Quinn Latimer

Sarah Lucas

Kurimanzutto (México, D.F.)

Sarah Lucas. Describe this Distance (Air Mexico)

Oliver Garbay

God is Dad

Life-size Bronze Horse and Cart, the Cart Carrying Two Outsize Concrete Marrows ; the Perceval Mobile, a Christmas Gift from Momart

Perceval

Museum Boymans-Van Beuningen

Karel Schampers

Published to accompany exhibition held at Museum Boymans-van Beuningen 4/2 - 31/3 1996.

4.2 - 31.3.1996

Matthew Collings

During a career that has brought her controversy and acclaim in equal measure, Sarah Lucas has made art from the discarded and the unexpected, incorporating such diverse masterials as cigarettes, food, second-hand furniture, and her own self-image. This comprehensive survey of her work explores one of the contemporary art's most fascinating figures. New interviews give an insight into the artist's own assessment of her work.

Angus Cook

After 2005, before 2012 is a major new publication surveying the work of Sarah Lucas from 2005 (the date of her existing catalogue raisonné) to 2011, when she had major solo exhibitions at Two Rooms, Auckland, New Zealand, and Kunsthalle Krems, Austria. The book traces the development of several important bodies of work, from the Penetralia series begun in 2008 - a series of totemic sculptures responding to the landscape of Suffolk - to the recent series of NUDS sculptures, consisting of nylon tights stuffed with fluff and fashioned into ambiguous biomorphic forms. The book includes a series of interviews between Lucas and artists, curators, writers and friends.

After 2005, Before 2012

Elisa Miller

Rodolfo Cervantes

Sadie Coles HQ is pleased to announce the publication of TITTIPUSSIDAD, a new book documenting Sarah Lucas's odyssey to Mexico last spring. The book has been conceived, designed and edited by Julian Simmons. Encyclopaedic in size and scope, TITTIPUSSIDAD traces Lucas's time in Mexico from a trip to a brick factory in the Valley of Oaxaca (to source bricks to make plinths) to the creation of the sculptures, to their final exhibition at the Museo Diego Rivera Anahuacalli. This exhibition marked a significant development in Lucas's art, as her NUD sculptures - stuffed tights twisted into abstract contortions - developed into playful and perverse anthropomorphic characters. Combining the genres of exhibition catalogue, diary, photographic essay and epic poem, TITTIPUSSIDAD unfolds a vivid and nostalgic account of the trip to Mexico. Interleaving colour and black-and-white photographs, Simmons has produced an unparalleled study into the way in which Lucas's life informs and shapes her art. Each chapter focuses on a separate work in a sequence of close-up black-and-white shots in dramatic chiaroscuro, interspersed with images from Mexican streets, bars and houses. The images explore the different figures - huddling or sprawling, with breast-like appendages and bulbous limbs - with an almost pornographic intensity, scrutinising their surface textures and their variously firm and flaccid structures. The book features a series of conversations with Lucas's various friends - interwoven to create a revealing and intimate dialogue with the artist about the making of the series. The tone and typography of the words shifts, taking us from poetic musings to explanations of the works and their titles. From the prologue, which offers an account into the Dada-esque wordplay of Lucas's titles, to the ecclesiastical-style images of the installation at the Museo Diego Rivera, TITTIPUSSIDAD provides an emotive account of a pivotal moment in the artist's life and career.--Press release, http://www.sadiecoles.com/_literature_123620/Sarah_Lucas,_Julian_Simmons_Full_Press_Release.

Sarah Lucas & Julian Simmons: Tittipussidad

Sarah Lucas

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