Barry McGee

In 2004, San Francisco street artist Barry McGee created a large-scale installation for The Rose Art Museum at Brandeis University. This artist's book is the only record of the project, which was dismantled at the end of the exhibition. McGee's graffiti markings first appeared under the tag name Twist in San Francisco in the 1980s. A formally trained artist, McGee draws on a variety of influences, ranging from Mexican muralist painting, San Francisco Beat poetry and pivotal artistic forefathers such as Jean-Michel Basquiat, Keith Haring and Philip Guston. Interwoven with his large-scale graphics and comic-strip works are found materials such as empty bottles, discarded syringes, old sheet metal and other fragments from the street, remade into sculptural installations. The artist's sad-eyed characters, painted as large-scale figures on the walls or as miniature versions on his found objects, voice the burden of deep existential uncertainty in a culture organized around economic and ethnic inequality. Limited stock available.

Arts & Photography

Individual Artists

The Rose Art Museum

This first book of Dana Schutz's paintings is just catching up with her rave reviews--the New York Times said one recent show was "outstanding," and Artforum agreed, "far greater than the sum of its parts." Schutz's ecstatically imaginative work, executed in a vibrant, subjective palette, has made an impact since she began exhibiting five years ago. Paintings 2002 - 2005 features significant examples of the bodies of work that constitute her oeuvre to date, including the fictitious narrative Frank from Observation, as well as Self-Eaters, which revolves around making and remaking, plus works depicting the construction and destruction of imaginary societies, and paintings of musicians. One undercurrent explored is Schutz's captivating investigation of the artist's role as creator, and hence the relationship between the maker and the made. Another is her tendency to make open-ended references to a vast pool of stylistic and art-historical sources.

Dana Schutz: Paintings 2002-2005

Dana Schutz

History & Criticism

Celebrated for his exuberant, color-packed canvases, and legendarily influential as a teacher to several generations of artists―first in his native Germany, then in New York and Provincetown―Hans Hofmann (1880–1966) looms large indeed over postwar American painting. Circa 1950 accompanies The Rose Art Museum's examination of the nine studies for murals that Hofmann produced for the Chimbote Project, architect Josep Sert's 1950 Peruvian urban planning project. These works show Hofmann hitting an apex in his art: his canvasses spill over with gloriously messy energy, and palpable physicality, as they riff on strong, anchoring, circular, angular and cruciform forms. This full-color catalogue embellishes images from the project with essays by curators Michael Rush and Catherine Morris, and renowned critic Irving Sandler.

Hans Hofmann: Circa 1950

Morris, Catherine

SANDLER, Irving

Women of all ages and colors in simple, patterned dresses fill Rojas's works, full of confidence and big smiles. And men with soft, slumped bodies are often depicted naked in simple, flowing lines. The compassion and humor in these reversals, along with the exuberance of Rojas's creative power in a barrage of media--among them vibrant gouache-on-panel painting, installation, film, printmaking, quilting and banjo--have brought her increasing attention. The New York Times's Roberta Smith wrote in a 2004 review that Rojas's work "brims with promise."Hope Springs Eternal, the artist's first book, is not just an in-depth selection of images but an object in itself, its soft cover embossed with a quilted motif. Rojas studied at the Rhode Island School of Design and the Art Institute of Chicago, she is represented by Deitch Projects in New York and her work has appeared in the traveling show, Beautiful Losers, among others.

Clare Rojas: Hope Springs Eternal

Platow, Raphaela

Snider, Suzanne

Disturbingly majestic hurricanes, wind-energy fields, tornadoes, landslides, waterspouts, melting glaciers, forest fires and newly mutant species are some of the subjects of Alexis Rockman's deeply hued and intricately crafted works on paper. Surreal and deeply critical of man's destructive relationship to the environment, the primary works collected in this volume, published to accompany Rockman's first major large-scale museum exhibition in the United States, were all made since 2005. With echoes of J.M.W. Turner, Winslow Homer, Charles Burchfield and Rockman's own inimitable realism, the works surge with a power and flow of color that announces a new direction for this remarkable artist, who has been praised as much for his figurative exactitude as for his wildly imaginative take on what is considered the real. Essays are by the Rose Art Museum's Michael Rush and the Harvard University Art Museums' Helen Molesworth; the artist interview is by Brett Littman of The Drawing Center in New York.

Alexis Rockman: The Weight of Air

Molesworth, Helen

Francesco Clemente; Tandoori Satori and Commonplace

PLAT

Katz, Vincent

CREELEY, Robert

Diego

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Books by The Rose Art Museum