Joan Mitchell: Paintings, 1979-1985 (inbunden)
Format
Inbunden (Hardback)
Språk
Engelska
Antal sidor
104
Utgivningsdatum
2024-09-05
Förlag
David Zwirner
Medarbetare
Otsuka, Julie (text)/Sillman, Amy (contributions)/Smith, Shinique (contributions)/Stockman, Lily (contributions)/Sillman, Amy (contributions)/Smith, Shinique (contributions)/Stockman, Lily (contributions)/Sillman, Amy (contributions)/Smith, Shinique (contributions)/Stockman, Lily (contributions)/Mic
Illustrationer
51 Illustrations, unspecified
Antal komponenter
1
ISBN
9781644231180

Joan Mitchell: Paintings, 1979-1985

Inbunden,  Engelska, 2024-09-05
645
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Discover Joan Mitchells powerful and dynamic workspotlighted in this book as never before An entry for one of the best shows of 2022. . . . Mitchell, then in her 50s, reaches peak form in gathering brushstrokes that flicker and burn like auras on fire. Jerry Saltz, New York magazine This highly anticipated publication focuses on the years 1979 to 1985a significant and deeply generative period within Joan Mitchells decades-long career. As Mitchell became even more fully immersed in daily life at her property in Vtheuil, Francesurrounded by lush gardens, and challenged and inspired by new creative relationshipsher studio practice flourished and her work became even more ambitious and expansive. Executed in an increasingly bold palette, the works from this period exemplify Mitchells nuanced mastery of composition, scale, and color. In addition to her large-scale abstract works, this publication features numerous smaller paintings and a selection of archival materials. Included in the book are several texts that complement the illustrated works. A new essay by the bestselling author Julie Otsuka recollects her encounters with Mitchells paintings over the years. A fascinating conversation between Mitchell and the French philosopher Yves Michaud from 1986 is featured. Reflections by the artists Shinique Smith and Lily Stockman each explore a unique component of Mitchells oeuvre or practice, underscoring Mitchells continued influence on artists today.
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Övrig information

Joan Mitchell (19251992) established a singular visual vocabulary over the course of her more than four decade career. Born in Chicago and educated at the School of the Art Institute of Chicago, from which she received a BFA (1947) and an MFA (1950), Mitchell moved to New York in 1949 and was an active participant in the downtown arts scene. She began splitting her time between Paris and New York in 1955, before moving permanently to France in 1959. In 1968, Mitchell settled in Vtheuil, a small village northwest of Paris, while continuing to exhibit her work throughout the United States and Europe. When Mitchell passed away in 1992, her will specified that a portion of her estate should be used to establish a foundation to directly support visual artists. Yves Michaud is a French philosopher, writer, and professor emeritus of philosophy at the Sorbonne, Paris. In the 1970s, he began working as an art critic, developing relationships with contemporary artists of the time in Paris, including Joan Mitchell. Michaud has published widely on the relationships of the arts and culture in a globalized, technological world. From 1989 to 1997 he was the director of the cole des Beaux-Arts in Paris. Julie Otsuka is the award-winning and best-selling author of The Swimmers (2022), The Buddha in the Attic (2012), and When the Emperor Was Divine (2003). Her books have been awarded the Andrew Carnegie Medal for Excellence in Fiction, the PEN/Faulkner Award for Fiction, and the American Library Association Alex Award, among other distinctions. Shinique Smith is an American artist whose multidisciplinary practice includes painting, sculpture, video, installation, and performance. Exploring ideas of transformation and ritual through materials such as fabric, clothing, and personal belongings, breath, bundling, collage, and gesture, Smith has built a complex visual vocabulary that resonates on intimate and social scales. Lily Stockman is a Los Angelesbased painter. Drawing from nature and its grammar of symmetry, camouflage, and repetition, Stockman plumbs the American landscape for her distinctive palette of glowing, tertiary colors. Her essays have appeared in Vogue, the Iceland Review, Monocle, and books on artists, and her work is in the permanent collections of the Hirshhorn Museum in Washington, DC, the Museum of Contemporary Art Los Angeles, the Institute of Contemporary Art Miami, and the Orange County Museum of Art, among other institutions.