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In 1940s occupied Paris, Jean Dubuffet began to champion a progressive vision for art; one that rejected classical notions of beauty in favor of a more visceral aesthetic. Taking a pioneering approach to materiality and technique, the artist variously blended paint with sand, glass, tar, coal dust and string. At the same time, he began to assemble a collection of art brut-work that was made outside the academic tradition of fine art- even visiting psychiatric wards from 1945 to collect work by patients. This book features texts from leading scholars and is accompanied by images that illuminate Dubuffet's attempts to move beyond the artistic expectations of his time. The works are grouped into six thematic sections that focus on specific series, from his graffiti-inspired "Walls" and his notorious portrait series, "People are Much More Beautiful Than They Think" to the "Corps de dames", a controversial series of "female" landscapes, and his anthropomorphic sculptures, "Little Statues of Precarious Life." Exquisitely produced, this celebration of Dubuffet's work embraces his world view that art is for everyone, not just the elite.

kunst --- 75.071 DUBUFFET --- 7.071 DUBUFFET --- Dubuffet Jean --- art brut --- installaties --- tekenkunst --- beeldhouwkunst --- schilderkunst --- twintigste eeuw --- Exhibitions --- outsider art --- Dubuffet, Jean

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Published with the exhibition of the same name, 'Alice Neel: Seeing Who We Are' showcases the work of acclaimed painter Alice Neel (1900-1984) made over a fifty-year period. Bringing twentieth-century America to life with her vivid portraits, her works are influenced by the struggles in her own life as a young artist and single mother during the Great Depression. Highly attuned and profoundly empathic, she was able to capture the innate characteristics of her subjects. Neel is especially known for bringing in the female gaze in her nudes of women that contradict the traditional objectified depictions by her male predecessors. Includes essays by Eleanor Nairne and Quinn Latimer.

Portrait painting, American --- Neel, Alice, --- Neel, Alice --- Painting --- portretschilderkunst

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Basquiat first came to prominence when he collaborated with Al Diaz to spray-paint enigmatic statements under the pseudonym SAMO©. He went on to work on collages, Xerox art, postcards, performances, and music before establishing his reputation as one of the most important painters of his generation. Accompanying a major exhibition at the Barbican Art Gallery, this book opens with introductory essays from the curators, which place his practice in a wider art historical context and look at his career through the lens of performance.Six thematic chapters offer new research, with essays from poet Christian Campbell on SAMO©; curator Carlo McCormick on New York / New Wave; writer Glenn OBrien on the downtown scene; academic Jordana Moore Saggese on Basquiats relationship to film and television; and music scholar Francesco Martinelli on Basquiats obsession with jazz. This insightful new survey also features extended captions, rare archival material, and extensive photography, demonstrating how Basquiats legacy remains more powerful and relevant than ever today.

Art --- mezzotint [process] --- graffiti artists --- graffiti art --- Expressionist [style] --- painters [artists] --- #breakthecanon --- Basquiat, Jean-Michel --- 75.07 --- Basquiat, Jean-Michel 1960-1988 (°Brooklyn, New York, USA) --- Schilderkunst ; Performance ; Muziek ; Film --- Schilderkunst ; schilders --- Art, American --- Graffiti --- Art and music --- Popular culture in art --- Basquiat, Jean-Michel,

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An in-depth look at these two American artists, who explored issues of sexuality and feminism in the 1960s and 1970s in their sculpture and photography.

This exhibition and accompanying book offers the first opportunity to appreciate the resonances between the studio practices of Eva Hesse and Hannah Wilke. Both artists found themselves drawn to unconventional materials, such as latex, plastics, erasers, and laundry lint, which they used to make work that was viscerally related to the body. They shared an interest in repetition to amplify the absurdity of their work. These repeated forms–whether Hesse’s spiraling breast or Wilke’s labial fold–sought to confront the phallo-centricism of twentieth-century sculpture with a texture that might capture a more intimate, psychologically charged experience. Eleanor Nairne, the curator of the exhibition, writes the lead essay, followed by texts by Jo Applin and Anne Wagner. An extensive chronology by Amy Tobin includes primary-source materials, which bring a new history of how both artists’ work sits in relation to the wider New York scene. Also included are excerpts of both artists’ writing.

Art --- sculpture [visual works] --- installations [visual works] --- body art [visual works, performance] --- photography [process] --- Abstract [modern European style] --- eroticism --- genitals [animal components] --- Wilke, Hannah --- Hesse, Eva