Introduction by Franz Dahlem. 52 pages. 26 plates (18 color, 8 b&amp;w). Wraps. 
8 3/4 x 6 7/8 inches; 22.5 x 17.5 cm 
22 works on paper made between 1988 and 1991, with an introduction, written in letter form, by Baselitz’s friend, the critic Franz Dahlem.

Georg Baselitz: Pastels Watercolors Drawings [exhibition: May 2-June 26, 1992]

Arts & Photography

Georg Baselitz

Franz Dahlem

Drawing

Matthew Marks Gallery

A catalogue raisonné of de Kooning's 33 sculptures. Published to accompany the first exhibition of de Kooning's monumental outdoor sculptures, this book includes specially commissioned photographs by Adam Bartos of the three sculptures installed outside the artist's studio in East Hampton, New York, as well as a wealth of previously unpublished photographs from the artist's archives. 
(Texts by Andrew Forge, David Sylvester, and William Tucker. Photographs by Adam Bartos. Includes an illustrated checklist of the complete sculpture)

Willem de Kooning: Sculpture

David Sylvester

William Tucker

Andrew Forge

Essays by Dave Hickey and James Meyer. Two volumes in a slip case. 34 color plates. 68 pages.

Ellsworth Kelly: Sculpture for a Large Wall, 1957

Dave Hickey

Ellsworth Kelly

James Meyer

Essays by John Rajchman and Ronald Jones. Softcover with dust jacket and Smythe-sewn binding. 12 color plates. 19 b&w plates.

Terry Winters: Graphic Primitives

Jones, Ronald

Rajchman, Essays by John

This book features 28 large-scale canvases, three sculptures, and two public commissions Kelly executed over three years. Benjamin H. D. Buchloh's essay explores Kelly's singular contribution to the modernist dialectic.

Ellsworth Kelly: Matrix

Benjamin Buchloh

Think of an Ellsworth Kelly: an abstract consideration of the relationship between figure and ground; a conscious questioning of the conditions that underlie perception; an exploration of the relationship of painting and wall, sculpture and space, viewer and work. Now think of Ellsworth Kelly: a man, born in the 1920s in New York state, who has been recording his own appearance in ink and graphite over the years, capturing himself as his attitudes changed, his self-perception changed, his face and body aged. Collected here are five decades of Kelly's self-portraits, drawn between 1944 and 1992. The artist sketches himself in all variety of poses: bust, standing, sitting, clothed, nude, laughing, serious, self-possessed. The style of drawing changes as frequently, from line drawing to cubist to comic to naturalistic. Taken together, they present a marvelous portrait of the artist as a man.

Ellsworth Kelly: Self Portrait Drawings 1944-1992 (MATTHEW MARKS G)

Cooper, Harry

Individual Artists

Gary Hume: Karneval/Carnival

Prenzler, Anne

Terry Winters, 1981-1986

Richard Shiff

Ever since the early 1970s, sculptor Charles Ray's protean practice has yielded some of the most memorable objects and experiences in contemporary art, causing us to confront, as Peter Schjeldahl has written, "elegant, deadpan fabrications that flip wild switches in our minds." In 1987's "Ink Line," for example, he sent a single stream of ink flowing to the middle of a gallery's floor in a slender column; outside the 1993 Whitney Biennial he parked a massive replica of a toy fire engine. His recent work is just as alluring and unsettling: a steel sculpture of a handheld bird, a poster of an ominous pumpkin, an intricate cast aluminum sculpture of a tractor. Charles Ray surveys the work the artist has made in the past dozen years; an interview by Michael Fried and an essay by John Kelsey complement texts written about each work by Ray himself.

Charles Ray

Fried, Michael

In this stunning collection of works on paper made between 1997 and 2007, most of which have never been reproduced before, Jasper Johns "preempts the tendency of commentators to cite his productions of decades past by doing the job himself," according to essayist Thomas Crow. The works are filled with autobiographical references and allusions to art-historical precursors. They often combine early motifs like flags, maps, numerals or cross-hatchings with newer ones like the Harlequin's costume, pieces of string or flagstones. Says Crow, "This recursivity is habitual. There is virtually no motif or device that Johns has ever used that can be regarded as safely forgotten or discarded. When asked about the longevity of certain of these motifs, Johns replies half-seriously that he would like to get rid of them, but they will not go away. In his gradually expanding network of emblems and objects, any one of them, it seems, can strike up a relationship with any other, such that the outcome almost never prompts thoughts of exhaustion or absence of invention. A single addition, like the bits of string suspended in catenary curves that made their appearance around 1996, has a way of regalvanizing the entire existing repertory."

Jasper Johns: Drawings 1997-2007

Crow, Thomas

History & Criticism

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Books by Matthew Marks Gallery