Search results for ""Author Mark Godfrey""

Published to document the exhibition Ed Ruscha: Tom Sawyer Paintings, this lavishly illustrated bilingual English and French catalogue features new essays by Mark Godfrey and Ralph Rugoff.

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We become like the river reflected, both light and dark. Struggling artist Sylvia is offered an unusual commission by the mysterious Victor, acting on behalf of a secret sponsor, who wants to engage her for a year to produce art depicting the Holocaust. She accepts the project on trust and discovers an enigmatic thirteen-year-old girl, Nina, who becomes her model and pupil. As the months pass, Sylvia begins to unravel the truth about Victor, the secret sponsor and Nina, while unearthing more about history and identity than she was ever prepared for. A family drama that champions the structures and beliefs that underpin a civilised society, The River Reflects faces the darkest shadows of human nature. With the Thames winding relentlessly through this compelling story, Sylvia, Victor, Nina and those around them progress from fear and isolation to seek love and fortitude and the redemptive power of the human spirit.

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Since Tate Modern opened, the Turbine Hall has hosted some of the most memorable and acclaimed site-specific art installations of the twenty-first century, reaching an audience of millions. This book is published to accompany the inaugaral Hyundai Commission, the first in a new series of annual exhibitions that will give renowned international contemporary artists an opportunity to create new work for one of the world's most iconic museum spaces. Abraham Cruzvillegas (b.1968), one of the key figures to have emerged in Mexico among a new wave of conceptual artists, is best known for his sculptural works made from local found objects and materials. He has titled this body of work autoconstruccion or 'self-construction'. This term usually refers to the way Mexicans of his parents' generation, arriving in the capital from rural areas in the 1960s, self-built their houses in stages, improvising with whatever materials they could source. His approach to sculpture continues the principles of autoconstruccion, recycling locally found objects and improvising new ways to build, design and create. As an artist he is also concerned with how a strong community spirit and hope can be maintained in precarious economic and political conditions. These ideas have led to projects staged in Glasgow, Paris, Oxford, Gwangju, Kassel and many other places. During a residency at Cove Park in Scotland, Cruzvillegas gathered discarded materials such as wool, fencing, a rubber buoy and bits of wood to create a dynamic installation of sculptures. In Glasgow he created a modified bicycle which he pedalled through the city while playing music created in collaboration with local bands. In recent years his work has been exhibited at Haus der Kunst, Munich (2014); Walker Art Center, Minneapolis (2013); Modern Art Oxford (2011) and The New Museum, New York (2011). Created in close collaboration with the artist, the book will feature a fully illustrated survey of Cruzvillegas's life and work and an in-depth interview with curator Mark Godfrey. Exploring in fascinating detail the artistic processes involved in creating this monumental new work, it will include stunning photographs of the awe-inspiring installation to be revealed in the Turbine Hall in October 2015.

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Soul of a Nation shines a bright light on the vital contribution of Black artists to a dramatic period in American art and history. In the period of radical change that was 1963 to 1983, young Black artists at the beginning of their careers in the USA confronted key questions and pressures. How could they make art that would stand as innovative, original, formally and materially complex, while also making work that reflected their concerns and experience as African Americans? This significant new publication surveys this crucial period in American art history, bringing to light previously neglected histories of twentieth-century Black artists, including Frank Bowling, Sam Gilliam, Melvin Edwards, Bettye Saar, Jack Whitten and William T. Williams. This book presents era-defining artworks that changed the face of art in America, and features substantial essays from curators Mark Godfrey and Zoe Whitley, writing on abstraction and figuration respectively. It also explores art historical and social contexts with subjects including black feminism; AfriCOBRA and other artist-run groups; the role of museums in the debates of the period; and where visual art sat in relation to the Black Arts Movement.

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A comprehensive compendium of artists and writers confronting questions of Black identity, activism and social responsibility in the age of Malcolm X and the Black Panthers, based on the landmark traveling exhibition A New York Magazine 2021 holiday gift guide pick What is “Black art”? This question was posed and answered time and time again between 1960 and 1980 by artists, curators and critics deeply affected by this turbulent period of radical social and political upheaval in America. Rather than answering in one way, they argued for radically different ideas of what “Black art” meant. Across newspapers and magazines, catalogs, pamphlets, interviews, public talks and panel discussions, a lively debate emerged between artists and others to address profound questions of how Black artists should or should not deal with politics, about what audiences they should address and inspire, where they should try to exhibit, how their work should be curated, and whether there was or was not such a category as “Black art” in the first place. Conceived as a reader connected to the landmark exhibition Soul of a Nation: Art in the Age of Black Power, which shone a light on the vital contributions made by Black artists over two decades, this anthology collects over 200 texts from the artists, critics, curators and others who sought to shape and define the art of their time. Exhaustively researched and edited by exhibition curator Mark Godfrey, who provides the substantial introduction, and Allie Biswas, included are rare and out-of-print texts from artists and writers, as well as texts published for the first time ever. Contributors include: Lawrence Alloway, Emma Amos, Benny Andrews, Tomie Arai, Ralph Arnold, Dore Ashton, Malcolm Bailey, Amiri Baraka, Romare Bearden, Fred Beauford, Cleveland Bellow, LeGrace G. Benson, Dawoud Bey, Camille Billops, Gloria Bohanon, Claude Booker, Frank Bowling, David Bradford, Peter Bradley, Gwendolyn Brooks, Kay Brown, Milton Brown, Vivian Browne, Linda Goode Bryant, Margaret G. Burroughs, Debbie Butterfield, Steve Cannon, Yvonne Parks Catchings, Elizabeth Catlett, Dana Chandler, Claudia Chapline, Charles Childs, Edward Clark, A.D. Coleman, Dan Concholar, John Coplans, Hugh M. Davies, Douglas Davis, Bing Davis, Alonzo Davis, Dale Davis, Melvin Dixon, Jeff Donaldson, Robert Doty, Emory Douglas, John Dowell, Louis Draper, David C. Driskell, Tony Eaton, Eugene Eda, Melvin Edwards, Ray Elkins, Ralph Ellison, Marion Epting, Elton Fax, Elsa Honig Fine, Frederick Fiske, Babatunde Folayemi, Clebert Ford, Edmund Barry Gaither, Addison Gayle, Henri Ghent, Ray Gibson, Sam Gilliam, Robert H. Glauber, Lynda Goode-Bryant, Allan M. Gordon, Earl G. Graves, Carroll Greene, Abdul Alkalimat, David Hammons, David Henderson, Napoleon Henderson, M.J. Hewitt, Richard Hunt, Sam Hunter, Josine Ianco-Starrels, Nigel Jackson, Jay Jacobs, Jae Jarrell, Wadsworth Jarrell, Daniel LaRue Johnson, Marie Johnson, Walter Jones, Lois Mailou Jones, Barbara Jones-Hogu, Cliff Joseph, Paul Keene, Martin Kilson, Wee Kim, April Kingsley, Hilton Kramer, Jacob Lawrence, Carolyn Lawrence, Don L. Lee, Hughie Lee-Smith, Samella Lewis, Tom Lloyd, Al Loving, Howard Mallory, Earl Roger Mandle, Jan van der Marck, Phillip Mason, James Mellow, Paul Mills, Evangeline J. Montgomery, Toni Morrison, Keith Morrison, Larry Neal, Cindy Nemser, Senga Nengudi, Robert Newman, Lorraine O'Grady, Ademola Olugebefola, John Outterbridge, Joe Overstreet, Marion Perkins, Marcy S. Philips, Howardena Pindell, Mimi Poser, Helaine Posner, Noah Purifoy, Ishmael Reed, Gary Rickson, Clayton Riley, Faith Ringgold, Mark Rogovin, Barbara Rose, Victoria Rosenwald, Joseph Ross, Bayard Rustin, Betye Saar, Raymond Saunders, Robert Sengstacke, Jeanne Siegel, Lowery Stokes Sims, Steve Smith, Beuford Smith, Frank Smith, Val Spaulding, Edward Spriggs, Nelson Stevens, James Stewart, Edward K. Taylor, Alma Thomas, Ruth Waddy, William Walker, Francis and Val Gray Ward, Timothy Washington, Burton Wasserman, Diane Weathers, John Weber, JoAnn Whatley, Charles White, Jack Whitten, Roy Wilkins, William T. Williams, Gerald Williams, Randy Williams, William Wilson, Hale Woodruff and Cherilyn C. Wright.

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A celebration of groundbreaking works by generations of women artists from Joan Mitchell to Julie Mehretu and beyond This book explores the bold vision and vast range of achievements of women artists working predominantly across North America from the late 1960s into the present moment. The paintings, sculpture and mixed-media works featured are drawn from the Shah Garg Collection, which is dedicated to illuminating the critical role that women have played in shaping the development of abstraction and the narratives of art more broadly. Making Their Mark includes two sweeping essays by editors Mark Godfrey and Katy Siegel, writings by six scholars on topics relevant to the depth of the collection, such as the importance of craft traditions, artistic experimentation with new technologies and the impact of personal and communal identity on artmaking, as well as lively texts by 15 artists about the artists who inspire them. Richly illustrated with works by 136 artists, this volume offers new insights that make it a resource for students of art and general readers alike. Artists include: Pacita Abad, Candida Alvarez, Olga de Amaral, Emma Amos, Firelei Báez, Jennifer Bartlett, Barbara Chase-Riboud, Trude Guermonprez, Jacqueline Humphries, Suzanne Jackson, Maria Lassnig, Simone Leigh, Julie Mehretu, Joan Mitchell, Senga Nengudi, Toyin Ojih Odutula, Calida Rawles, Ilana Savdie, Tschabalala Self, Lorna Simpson, Jaune Quick-to-See Smith, Pat Steir, Lenore Tawney, Toshiko Takaezu, Charline von Heyl, Kay WalkingStick and Mary Weatherford.

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A maverick figure in New York’s downtown scene, Humphries has revitalized the language of abstract painting over a career that has covered four decades and multiple transformations in style Published on the occasion of Jacqueline Humphries’ exhibition at the Wexner Center for the Arts, this major catalog surveys the artist’s work from the past seven years, including dozens of new paintings and her largest multipanel installations to date. The exhibition and its accompanying catalog highlight the importance of digital communications and online culture in Humphries's ever-changing practice. Incorporating the QWERTY keyboard as a means of generating abstract forms, the artist's recent paintings integrate emoticons, emojis, CAPTCHAs and ASCII text as layers of mark-making in dense and vivid works. Other featured works explore the visual language of corporate logos; black light paintings presented in darkened spaces; a group of protest paintings that subtly channel political dissent; and thickly painted renderings of white noise, in which digital content receives viscerally material application. Across each body of work, Humphries reaffirms her ongoing commitment to abstract painting, while bringing a seemingly traditional form into dialogue with the issues and interfaces that shape contemporary life. The book features essays by exhibition curator Mark Godfrey, Courtney J. Martin, Jenny Nachtigall and former Wexner Center Director Johanna Burton. Designed by Studio Markus Weisbeck, this extensively illustrated monograph offers an in-depth view of Humphries's continued evolution in painting.

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Anri Sala (b. 1974) creates hauntingly simple videos that explore the roles language and vision play in fractured contemporary society.Anri Sala is represented by Galerie Chantal Crousel (Paris), Hauser & Wirth (Zurich/London) and Marian Goodman Gallery (New York).

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Internationally renowned artist and self-described "still-life photographer" Eileen Quinlan (born 1972) uses medium- and large-format analog cameras to create abstract photographs, working the film with steel wool or lengthy chemical processing. Among the subjects of her photographs are smoke, mirrors, Mylar, colored lights and other photographs. Featuring color reproductions and in-depth critical essays by Mark Godfrey and Tom McDonough, this book surveys Quinlan’s use of Polaroid film from 2006 to 2017. Initially used as a tool for proofing, Quinlan’s Polaroids can be seen as sketches, moments in which crucial formal and conceptual questions were explored and worked out. Moving through her extensive archive, one can find the origins of almost every larger body of work, as well as many ideas that remained in the repository, evidencing the artist’s desire to push beyond the constraints of her apparatus.

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The first and only monograph to give a comprehensive examination of acclaimed American artist Sarah Sze's painting practice Since the late 1990s, Sarah Sze has developed a signature visual language that challenges the static nature of art with a dynamic body of work spanning sculpture, painting, drawing, printmaking, video and installation. In recent years, Sze has returned to painting, the medium in which she was first trained. Comprising constellations of painted and collaged elements, her expansive abstract landscapes explore a visual world that is constantly evolving, degrading, and generating new ways of seeing. Her paintings are highly sought-after and are held in the permanent collections of prominent institutions and museums worldwide. The book includes two essays by Mark Godfrey and Tina Pang that explore Sze's influences and her working process, plus an interview between the artist and Madeleine Grynsztejn, that expands on the theoretical underpinnings of her painting practice. With each copy numbered and hand signed by the artist, this exquisitely illustrated luxury volume, packaged in a cloth-wrapped slipcase, was created in close collaboration with Sze, and is the first monograph devoted to her painting practice.

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First published in conjunction with a major retrospective, this monograph takes colour as its guiding thread to highlight Mel Bochner’s rich and thought-provoking approach to photography, installation and painting. One of the founding figures of Conceptual art, and one of its most astute critics, Mel Bochner combines colour and language in his work. This monograph focuses on the role of colour, purity of thought and visual pleasure in Bochner’s most recent work – such as a series of paintings in which he used a thesaurus to generate humorous word chains – and relates it back to the artist's renowned works from the 1960s and 1970s. Alongside 140 colour illustrations, Achim Borchardt-Hume discusses the role of colour in Bochner’s recent work; João Fernandes explores language; Ulrich Wilmes looks at new paintings in relation to past work; and Briony Fer considers notions of corruption in Bochner’s art.

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A sweeping retrospective of Philip Guston’s influential work, from Depression-era muralist to abstract expressionist to tragicomic contemporary master A Wall Street Journal 2020 holiday gift guide pick Philip Guston—perhaps more than any other figure in recent memory—has given contemporary artists permission to break the rules and paint what, and how, they want. His winding career, embrace of “high” and “low” sources, and constant aesthetic reinvention defy easy categorization, and his 1968 figurative turn is by now one of modern art’s most legendary conversion narratives. “I was feeling split, schizophrenic. The war, what was happening in America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything—and then going into my studio to adjust a red to a blue?” And so Guston’s sensitive abstractions gave way to large, cartoonlike canvases populated by lumpy, sometimes tortured figures and mysterious personal symbols in a palette of juicy pinks, acid greens, and cool blues. That Guston continued mining this vein for the rest of his life—despite initial bewilderment from his peers—reinforced his reputation as an artist’s artist and a model of integrity; since his death 50 years ago, he has become hugely influential as contemporary art has followed Guston into its own antic twists and turns. Published to accompany the first retrospective museum exhibition of Guston’s career in over 15 years, Philip Guston Now includes a lead essay by Harry Cooper surveying Guston's life and work, and a definitive chronology reflecting many new discoveries. It also highlights the voices of artists of our day who have been inspired by the full range of his work: Tacita Dean, Peter Fischli, Trenton Doyle Hancock, William Kentridge, Glenn Ligon, David Reed, Dana Schutz, Amy Sillman, Art Spiegelman and Rirkrit Tiravanija. Thematic essays by co-curators Mark Godfrey, Alison de Lima Greene and Kate Nesin trace the influences, interests and evolution of this singular force in modern and contemporary art—including several perspectives on the 1960s and ’70s, when Guston gradually abandoned abstraction, returning to the figure and to current history but with a personal voice, by turns comic and apocalyptic, that resonates today more than ever.

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