by [edited by Nicholas Serota and Joanna Skipwith (1986)
Pace Gallery is pleased to present 'The Patch of Blue the Prisoner Calls the Sky'. The exhibition features thirteen recent paintings by the artist. The show will be on view at 540 West 25th Street from March 6 - April 18, 2020, with an opening reception on Thursday, March 5 from 6 - 8 PM. An essay by James Nares, titled The Patch of Blue the Prisoner Calls the Sky, will accompany the exhibition.0These works catalogue the possibilities of how and what to paint, revealing a new way of looking at the world that blurs the line between representation and configuration. As Nares explains, "These paintings represent the evidence of their own autonomy. They are metaphoric in an open way, not to interpretation as image but as underlying principles and facets of nature." Exhibition: Pace Gallery, New York, USA (06.03-18.04.2020)
curated by Barbara Fischer
This is a unique book. It is not an exhibition catalogue, nor is it an artist's book. It is a sustained, multi-faceted exploration of a single work of art by Rebecca Belmore, 'March 5, 1819'. In this extraordinary video installation, Belmore looks back two centuries to revisit a devastating encounter in Beothuk territory, in the central interior of the island of Newfoundland.
[catalogue rédigé par Nicole Garnier-Pelle
Catalogue de l'exposition Delacroix et l'azube de l'orientalisme, présentée au Jeu de paume du domaine de Chantilly, du 30 septembre au 7 janvier 2013. L'histoire de l'art fixe traditionnellement l'origine de l'orientalisme en 1798 avec la campagne d'Egypte de Bonaparte (1798-1801). Jusque-là, la source d'inspiration privilégiée des artistes était l'Antiquité et l'incontournable voyage d'Italie. Les véritables débuts de l'orientalisme coïncident avec la période romantique, marquée par la guerre d'indépendance grecque qui confronte artistes, écrivains et intellectuels à l'image d'un pays d'une brûlante actualité, très différente de la référence habituelle à l'Antiquité. Le propos de cet ouvrage est de s'intéresser aux débuts de l'orientalisme, sans dépasser le milieu des années 1850, d'explorer la naissance de ce mouvement et de mieux étudier ces premiers artistes qui portèrent leur regard au-delà de l'Europe.
Mark Richard Leach and Barbara J. Bloemink
This volume presents two decades of Michael Lucero's glazed ceramic, bronze, and mixed media sculptures, including such series as the Dreamers, Pre-Columbus, New World, and Reclamations. While at first glance his work appears to be a vigorous example of contemporary ceramic sculpture with a background in 1960s California art and a foreground in New York eclecticism, in fact his figurative forms borrow liberally and wittily from the history of art of various cultures, including pre-Columbian, Native American, European, Afro-Carolinian, and the vernacular and popular media. The imagery that slides in and out of the complex glazes of this master of the ceramic medium is art about art and about self. The consistent strength of the work comes from a fusion of ceramic tradition with sculptural innovation, and from a combination of extraordinarily fine technique, keen wide-ranging intelligence, and the resonance brought to bear by past associations, cultures, and use.
(essay by Craig Owens
Since the late 1970s, Allan McCollum (b. 1944, Los Angeles, lives in New York) has addressed the production, distribution, acquisition, display, and reading of the artwork. His constant use of strategies of multiplication, his examination of the museum as a discursive agent, and his recurrent interest in notions of display, as well as his attempt to find a generic form for any purpose, were entirely reconfigured by this displacement of context. Working with regional museums, heterogeneous audiences, and references ranging from palaeontology to mineralogy, McCollum has built a very strong and intriguing body of works that has remained, in large part, unknown to (or at least unseen by) the art world.