"One of the first in a new series on contemporary art offered by the publisher, this book consists of an interview of painter Salle conducted by critic Schjeldahl. Salle discusses his work and early years in California and New York and principal influences, particularly the widely admired John Baldessari. Most fascinating are his recollections of friends and classmates who later made such an impact on the New York scene, including Eric Fischl, Ross Bleckner and Matt Mullican. The interview format proves effective at getting to the heart of Salle's complex works, showing an artist suspended between the formal platitudes of minimalism and (contrary to some of his critics) an obsession with creating new modes of experience and feeling. The book degenerates into carping about critics; Salle seems unable to address the genuine concerns (beyond arbitrary perceptual or esthetic confrontations) that his works provoke, particularly among women. A useful introduction to an important contemporary artist."--Publishers Weekly.

SALLE

Arts & Photography

David Salle

Peter Schjeldahl

Individual Artists

Vintage Books

Richard Deacon has occupied the foreground of British sculpture since the 1980s. His virtuoso constructions in wood or metal range in scale from the domestic to the monumental, their structure recalling both engineering and anatomy. The forms he creates evoke the material world of everyday artefacts and the inner world of the body, as a site of sensuality, memory and language. The survey by British writer and curator Jon Thompson traces the genealogy of Deacon's work in relation to language; the artist talks with Italian scholar Pier Luigi Tazzi, co-Director of Documenta IX, about the context of space and place; US art critic Peter Schjeldahl reveals the complexities of a single sculpture, Keeping the Faith (1992). Deacon's selected text, by renowned anthropologist Mary Douglas, is on dirt 'as matter out of place'. His own writings are on subjects ranging from Rilke's poetry to the car as public sculpture. This revised and expanded second edition includes over fifty additional pages documenting Deacon's work from 1995 to 2000. Deacon's recent writings - a key text, 'In Praise of Television', and an interview with critic Ian Tromp - accompany an update essay by Penelope Curtis, Curator at the Henry Moore Institute, Leeds. Curtis approaches Deacon's recent work through an examination of the links between his drawings and collages and the three-dimensional sculptures. She reveals the continuing experimental nature of Deacon's work, which despite being the subject of international public commissions, resists the formulaic and the monumental.

Richard Deacon (Contemporary Artists) (Phaidon Contemporary Artists Series)

Jon Thompson

Pier Luigi Tazzi

PENELOPE CURTIS

Phaidon Press

Art of our time: The Saatchi collection

Lund Humphries in association with Rizzoli, New York

Ed Ruscha: Stains 1971-1975

History & Criticism

Robert Miller Gallery

In 1942 Jean Dubuffet, a Parisian wine merchant, retired from his successful business and took up another line of intoxicants. The late-blooming artist-Provocateur enjoyed immediate success, despite negative reviews and charges of vulgarity. Fiercely independent and iconoclastic, Dubuffet (1901-1985) disdained classical notions of beauty and reason in favor of visual rawness and instinct. In his work, he employed a crude pictorial style and often favored nontraditional materials such as leaves, butterfly wings, and sponges.Jean Dubuffet 1943-1963 examines paintings, sculptures, and assemblages from what many critics believe to be the most innovative period in the artist's long career. Beginning with Dubuffet's first mature works, which depict daily life and reflect elements of popular culture in Paris, the book spans his whimsical paintings, imaginary landscapes, comical cows, and portrait caricatures of well-known French writers, literary critics, and artists, including artist Jean Fautrier, diarist and theater critic Paul Leautaud, novelist Andre Dhotel, critic and publisher Rene Bertele, and poet and critic Georges Limbour, who was also a boyhood friend.The book also includes several essays on the artist and his work, and numerous quotes from Dubuffet's writings are in the catalogue section. Susan J. Cooke discusses the artist's portraits from 1946 to 1947, noting their continuing ability to startle, disturb, and amuse. Jean Planque reminisces about his long relationship with the artist, describing Dubuffet as a man of extremes - spontaneous, impatient, discreetly generous, with a love of contradiction and an extraordinary capacity for work. Peter Schjeldahl provides a succinct overview of Dubuffet's work and identifies Dubuffet's career as a long explosion that, as the artist said it would, defied the mainstream tradition of Western painting still in touch with the pictorial genres and aesthetic ideals inherited from the Renaissance. In addition to more than ninety full-page color plates of Dubuffet's works, a select bibliography and chronology are included.Jean Dubuffet 1943-1963 accompanies an exhibition of the same name at the Hirshhorn Museum and Sculpture Garden.

Jean Dubuffet, 1943-1963. Paintings, Sculptures, Assemblages

James T. Demetrion

Susan J. Cooke

Jean Planque

Hirshhorn/Smithsonian

Liza Lou: Essays by Peter Schjeldahl & Marcia Tucker

Marcia Tucker

Liza Lou

Distributed Art Pub Inc

Salle

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Books by Peter Schjeldahl