Richard Shiff

Donald Judd

Essays on the Work of Donald Judd

Sensuous Thoughts

Robert S. Nelson

Critical Terms for Art History

George T. M. Shackelford

Richard Thomson

Mary Dailey Desmarais

Ms Anthea Callen

The first comprehensive examination of the painter s formative years, tracing the evolution of Monet s early style and personal ambitions that drove the rest of his career This elegant volume is the first to be devoted to the young genius of Claude Monet (1840 1926). Bringing together the greatest paintings from his early career including his first Salon-exhibited work, the Kimbell Art Museum s "La Pointe de la Heve at Low Tide";" Dejeuner sur l Herbe (Luncheon on the Grass)" and "The Magpie "from the Musee d Orsay; and"The Green Wave"""and "La Grenouillere "from the Metropolitan Museum of Art it features essays by distinguished scholars, focusing on the evolution of Monet s own distinctive mode of painting. Through the 1860s, the young painter absorbed and transformed a variety of influences, from the lessons of the Barbizon school and his mentor Boudin to the challenges posed by his friends Manet, Pissarro, Renoir, and Sisley. Artistic innovation and personal ambition shaped the work of the celebrated impressionist painter from the very start of his long and illustrious career."

The Early Years

Monet

Karl Ove Knausgaard

Sheena Wagstaff

Mille Stein

Gary Garrels

Allison Morehead

Patricia G. Berman

Jon-Ove Steihaug

In Self-Portrait: Between the Clock and the Bed, the elderly Edvard Munch stands like a sentinel in his bedroom/studio surrounded by the works that constitute his artistic legacy. A powerful meditation on art, mortality, and the ravages of time, this haunting painting conjures up the Norwegian master’s entire career. It also calls into question certain long-held myths surrounding Munch—that his work declined in quality after his nervous breakdown in 1908–9, that he was a commercially naive social outsider, and that he had only a limited role in the development of European modernism. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} The present volume aims to rebut such misconceptions by freshly examining this enigmatic artist. In the preface, the renowned novelist Karl Ove Knausgaard considers Munch as a fellow creative artist and seeks to illuminate the source of his distinctive talent. The four groundbreaking essays that follow present numerous surprising insights on matters ranging from Munch’s radical approach to self-portraiture to his role in promoting his own career. They also reveal that Munch has been an abiding inspiration to fellow painters, both during his lifetime and up to the present; artists as varied as Jasper Johns, Bridget Riley, Asger Jorn, and Georg Baselitz have acknowledged his influence. More than sixty of Munch’s paintings, dating from the beginning of his career in the early 1880s to his death in 1944, are accompanied by a generous selection of comparative illustrations and a chronology of the artist’s life. The result is an intimate, provocative study that casts new light on Munch’s unique oeuvre—an oeuvre that Knausgaard describes as having gone “where only a painting can go, to that which is beyond words, but which is still part of our reality.”

Edvard Munch Between the Clock and the Bed

Tate Publishing

Carol Armstrong

Ulrich Wilmes

Robin D.G. Kelley

Ellen Gallagher (b. 1965) is one of the most acclaimed American artists working today. Her paintings, collages, drawings, sculpture, animation, and film installations, which shift between abstraction and figuration, create dynamic encounters between the historic and the present through commentary about race, racism, and cultural identity. Her works explore the language of modernist painting with symbolic or narrative content, often touching on issues of representation—for example, her 2006 piece Bird in Hand, which forms a central part of this appraisal, is a complex relief built up in layers on canvas through the application of newspaper cuttings, clay, rock crystals, silver paint, and gold leaf, created to evoke the mythical Drexciya or Black Atlantis, an underwater world populated by a marine species descended from drowned slaves. Created in close dialogue with the artist, this book catalogues a unique opportunity to present a selective yet coherent overview of Gallagher's practice, bringing together significant works from the early 1990s to the present day and examining some of the key themes and issues that emerge, overlap, repeat, and interweave throughout her practice.

Ellen Gallagher: AxME

Willem De Kooning

"'Order to me is to be ordered about", Willem de Kooning said. Between Sense and de Kooning is an exploration of how de Kooning both worked and thought concerning art, while respecting the artist's own ambiguities and his reluctance to embrace categorical distinctions between representation and abstraction. Richard Shiff acknowledges de Kooning's idea that art is not about concepts like progress or development, but is instead a sensory phenomenon.

Between Sense and De Kooning

Robert Storr

Published on the occasion of the twenty-five year anniversary of David Zwirner, this book paints a picture of the gallery’s growth and development through the lens of the artists that have shaped it. Since its founding in 1993, David Zwirner has above all else been guided by its artist-centric ethos. Beginning with the gallery's early days on Greens Street in SoHo, to its transition and expansion to Chelsea, London, the Upper East Side, and Hong Kong, this book captures David Zwirner's devotion to its inimitable roster of artists and estates. The heart of the publication is a wide-ranging, dynamic selection of the gallery's standout exhibitions—in many cases handpicked by David Zwirner himself. Many of these exhibitions highlight the countless works that ended up in major museum and private collections around the world. Also featured is an extensive gallery history that details all of the exhibitions by every artist and estate presented at David Zwirner, accompanied by archival imagery. With contributions by Richard Shiff and Robert Storr, as well as a foreword by David Zwirner, this publication offers rare insights into the growth of a commercial gallery through its long-term commitment to artists.

David Zwirner: 25 Years

"Mir liegt die Weltuntergangsstimmung eher" Wohl im Lauf der 1960er Jahre ist auch die Malerei in die Schleife von permanentem Ruckgriff und stetiger Transformation geraten, die – im Gegensatz zur Fortschrittshypothese – als die Arbeitsgrundlage der Postmoderne gilt. PEter Saul ( 1934 in San Francisco) ist einer der wichtigsten Protagonisten dieses Umbruchs, der oftmals falschlicherweise ausschlieSSlich mit dem Aufkommen der Pop-Art verbunden wird. MIt seinem malerischen wie zeichnerischen Werk hat Peter Saul ein komplexes Amalgam von Hoch- und Gegenkultur geschaffen, das Comic, Pop, Surrealismus, Abstrakten Expressionismus mit der radikalen (und teils trivialen) Gesellschaftkritik der Haschrebellen vereint. NAturlich ist ein solcher Maler nie Verfechter des amerikanischen Truppeneinsatzes in Vietnam, nie ein Parteiganger Reagans oder der Bush's gewesen, doch sein Werk politisch auf Agit-Prop zu reduzieren, hieSSe, den hedonistischen Impuls einer mitunter barocken Kompositionslust in seinen Bildern zu ubersehen. NAch Publikationen zum Werk der letzten Jahre in den USA ruckt die von Martina Weinhart und der Schirn konzipierte erste Einzelausstellung in Europa mitsamt dem Katalog nun insbesondere das Werk der 1960er Jahre in den Fokus, als Sex and Crime, Politik, Drogen, Karma und Revolte gerade erst in die Welt in Ol einzudringen begannen. KEnner fuhlen sich bei einigen von Sauls Werken durch ihre pastellfarbene Palette an Philip Guston erinnert, den anderen groSSen US-Maler des spaten Ruhms. DAzu befragt, sagte Peter Saul nur: "Gustons Bilder haben mich nie interessiert, fur meine Begriffe sind sie zu "softcore". SEine Haltung gegenuber dem Thema ist mir zu vergnugt. MIr liegt die Weltuntergangsstimmung eher. ICh lache gerne uber schlechte Nachrichten." Ausstellungen: Schirn Kunsthalle Frankfurt, 2. JUni – 3. SEptember 2017 Deichtorhallen Hamburg/Sammlung Falckenberg, 30. SEptember 2017 – 28. JAnuar 2018

Peter Saul

Catherine Lampert

Peter Doig

The most comprehensive monograph on Turner Prize-nominated artist Peter Doig. In every generation of artists, there are a few-or perhaps just one-who propose a new set of questions and alter the way we understand art. Peter Doig is such an artist. While stories of painting's demise in the early 1990s deemed painters and their work quaintly anachronistic, Doig-looking ahead as much as back for inspiration-forged a new painterly language: an ironic mix of Romanticism and post-impressionism to create haunting and sometimes dreamlike landscape vistas. In this lavish new volume devoted to his entire career-which includes paintings, drawings, and reference material, such as found photographs-art historians Richard Shiff and Catherine Lampert mine the artist's rich and varied work. Doig's landscapes have been inspired by the many places the artist has lived-England, Canada, Trinidad. So, too, does memory, or the idea of memory, inform much of his production. This handsome slipcased volume is designed in close collaboration with the artist, with Doig specially creating the cover and various elements of the interior. Every facet of the painter's singular vision is explored, from his earliest paintings of the early 1990s to the most recent series of works. Published in association with Michael Werner Gallery

Poul Erik Tøjner

Per Kirkeby

Louisiana (Museum : Humlebæk, Denmark)

Maria Fabricius Hansen

Edited by Michael Juul Holm. Text by Richard Shiff, Robert Storr, Maria Fabriciu Hansen, Poul Erik T0jner, Ulrich Wilmes.

Per Kirkeby, Louisiana, 2008

Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cézanne's painting. He shows how Cézanne's style met the emerging criteria of a "technique of originality" and how it satisfied critics sympathetic to symbolism as well as to impressionism. Expanding his study of the interaction of Cézanne and his critics, Shiff considers the problem of modern art in general. He locates the core of modernism in a dialectic of making (technique) and finding (originality). Ultimately, Shiff provides not only clarifying accounts of impressionism and symbolism but of a modern classicism as well.

A Study of the Theory, Technique, and Critical Evaluation of Modern Art

Cezanne and the End of Impressionism

"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology. Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars. Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young

Critical Terms for Art History, Second Edition

Nicholas Cullinan

Cy Twombly

Tacita Dean

Mostra, Roma, Galleria nazionale d'arte moderna, 5 marzo - 24 maggio 2009

Terrie Sultan

"This book is a revised and expanded edition of a catalogue first published in 2003 by Princeton University Press in association with Blaffer Gallery, the Art Museum of the University of Houston (now Blaffer Art Museum, University of Houston), on the occasion of the exhibition Chuck Close Prints: Process and Collaboration."

Process and Collaboration

Chuck Close Prints

In an age where art history’s questions are now expected to receive answers, Richard Shiff presents a challenging alternative. In this essential new addition to James Elkins’s series Theories of Modernism and Postmodernism in the Visual Arts, Richard Shiff embraces doubt as a critical tool and asks how particular histories of art have come to be. Shiff’s turn to doubt is not a retreat to relativism, but rather an insistence on clear thinking about art. In particular, Shiff takes issue with the style of self-referential art writing seemingly 'licensed' by Roland Barthes. With an introduction by Rosie Bennett, Doubt is a study of the tension between practicing art and practicing criticism.

Doubt

Arthur C. Danto

Nancy Princenthal

Robert Mangold

Sylvia Plimack Mangold

The majestic abstract paintings of the accomplished contemporary artist.

Bridget Riley

The quest for discovery through looking is the driving force of Bridget Riley’s work, as she has written: “More than anything else I want my paintings to exist on their own terms. That is to say they must stealthily engage and disarm you. There the paintings hang, deceptively simple—telling no tales as it were—resisting, in a well-behaved way, all attempts to be questioned, probed or stared at and then, for those with open eyes, serenely disclosing some intimations of the splendors to which pure sight alone has the key.” This publication unfolds along the lines of Riley’s 2018 exhibition at David Zwirner, London. Beginning with an exploration of black-and-white equilateral triangles, Riley leads the viewer into an awareness of the ways in which a surface—wall or canvas—can affect a seemingly simple form: the triangle. While she demonstrates these subtle changes, Riley manipulates this form by bending its sides. At first sight the viewer may experience this as a breaking apart, but as one continues to look, serpentine movements appear, or large shadowy triangles, which advance and recede. These paintings constantly reinvent themselves through looking. Riley is revisiting and developing works which she initiated over fifty years ago, as is shown here by the inclusion of Black to White Discs (1962/1965) in the exhibition. This diamond formation of discs, which graduates in tone from white to black and back again, offers a lead-in to her new body of work. In Cosmos and the Measure for Measure series, Riley recalls a group of subtly shaded colors used this time in discs. While the compositions remain fundamentally the same, the play of colors changes every time. The exhibition ends with a surprisingly spacious wall painting that offers the viewer many delights, not least among them a dance of fugitive white lights. Here, Riley disarms the viewer, encouraging us once again in an adventure of discovery. In his essay, Richard Shiff explores Riley’s ability to give new life to basic forms as she invites the audience, any audience, to help participate in the painting.

Richard Shiff

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