Search results for ""Author Suzanne Hudson""

Dazzling and playful, Katherine Bernhardt’s newest paintings highlight her fascination with American pop vernacular, from Pokémon and the Pink Panther to Crocs and psilocybin mushrooms. ---------- "Bernhardt has always been impressive for her ability to combine the immediate, seductive properties of paint with the infectious humor of topical pop culture." —Hyperallergic ---------- Bernhardt’s boundless visual appetite has established her as one of the most exciting painters working today. Thinking about the relationship between art, objects, and commerce, Bernhardt spotlights iconic motifs of cartoons and cultural symbols. Colors and lines bleed and pool together, revealing Bernhardt’s brisk and improvisational process. Monumental in size, subject matter, and vibrancy, Katherine Bernhardt’s works demand attention. Expanding upon the exhibition at David Zwirner, London, in 2022, this catalogue includes bonus paintings and works on paper—developing her ongoing body of work. With many details of Bernhardt’s paintings, this large publication gives the artist’s work ample space to play. Suzanne Hudson’s essay considers Bernhardt’s work from an art historical perspective and thinks through the relationship between the artist’s work and life.

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This monograph of Lerooy's drawings, paintings, and sculptures surveys nearly 100 works from the vital years of his career.

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Painting is a continually expanding and evolving medium. The radical changes that have taken place since the 1960s and 1970s – the period that saw the shift from a modernist to a postmodernist visual language – have led to its reinvigoration as a practice, lending it an energy and diversity that persist today. In Contemporary Painting, renowned critic and art historian Suzanne Hudson offers an intelligent and original survey of the subject: a rigorous critical snapshot that brings together more than 250 renowned artists from around the world, whose ideas and aesthetics characterize the painting of our time. These luminaries include Cecily Brown, Theaster Gates, Josh Smith, Jenny Saville, Julie Mehretu, Takashi Murakami, Gabriel Orozco, Christina Quarles, Kara Walker, Kehinde Wiley, Zhang Xiaogang and many others. Organized into seven thematic chapters exploring aspects of contemporary painting, this is an essential volume for art history enthusiasts, students, critics and practitioners.With 245 illustrations in colour

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Painting is a continually expanding and evolving form of creative expression whose ongoing relevance is here convincingly asserted by renowned critic and art historian Suzanne Hudson. Her book offers an original survey of contemporary work – a critical snapshot that brings together more than 200 artists from around the world who are defining the painterly ideas and aesthetics of our time. The introduction maps out the history of painting in the modern and postmodern eras, followed by six chapters that offer a wideranging thematic analysis of the field, addressing such ideas as appropriation, attitude, production and distribution, the body, painting about painting, and painters who introduce performance, installation and textiles into their work to critique painting itself.

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This is the first monograph to offer a comprehensive account of the work of Californian artist Mary Weatherford (born 1963), beginning in the mid-1980s and extending to the present. Weatherford was a student of pioneering twentieth-century art historian Sam Hunter at Princeton. Her broadly literate and visually arresting paintings address the legacies of American modernists from Arthur Dove and Agnes Pelton to Willem de Kooning and Morris Louis, while grappling with the politics of gender, the representation of specific moods and experiences, and other concerns squarely rooted in the present moment. From her early monumental targets, through canvases studded with real shells and starfish, as well as more abstract evocations of landscape inspired by caves, to her recent neon-appended panels whose atmospheres of rolling color foreground the painting process itself, Weatherford's works argue forcibly and convincingly for the engagement of painting with contemporary life. Suzanne Hudson's text, the fruit of many studio visits and long interviews, reveals a singularly inventive artist whose boundless facility for reinvention will compel any viewer, student, or critic of painting.

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An engaging account of today’s contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship International in scope, bringing together over forty of the most important voices in the field, including Sofía Hernández Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan Verwoert A stimulating guide that will encourage polemical interventions and foster critical dialogue among both students and art aficionados

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An engaging account of today’s contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship International in scope, bringing together over forty of the most important voices in the field, including Sofía Hernández Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan Verwoert A stimulating guide that will encourage polemical interventions and foster critical dialogue among both students and art aficionados

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This fully illustrated catalog accompanies the first exhibition curated by Brett Gorvy for the Lévy Gorvy gallery in New York. The exhibition features nearly one hundred artworks by twenty-seven artists, including Lee Bontecou, Bruce Conner, Joseph Cornell, Eva Hesse, Jasper Johns, Robert Ryman, Cy Twombly and Hannah Wilke. Documenting masterpieces that are rarely on public display, the publication offers a unique perspective on viewership and collecting. An essay by Suzanne Hudson examines works by Johns, Ryman and Twombly, while Sarah K. Rich considers the use of hallucinogens to break down boundaries within the self. A new translation of an excerpt from Henri Michaux’s Infinite Turbulence offers a window into the mind of an artist on mescaline. Miranda Mellis’ work of short fiction “The Emissaries” conjures a dystopian narrative that beautifully responds to works by Bellmer, Conner, Dubuffet and Rama, and Pablo Neruda’s poem “Ode to Things” accompanies reproductions of works by Cornell.

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I carry my landscapes around with me focuses on American abstract artist Joan Mitchell’s large-scale multipanel works from the 1960s through the 1990s. Mitchell’s exploration of the possibilities afforded by combining two to five large canvases allowed her to simultaneously create continuity and rupture, while opening up a panoramic expanse referencing landscapes or the memory of landscapes. Mitchell established a singular approach to abstraction over the course of her career. Her inventive reinterpretation of the traditional figure-ground relationship and synesthetic use of color set her apart from her peers, resulting in intuitively constructed and emotionally charged compositions that alternately evoke individuals, observations, places, and points in time. Art critic John Yau lauded her paintings as “one of the towering achievements of the postwar period.” Published on the occasion of the eponymous exhibition at David Zwirner New York in 2019, this book offers a unique opportunity to explore the range of scale and formal experimentation of this innovative area of Mitchell’s extensive body of work. It not only features reproductions of each painting in this selection as a whole, but also numerous details that allow an intimate understanding of the surface texture and brushwork. In the complementing essays, Suzanne Hudson examines boundaries, borders, and edges in Mitchell’s multipanel paintings, beginning with her first work of this kind, The Bridge (1956), considering them as both physical and conceptual objects; Robert Slifkin discusses the dynamics of repetition and energy in the artist’s paintings, in relation to works by Monet and Willem de Kooning, among others.

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Throughout his career, American artist Brice Marden (born 1938) has explored various modes of painterly abstraction, producing monochrome canvases in nuanced, muted hues as well as calligraphic compositions on a grand scale. This book marks the long-term exhibition of Moss Sutra with the Seasons (2010–15) at Glenstone Museum, a monumental five-panel painting commissioned by Glenstone and inspired by the artist's fascination with moss, the changing seasons and traditional Chinese calligraphy, among other subjects. The catalog includes two original essays by art historian Suzanne Hudson, an interview with the artist about this commission and a photo-essay by the artist's daughter, Mirabelle Marden, who documented the process of creating the work. Also included are reproductions of all additional works by the artist in Glenstone's collection, a group which spans each decade of the artist's career and an introduction by Emily Wei Rales, Founder and Director of Glenstone Museum.

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This first monograph by N. Dash provides a comprehensive overview of the work of this emerging American artist, whose work operates within diverse media and materials. In her abstract and process-oriented works, N. Dash uses natural as well as man-made substances such as pigments, clay, jute, graphite, fabric, string, Styrofoam, or found objects to explore intuitive, touch-based communication systems. With her focus on the visual and tactile qualities of material, N. Dash’s work combines the raw with the sensitive, the abject with the beautiful. The text contributions place her work in art historical and anthropological contexts.

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An enigmatic meditation on the transition from life to death William Monk (born 1977) is known for his semiabstract, atmospheric and vibrant paintings that feature mysterious and otherworldly forms. Engaged with notions of the afterlife, Monk’s latest series The Ferryman is comprised of large-scale paintings and smaller compositions that focus on the journey from this life into the next.? Published to accompany Monk’s three-venue exhibition at Pace Gallery in New York and East Hampton and Grimm Gallery in New York, this paperback volume guides the reader through all three exhibitions, presenting the entire body of work in a visual narrative, utilizing cinematic proportions and images to replicate the experience of Monk’s careful spatial arrangements. A conversation between the artist and poet John Yau provides new insight into the artist’s creative practices, while text by art historian and critic Suzanne Hudson explores the nuances of the ferryman figure and his psychedelic environment.

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