A comprehensive monograph of the work of Joe Zucker, one of the most innovative artists of the mid-twentieth century.
This new monograph on the art of Joe Zucker is a career-spanning survey that deals with all the artist’s various bodies of work, from his grid paintings of the 1960s to his latest work, including the monumental 1000 Brushstrokes (2015– 2016). Zucker’s art is rooted in a conceptual framework where tools, materials, processes, procedures, content, and subject matter are all interrelated.
Due to the frequent transformations in his art from one style to another, and thus his work has not been easily characterized or identified. Nevertheless, he has forged a powerful artistic persona as a process artist with a certain pop inflection, who not only grapples with formal and theoretical concerns but also explores themes of history, culture, and Americana. Working with materials ranging from cotton balls, sash cords, and pegboards, to acrylic and rhoplex, and exploring such themes as the grid, the history of cotton, ancient civilizations, an assortment of “dubious characters,” paintings that paint themselves, as well as meditations on the studio, Zucker merges materials, process, and content―abstract and otherwise―to produce compelling works of extraordinary inventiveness, irony, and passion. 270 color illustrations

Joe Zucker

Arts & Photography

Myers, Terry R.

Bui, Phong

Elderfield,John

Bacon, Alex

History & Criticism

Thames&Hudson

The 'death of painting' and its subsequent resurrection in transformed conditions is an oft-rehearsed leitmotif of the modernist era, yet from the postconceptual painting revival of the early 1980s to the present new perspectives have emerged that reopen the entire field, not only globally but historically beyond the past century. The diversity of meanings and practices signified by painting today can encompass the eclecticism associated with net-surfing and the philosophical naming as 'painting' of artworks that manifest no trace of paint. This is the first anthology to bring together key statements, dialogues and debates by artists and writers on art that have been building blocks of the latest era in painting's history. Predominantly first published in magazines, journals and catalogues, these texts recontextualize polarized debates and reignite questions for the future. Tracing the story from the 'neo' revivals onward, this collection also ranges widely across ideas and practices of the preceding decades as they have been re-evaluated by artists and theorists in the frame of contemporary ideas.Artists surveyed include Glenn Brown, Vija Celmins, John Currin, Marlene Dumas, Olafur Eliasson, Bernard Frize, Katharina Grosse, Andreas Gursky, Peter Halley, Gary Hume, Jutta Koether, Paul McCarthy, Suzanne McCleland, Beatriz Milhazes, Takashi Murakami, Albert Oehlen, Lari Pittman, Sigmar Polke, Gerhard Richter, Robert Ryman, David Salle, Cheri Samba, Jim Shaw, Jessica Stockholder, Philip Taaffe, Luc Tuymans, Jeff Wall and Sue Williams. Writers include Daniel Birnbaum, Norman Bryson, Douglas Crimp, Gilles Deleuze, Sebastian Egenhofer, Hal Foster, Jeremy Gilbert-Rolfe, Isabelle Graw, David Joselit, Shirley Kaneda, Geeta Kapur, Thomas Lawson, Midori Matsui, Lane Relyea, Rene Ricard, Jerry Saltz, Mira Schor, Barry Schwabsky and Adrian Searle.

Painting /anglais

WHITECHAPEL GAL

This catalogue was published on the occasion of Varda Caivano's exhibition The Density of the Actions, February 22–April 19, 2015 at the Renaissance Society at the University of Chicago. The book features texts by Barry Schwabsky, Paula van den Bosch, Terry R. Myers, Peter St John, Georges Perec, and Solveig Øvstebø, as well as 43 color and 6 black and white images of Caivano’s paintings and the Renaissance Society installation.  

Varda Caivano: The Density of the Actions

Schwabsky, Barry

van den Bosch, Paula

St. John, Peter

Renaissance Society

The first ever monograph on "rediscovered" artist Robert Overby, "Parallel, 1978-1969" is an extensive and fully illustrated catalogue, featuring an essay by critic and curator Terry Myers, and a memoir written by graphic designer Marty Neumeier. Conceived as the beginning of the "public" historical life of Overby's 1970s output, "Parallel" is an introduction to the aesthetic, ideological, and material complexities of Overby's intentionally diverse body of work, consisting of approximately 68 objects, including latex casts of walls, doors, staircases, and building facades, along with "representational" paintings that provoke a contentious dialogue between art and design.

Robert Overby: Parallel: 1978-1969

Overby, Robert

Collections, Catalogs & Exhibitions

Wight Art Gallery

2003 Louisiana Biennial: Contemporary Arts Center, New Orleans, Lupin Foundation and First Floor Galleries, August 2 - September 14, 2003

Rubin, David S.

Cassel, Valerie

Louisiana Biennial (2003 : Contemporary Arts Center, New Orleans, La.)

Odita, Odili Donald

Contemporary Arts Center

William Monk (Phaidon Contemporary Artists Series)

Graw, Isabelle

Miralda, Àngels

Phaidon Press

Mary Heilmann: Save the Last Dance for Me (One Work (Hardcover))

An illustrated study of Mary Heilmann's seductive 1979 abstract painting in hot pink and black, Save the Last Dance for Me.
"You want beauty? I'll give you beauty!"―Mary Heilmann
Mary Heilmann is one of the most important abstract painters of her generation. Her distinctively fluid, humorous, and bright canvases combine the modes of Abstract Expressionism with a vibrant Pop sensibility. Heilmannn's 1979 painting in hot pink and black, evocatively titled Save the Last Dance for Me, marked a shift in the artist's perspective. Heilmann describes it: "Now the work came from a different place. Instead of working out of modernist non-image formalism, I began to see that the choices in the work depended more on content for their meaning." This beautifully illustrated study of Save the Last Dance for Me explores the development of Heilmann's work, and the way it continues to engage us―psychologically, sensually, and socially.
The three bright pink rectangles in Heilmann's painting seem to dance off the edge of the canvas, through a black field that seems dark as a nightclub after midnight―or perhaps the three are actually one pink rectangle, seen in a blissfully formal time lapse, moving across the dance floor/canvas. These definitively modernist geometric forms coexist with a sense of movement in real time. For many, abstraction may have been dancing its last dance in 1979, but Heilmann's bright pink rectangles boogie on.

Mary Heilmann: Save the Last Dance for Me (Afterall Books / One Work)

Afterall Books

Blizzard seventy-seven

Peter Doig is one of Britain's most prominent and exciting young artists, and this timely catalogue, which accompanied three related but discrete exhibitions, two in Germany and one in England, clearly shows why. After opening with a series of black-and-white photographs from the winter of 1977, the book concentrates on Doig's figurative and representational paintings; large scale canvases most of which depict winter scenes. Essays by Felicity Lunn, Terry R. Myers, Eva Meyer-Hermann and Hans-Werner Schmidt. 36 color and 44 b&w. 7.5 x 9.5 in.

Blizzard Seventy-Seven

Doig, Peter

Individual Artists

Kerber Verlag

About the Author\nTerry R. Myers is a writer and independent curator based in Los Angeles, and an editor-at-large of the Brooklyn Rail.\nFiona Rae’s (b. Hong Kong, 1963; lives and works in London) abstract paintings attracted the attention of broad audiences when she participated in the legendary exhibition Freeze at London’s Docklands in 1988. It put her on the map as an early member of the group known as Young British Artists, who would revolutionize not only the English art world. To this day, Rae’s distinctive creations, which are rooted in a conceptual engagement with the problems and potentials of abstract painting, have remained prominent and seminal contributions to the field. In 2011, she was appointed professor of painting at the Royal Academy, one of the first women to hold this position. The catalogue is the first to feature the most important pictures from this period: the Row Paintings. They mark the inception of the artist’s internationally acclaimed oeuvre. An essay by Terry R. Myers offers an appraisal of the Row Paintings’ significance in their historic context as well as the contemporary discourse of painting.

Fiona Rae: Row Paintings

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