By the mid-1970s, Andy Warhol was veering away from his earlier focus on mainstream celebrities and toward more eclectic subjects, such as the cross-dressers in his Ladies and Gentlemen series. In 1976, he made a series of paintings and drawings of the Native American actor and activist Russell Means. Starting with popular publicity shots, Warhol transferred these images to silkscreen and then printed them on canvases. Warhol presents Means with exaggerated, glamorized features; some of the canvases include hand-painted embellishments and decorations that distinguish this series from the mechanical approach of Warhol’s earlier celebrity portraits. Through a combination of mass technology and ornamental technique, Warhol transforms a commonplace image into a dignified and majestic portrait that pays tribute to both an individual and his people.

Andy Warhol: The American Indian, Paintings and Drawings

Arts & Photography

Mason, Rainer

Individual Artists

Skarstedt Gallery

This catalogue was published on the occasion of the exhibition Richard Prince: Protest Paintings and is accompanied by Richard Prince's essay 'Half- Mast', an extract from his memoirs "Tell Me Everything". This is the first publication dedicated to this seminal body of work realised between 1989 -1995. Painted onto a vertical canvas in the shape of a protest placard, the Protest Paintings alternate between monochromatic minimalism and richly layered colourful abstraction. Incorporating printed and handwritten jokes, as well as mined pattern details silkscreened onto the canvas, these paintings exemplify Prince's practice of appropriation. Subverting the use of symbols, texts and gestures, the paintings are not only a response to the social and political climate of the post-war era, they emphasize the inextricable web of politics, patriotism and devotion at the heart of American identity. Featuring paintings from public and private collections, this catalogue demonstrates the breadth of Prince's creativity in this singular body of work.

Richard Prince: Protest Paintings

Richard Prince

Barbara Kruger, Pre Digital 1980-1992 is a fully illustrated catalogue featuring 44 color plates of Kruger's intimately scaled artworks which explore a unique stage of her career. All of the works were created before the widespread use of digital imagery and vary in sizes no larger than 11 x 13 inches. They are composed of images and texts from the media altered in order to transform their original visual and conceptual meanings. A negative of the works was then produced and used to make enlarged version of these initial "paste-ups."

Barbara Kruger, Pre Digital 1980-1992

Barbara Kruger

Exhibition: New York, Skarstedt Gallery, 2014. 124 pages, illustrated throughout in colour. Hardback 25 x 31cms.

Martin Kippenberger: The Raft of Medusa

Published on the occasion of the exhibition Albert Oehlen | Fabric Paintings, this catalogue includes both full plate images and details from a body of work never before shown as a group. Painted from 1992 – 1996, the Fabric Paintings signaled a new direction in Oehlen’s career. He abandoned the strict, formal compositions that he had produced in his early work and instead focused on the process of painting. Rather than utilizing pristine canvas, Oehlen gained notoriety for his use of patterned fabric. He began these works by piecing together pre-printed striped or floral-pattern material as the painting support. From these fractured surfaces the Fabric Paintings appear explosive, a true test to the limits of painting. Accompanying the reproductions and installation photographs, the book includes the essay “Whole Cloth” by John Corbett, as well as a full annotated catalogue of works.

Albert Oehlen: Fabric Paintings

John Corbett

Published on the occasion of the exhibition Georg Baselitz: Drinkers and Orange Eaters, this book is a full catalogue raisonné of the two series, which date from 1981-1982. The catalogue includes full plate images of the 27 paintings that comprise this body of work, as well as select detail images. Accompanying the reproductions is the essay "Oranges and Apples" by Katy Siegel, historical studio images, and a complete annotated catalogue of all works. In the Drinkers and Orange Eaters, Baselitz reacts to the work of his German Expressionist predecessors - Ernst Ludwig Kirchner and Emil Nolde, among others-paying homage to his artistic forefathers while simultaneously establishing distance from them. Championed as a leading exponent of German Neo-Expressionist painting, Baselitz displays a newfound freedom from ideological pressures with these works. Baselitz explains, "The '80s helped me to rearrange everything; I was able to set up a whole range of ideas and experiences anew, which meant I was able to break everything down so I could make something out of it again." These two series are regarded as some of Baselitz's most expressive and vividly colorful works, emphasizing the physicality of paint and gestural brushstrokes. Baselitz said of this series, "I was boxing with both hands, so to speak," using form, style and color to shatter traditional assumptions. The Drinkers and Orange Eaters represent a critical time in history and an evolving ideology of liberation.

Georg Baselitz: Drinkers & Orange Eaters

Katy Siegel

Published on the occasion of the exhibition, de Kooning Sculptures, 1972-1974, this catalogue includes full plate images and details of the seminal body of work, as well as Paintings Made of Clay: The Sculpture of Willem de Kooning, an essay by George Condo. For de Kooning, the exploration of sculpture, which he began at the age of 65, was intended as an extension of the paintings for which he is widely known and acclaimed. His first sculptures were created in the summer of 1969, when he modeled small figures in clay. From 1972-1974, Willem de Kooning continued his exploration of sculpture at his studio and home in East Hampton, producing eleven new works on a larger scale. "In some ways, clay is even better than oil," de Kooning admitted in 1972. "You can work and work on a painting but you can't start over again with the canvas like it was before you put that first stroke down. And sometimes, in the end, it's no good, no matter what you do. But with clay, I cover it with a wet cloth and come back to it the next morning and if I don't like what I did, or changed my mind, I can break it down and start over. It's always fresh."

Willem de Kooning, Sculptures 1972 - 1974

Willem De Kooning

Published on the occasion of the exhibition Andy Warhol: Self Portraits (Fright Wigs) at Skarstedt Gallery in New York, this catalogue features beautiful full plate images, details and installation shots of Andy Warhol's monumental Self Portraits of 1986. The catalogue also features an essay Shades of Warhol discussing the iconic series. The Self Portrait (Fright Wig) series represents a culmination of themes present in Warhol's oeuvre. Throughout his career, Warhol painted portraits of celebrities, politicians and socialites that he considered the icons of contemporary life. Here he places himself in that same category, elevating his own status and the status of the artist. Further, Warhol employs his mechanical approach to art making by using his perfected silk-screen technique to create a serialized image. Warhol's work has been the subject of countless exhibitions in galleries and museums around the world. Important exhibitions were held at the Neue Nationalgalerie in Berlin in 2001, the Wilhelm-Hack-Museum in Ludwigshafen, Germany in 1996, the Museum of Modern Art in New York, and the Centre Georges Pompidou in Paris in 1989. His works have also been exhibited in major institutions such as the National Museum of American Art, Smithsonian Institution in Washington, the Museum Haus Lange in Krefeld, Germany and the Moderna Museet in Stockholm. The Andy Warhol Museum opened in Pittsburgh, Pennsylvania in May of 1994. His work has been featured in numerous publications. Andy Warhol died in 1987 in New York.

Andy Warhol: Self Portraits (Fright Wigs)

Skarstedt

Published on the occasion of the exhibition Martin Kippenberger: Hand Painted Pictures at Skarstedt Gallery in New York, this catalogue features full plate images, details, and an extensive essay about the series by Art Historian Jakob Schillinger, Vorsprung Durch Reinkarnation. Painted in 1992, the series was created on the island of Syros, Greece and in the artist's Frankfurt studio. Hand Painted Pictures represents the second of three major cycles of self- portraits in Kippenberger's oeuvre and demonstrates the artist's preoccupation with the subject of self-representation. Classical art history celebrates portraiture as one of the highest genres of art for its ability to elevate the status of the sitter. Here, Martin Kippenberger scraps that institutional notion and instead offers an inglorious, sometimes grotesque, series of self-portraits. The paintings were first exhibited at Max Hetzler Gallery in Cologne, Germany in October of 1992. Often referencing modern icons and historical figures in his paintings, Kippenberger's Hand Painted Pictures are at once comical and tragic, serious and subverted, and some of the most important paintings in his oeuvre.

Martin Kippenberger: Hands Painted Pictures

Lineage: de Kooning and His Influence

Unknown, Author

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Books by Skarstedt Gallery