any serious photography collection. Though perhaps not a definitive study, Jacobson's book presents his work in the best possible light and belongs in collections with an interest in contemporary photography.AEric Bryant, "Library Journal"Copyright 1999 Reed Business Information, Inc.

Bill Jacobson: 1989-1997

Arts & Photography

Bill Jacobson

Individual Artists

Twin Palms Pub

The extensive oeuvre of American painter Carroll Dunham has infused the discourse of representation versus abstraction with new life, while simultaneously pointing to a number of new directions in 20th-century painting, such as surrealism, action painting, abstract painting, and pop art. His unusual, original color compositions and independent use of forms and materials had a significant influence on contemporary artists like Fred Tomaselli and Matthew Ritchie. In Dunham's works, pictorial elements reminiscent of cartoons became recognizable details within an enlivened, abstract picture surface as early as the beginning of the 80s. Later in that decade, Dunham turned to larger formats, painting the expanses of his canvases with visually constant forms in fluid gesture: bodily shapes, reduced to pictographs, appeared repulsive and hairy, resembling tumors, teeth, or lips, in expressionist colors and with an impressive painterly quality. Recently, Dunham's pictures have become distinctly more figurative, displaying aggressive male and female caricatures, with buildings, planets, and boats becoming additional vehicles of human emotions and unbridled primary energies.

Carroll Dunham: Paintings

Lisa Phillips

A.M. Homes

Sanford Schwartz

Carroll Dunham

Hatje Cantz Publishers

This publication focuses on two bodies of work by Al Taylor, Pass the Peas and Can Studys. Although distinctly individual, both of these series examine Taylor's ongoing explorations of the circle. Instigated by curiosity, the artist studies the inside and outside of circular shapes and investigates their multi-dimensional possibilities. Taylor playfully explores these permutations in his Pass the Peas series from 1991-92. In addition to completing an array of drawings, he used tubular materials such as hula-hoops, garden hose, and plastic-coated cable to create three-dimensional spirals and coils, interlocking loops, and dissected circles that were mounted on the wall, left freestanding, or hung by wires from the ceiling to activate changing perspectives. The artist's investigations into the infinite possibilities of a circle were further pursued during 1993 in his Can Studys series, when he expanded his "research" by exploring the play of light that would theoretically be reflected off of the exterior--or projected out of the interior of cylindrical forms.

Pass the Peas and Can Studys

Al Taylor

Steidl

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