On Kawara: Paintings of 40 Years was published on the occasion of the artist's third solo exhibition at David Zwirner in 2004, which presented a selection of date paintings, one from each of the past forty years. Also known as the Today series, the artist began making his now signature date paintings in New York City on January 4, 1966. Available in hardcover, this catalogue includes texts by Japanese scientist Shiuji Inomata; French philosopher Jean Luc-Nancy; and Indian spiritual leader Osho.

On Kawara: Paintings of 40 Years

On Kawara

David Zwirner

Educated at the now legendary Leipzig Academy by the old school of Social Realist painters, Neo Rauch has become one of the Academy s most influential graduates. His fusion of industrial symbolism, painterly figuration, and unique brand of Neo-Romanticism are influenced in part by his exposure to Communist-era advertising in former East Germany. In his words, this atmosphere of permanent fear had a lasting effect on his work. The paradoxical combination of proletarian ethic and stoic inactivity give Rauch s paintings the quality of being frozen in another time. In many of his compositions, athletic figures engaged in manual labor work against a backdrop of architectural elements, futuristic (yet also oddly old-fashioned) industrial devices, and barren landscapes. In a series of vignettes, characters are introduced and their tasks defined by props, among them tools, books, hoses and other recognizable objects. More ambiguous images also populate these spaces, pushing the narrative into less familiar territory. Each element, whether cartoon-like or realistically rendered, is deftly balanced by political and visual authenticity; the artist s technical ability and sincere connection to his vernacular are ever apparent. Rauch s fascination with the figure and work-related props allow for a formal exploration, based in part on the properties of paint itself. A glob of paint draped over an arm, for example, or a rake dragged through a patch of grass, leave behind marks and swirls that blur the line between rendered object and reference to the simplicity and necessity of the artist s materials. It is as if the figures enable, or are perhaps in a state of reacting to, their own painted environments. In Lösung (2005), a series of events unfolds around the exposed window of a flat-roofed home in the country. A couple wrestles behind a partially drawn curtain, while three simultaneous events occur against a brooding sky and the impossible perspective of an enlarged terra

Neo Rauch: Renegaten

Christine Mehring

Neo Rauch

Arts & Photography

"Bats, nurses, Marlene Dietrich, a malevolent figure in a bear suit, two cowboys playing king-of-the-mountain on a rosebush, a group of men placidly eating babies at a makeshift picnic table, while, above them, a tree grows more babies: Marcel Dzama is back. As readers will learn in The Course of Human History Personified, he's a sleepwalker, a sleepdrawer--""I draw during the day, but the ideas come at night."" He records his visions in a bedside-table notebook. The finished work, in ink and watercolor, in a limited color scheme, against empty backgrounds, stripped of narrative context, offers many possible interpretations. Its cast of characters is expansive and in each drawing their roles become more complex and defined. Dzama's influences include Blake, Goya, Botticelli, and James Ensor and his sources encompass native mythology, Inuit art, Dante's Divine Comedy, medieval paintings and American folklore. The title, The Course of Human History Personified, is borrowed from Dante and recalls the grandiose artistic and literary cycles of the nineteenth century such as Thomas Cole's 1836 The Course of Empire, where nature plays as large a role as humans. Here nature is personified--imagined characters and trees and beasts assume base human characteristics. If it's a dark view of the world, it's also an entrancing one."

Marcel Dzama: The Course of Human History Personified

Tougaw, Jason

Rosenfeld, Jason

Individual Artists

Lisa Yuskavage

Known for paintings of women, Lisa Yuskavage s images occupy the space between high and low; the sacred and the profane. Many of these new works explore a complex psychological direction specifically, symbiotic relationships. Influenced in part by images that depict power struggles, including Baroque sculptures (specifically Gianlorenzo Bernini) and Giorgio de Chirico s late Gladiator paintings, Yuskavage s figures hover or climb upon one another caught in embraces that appear to shift between tenderness and violence. Within these paradoxical relationships, it is often difficult to decipher what is real and what is imagined; what is weighted and what is weightless; what is made of paint and what transcends the medium entirely. Yuskavage s subtle degrees of fiction and representation culminate in questionable, unsettling quasi-realities. In Ledge (2005), paint is personified by two female entities through which empathy and apathy are suggested, yet are nearly indistinguishable. In Imprint (2006), within which two women seem to meld into one, malleable form, Yuskavage interprets the flat, illusionistic space of bas-relief sculpture through the use of close color and punctuations of extreme contrast at the points of human contact.

About the Author\nIn 2004, De Keyser was the subject of a major solo exhibition at the Whitechapel Art Gallery in London, England, which traveled to the Musée de Rochechouart, Rochechouart, France; De Pont Museum for Contemporary Art, Tilburg, The Netherlands; Fundãçao Serralves, Museu de Arte Contemporãnea, Porto, Portugal; and Kunstverein St. Gallen Kunstmuseum, St. Gallen, Switzerland (all 2004). Other important solo exhibitions include S.M.A.K., Ghent, Belgium (2001); The Renaissance Society at the University of Chicago, Chicago, IL (2000); and Kunstmuseum Luzern, Luzern, Switzerland (1999). De Keyser has participated in numerous prestigious group exhibitions, including LUZ, Museum van Hedendaagse Kunst Antwerpen, Antwerp, Belgium (2005); Friedrich Christian Flick Collection im Hamburger Bahnhof, Hamburger Banhof-Museum für Gegenwart, Berlin, Germany (2004); Painting on the Move, Museum fur Gegenwartskunst, Basel, Switzerland (2002); Mixing Memory and Desire, Neues Kunstmuseum Luzern, Luzern, Switzerland (2000); and Der zerbrochene Spiegel. Positionen zur Malerei, Messepalast & Kuntsthalle, Vienna, Austria (traveled to Deichtorhallen, Hamburg, Germany) (1992). Born in 1930, Raoul de Keyser is one of Europe s leading painters. In the mid-1960s, he was a member of Nieuwe Visie (New Vision), a group of painters who sought to reinvigorate certain aspects of European formalism by taking ordinary subjects and reducing them to simple flat shapes and lines. Having exhibited widely since then, de Keyser gained international recognition at Documenta IX in Kassel, Germany in 1992. He is known in Belgium as the father of contemporary painting, and his work has greatly influenced a generation of younger artists such as Tomma Abts, Rebecca Morris, and Luc Tuymans. Throughout the 1970s, De Keyser explored compositions based on the corner of a soccer field, a motif begun with a chalk powder outline at the Groninger Museum in The Netherlands. Using an abstract language with echoes of Abs

Raoul De Keyser: Recent Work

Raoul De Keyser

Wendy White

SOMETIMES DOING SOMETHING POETIC CAN BECOME POLITICAL AND SOMETIMES DOING SOMETHING POLITICAL CAN BECOME POETIC, which includes a film in collaboration with Julien Devaux as well as a map of Alys s journey, photocollages, paintings, drawings, and a group of sculptures, was exhibited in part at The Israel Museum in Jerusalem in 2005. The film, which revisits the artist s 1995 work entitled The Leak, shows Alys carrying a dripping can of green paint along the armistice boundary that Moshe Dayan marked on a map with green pencil after Israel s War of Independence ended in 1948. The piece questions the physicality and cultural relevance of the Green Line, its function as a social and spiritual division in the city of Jerusalem, and its role in the Arab-Israeli conflict. With this work, Alys asks: Can an artistic intervention truly bring about an unforeseen way of thinking, or it is more a matter of creating a sensation of "meaninglessness" that shows the absurdity of the situation? Can an artistic intervention translate social tensions into narratives that in turn intervene in the imaginary landscape of a place? Can an absurd act provoke a transgression that makes you abandon the standard assumptions on the sources of conflict? Can those kinds of artistic acts bring about the possibility of change? In any case, how can art remain politically significant without assuming a doctrinal standpoint or aspiring to become social activism? For the moment, I am exploring the following axiom: Sometimes doing something poetic can become political and sometimes doing something political can become poetic. Texts in English, Hebrew, and Arabic.

Sometimes Doing Something Poetic Can Become Political and Sometimes Doing Something Political Can Become Poetic

FRANCIS ALŸS

History & Criticism

Fred Sandback

Pamela M. Lee

All information is provisional and subject to change Dr. Eva Meyer-Hermann , art historian, has worked for international museums and major private collections for over 25 years. She was formerly a curator at the Krefelder Kunstmu - seen and was later director of the Kunsthalle Nrnberg. Afterwards, she was both director and curator of two private art collections in Switzerland, before becoming senior curator at the Van Abbemuseum in Eindhoven. Since 2006, she has been a freelance curator and writer, opening her Berlin office cakesmeyer in 2011, where she collaborates with artists and art institutions in Germany and abroad. David Zwirner Books / Yale University Press November 2017 Harcover with slipcase 9.25 x 12 in 23.5 x 30.5 cm 448 pages, 245 color ISBN 978-1-941701-61-4 $200 165 The first volume of a comprehensive record of paintings by the prolific Belgian artist, Luc Tuymans highlights his generative early work. Credited with a key role in the revival of painting in the 1990s, Belgian artist Luc Tuymans (b. 1958) continues to produce subtle, and at times unsettling, works that engage with history, technology, and everyday life. This first volume in a catalogue raisonn of Tuymanss paintings surveys nearly 200 works that were vital to his artistic development. The years 1978 to 1994 witnessed the maturation of his signature method of painting from preexisting imagerysuch as magazine images, Polaroids, and television footageas well as his first solo exhibition. Also dating from this period are many of his seminal canvases, along with ten poignant portraits of the ailing human body and Gaskamer and Schwarzheide (both 1986), which were part of the artists first solo exhibition in 1988, to Die Zeit (1988), a four-part work shown in his critically acclaimed Documenta presentation in 1992. The catalogue features an introductory essay by Eva Meyer-Hermann and an illustrated chronology with archival images and installation shots of the works in this volume

Luc Tuymans: Catalogue RaisonnE of Paintings Volume 1: 1978-1994 /anglais

MEYER-HERRMANN EVA

Over the course of four decades, Belgian painter Luc Tuymans has created his own distinctive vernacular, a new visual vocabulary. The second volume in a catalogue raisonné of Tuymans’s paintings surveys nearly two hundred works, including some of his most iconic canvases. Between the years 1995 and 2006, Tuymans’s work trended toward ideas of national and collective memory. In 1996, the artist created a group of ten paintings entitled The Heritage, for which he transformed familiar images of American life, such as Mount Rushmore, baseball caps, and the United States flag, into unsettling visions, addressing the country’s perceived vulnerability, both physical and psychological, following the 1995 Oklahoma City bombing. Paintings from Mwana Kitoko: Beautiful White Man, his seminal body of work that was first shown at David Zwirner, New York, in 2000, after which he expanded the series for his presentation for the Belgian Pavilion at the Venice Biennale in 2001, depict imagery derived from the fraught history of Belgian colonial rule of the Democratic Republic of the Congo. Also included is one of Tuymans’s best-known paintings, The Secretary of State (2005), a powerful yet seemingly vulnerable portrayal of Condoleezza Rice, which conjures the long history of racial and sexual prejudice in the United States, not as something that has been overcome, but as an active force shaping our reality. This volume includes an editor’s note by Eva Meyer-Hermann and an illustrated chronology with archival images and installation views of the featured works. It also presents brilliant color reproductions of each painting from this period. This publication is a testament to Tuymans’s persistent assertion of the relevance and importance of painting― a conviction that he maintains even in today’s digital world, when his work continues to be a touchstone for artists and scholars.

Luc Tuymans Catalogue Raisonne of Paintings: Volume 2, 1995-2006 /anglais

Meyer-Hermann, Eva

Published on the occasion of his fifth solo exhibition at David Zwirner gallery in New York, Even the Ghost of the Past presents new work by the influential young Canadian artist Marcel Dzama--including a DVD of original short films. A favorite among the art, literary and indie music scenes, Dzama is best known for his figurative compositions of pen and watercolor on manila-colored paper. Bearing a characteristic palette of muted browns, greys, greens and reds, Dzama's drawings are populated by an expansive cast of human, animal and hybrid characters. In recent years, Dzama has extended his practice to include work in multiple media. A recent exhibition, for example, transformed the gallery into an odeum of imagination, replete with drawings, sculptures, dioramas and films. Featuring an interview with the artist by filmmaker Spike Jonze and designed in collaboration with the artist as two hardback books twin-bound into one with a custom drawing on the cover, Even the Ghost of the Past is destined to become an instant collector's item. Marcel Dzama was born in 1974 in Winnipeg, Manitoba, Canada. A co-founder of the Winnipeg-based Royal Art Lodge collective, he currently lives in New York City.

Marcel Dzama: Even the Ghost of the Past

Shaw, Cameron

Reference

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