Robert Rauschenberg

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Theodora Vischer and Heidi Naef

"Jeff Wall's large color transparencies set forth an imposing and seductive pictorial world. Ranging from the gritty realism of the city street to bizarre flights of fantasy, his photographs have won him wide recognition as one of the most adventurous and accomplished artists of the past three decades. This book accompanies a major retrospective jointly organized in 2007 by Peter Galassi, Chief Curator of Photography, The Museum of Modern Art, New York, and Neal Benezra, Director, San Francisco Museum of Modern Art. Between showings in New York and San Francisco, the show visits The Art Institute of Chicago." "Born in 1946 in Vancouver, British Columbia, where he lives and works, Jeff Wall has charted an ambitious and unique path through the maze of contemporary art, drawing upon such diverse resources as Conceptual art, Neorealist cinema, philosophy, literature, critical theory, modernist photography, and the venerable tradition of European painting. The exhibition includes all of his major works to date, which are reproduced here along with several very recent pictures and a generous selection of artistic sources, cousins, and echoes. The latter are illustrations to Galassi's essay, which sketches the breadth and originality of Wall's artistic and intellectual universe and challenges conventional interpretations of his development and achievement. The book also includes an interview with the artist by James Rondeau, Frances & Thomas Dittmer Chairman, Department of Contemporary Art, The Art Institute of Chicago."--Jacket.

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Estill Curtis Pennington

A Southern Collection presents select masterworks from the permanent collection of the Morris Museum of Art on the occasion of the institution's inaugural exhibition. Drawn from a comprehensive survey collection of painting in the South from the late eighteenth century to the present day, the museum's opening exhibit explores an artistic terrain as rich and diverse as the South itself, arranged in categories that reflect critical chronological developments in the art world. A survey of painting activity in the South begins with the travels of itinerant portrait artists working prior to the Civil War. At the same time, landscape painting encompasses a sensitive response to the swamps, bayous and fertile fields of the South. Late in the nineteenth century strong and vivid genre painting competes with the nostalgic effects realized by Southern impressionists, whose shimmering, liquid images are invested with an elusive spirit of place. In this century, those strains of realism and naturalism that characterize the classic body of Southern writing appear in the representational art of painters who defied the modern abstract dictum. And finally, the exciting, compelling works of a current generation of both self-taught artists and sophisticated contemporary painters complete this fascinating, though sometimes neglected, chapter in American art history.

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[edited by Nicholas Serota and Joanna Skipwith

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)

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Hubertus Butin

The phrase "unique pieces in series" seems to be contradictory at first sight. For how can something that only exists once be present several times? But some of Gerhard Richter's editions embody this particular principle of uniqueness in series. In paintings, photographic works, prints, and drawings, Richter has developed the possibility to vary individual copies in their appearance. The entire set of an edition thus consists of unicultural variants whose difference is intended. Probably no other artist has made this design concept into a fundamental method of their art in such a fascinatingly diverse way. Die Formulierung "Unikate in Serie" scheint auf den ersten Blick in sich widersprüchlich zu sein. Denn wie kann etwas, was nur einmal vorhanden sein soll, mehrfach vorliegen? Doch manche von Gerhard Richters Auflagenwerken verkörpern dieses besondere Prinzip der Einzigartigkeit in Serie. In Malerei-Editionen, Foto­arbeiten, Druckgrafiken, Zeichnungen und Multiples hat Richter die Möglichkeit entwickelt, im Rahmen der ­jeweils gleichen Produktionsweise einzelne Exemplare in ihrer Erscheinung zu variieren. Die gesamte Auflage einer Edition besteht somit aus unikatären Varianten, deren Unterschiedlichkeit intendiert ist. Wohl kein an­derer Künstler hat dieses gestalterische Konzept auf so faszinierend vielfältige Weise zu einer grund­sätz­lichen Methode seiner Kunst gemacht.