Bøger udgivet af Matthew Marks Gallery

This is the first comprehensive monograph on American painter Peter Cain (1959-97), who first achieved recognition in early 1990s New York for his paintings of distorted automobiles. Illustrated with over 80 full-color plates, the book features paintings, drawings and photographs made between the late 1980s and 1997.

Erratum: Page 38: The correct date for Bare Shouldered Beauty and the Pink Creature is 1965 (not 1968).

New York-based artist Terry Winters is known for paintings, drawings and prints that oscillate between figuration and abstraction. Rooted in Minimalism, Winters' work reflects his career-long investment in the historical and contemporary stakes of painting, and references ambiguous forms sourced from the sciences, mathematics and architecture. These forms subtly suggest any number of objects--maps, blueprints, seeds, spores, shells, fungi, spiderwebs, X-rays, molecular structures, balls of yarn, fishing nets, tree branches, magnified crystals or neurological circuits--without actually depicting any of them directly, leaving the viewer's eye to wander restlessly throughout the picture plane. Winters has described his strategy: "So much of the contemporary world is driven by abstract processes... The old Modernist oppositions between the retinal and the intellectual just really don't function anymore." Knotted Graphs presents a series of paintings and drawings made in 2007 and 2008 that further investigate the grid through mathematical principles such as knot theory.

In the late 1970s Ellsworth Kelly (1923-2015) was commissioned by architecture firm Skidmore, Owings & Merrill to create an artwork for the lobby of a new office building underway in downtown Cincinnati, Ohio. Kelly responded with one of his most ambitious artworks to date, Color Panels for a Large Wall, an 18-panel painting executed in two versions. The larger, at over 125 feet wide, was the biggest painting he had ever made, and its trajectory would pass through not just Cincinnati but also Amsterdam, New York and Munich before ending up at its permanent home, the National Gallery of Art in Washington, DC, where it has been prominently installed in the I.M. Pei-designed East Building since 2004.The smaller version, over 30 feet wide, remained in the artist's possession. This catalog tells the complete story of these two remarkable paintings.

Exhibition catalog: New York, Matthew Marks Gallery, Sept. 14 to Oct. 27, 2018.

Ray Johnson (1927-95) was a seminal Pop artist, a proto-conceptualist and a pioneer of mail art.Always one to throw sand in the gears of art-world institutions, he tended to circulate his work either in truly alternative spaces (like sticking up out of the uneven floorboards of a warehouse downtown) or through the US Postal Service. Throughout his life, Johnson sent collages, drawings and less easily categorized forms of printed matter to friends, colleagues and strangers. Already in 1965, Grace Glueck described Johnson as "New York's most famous unknown artist." Though his work resists efforts to pin it down, Johnson can be said to have found a particularly useful medium in collage. Collage allowed Johnson to reflect--but also to participate in--the modern collision of visual and verbal information that only became more frenzied as the 20th century wore on.This volume collects 42 collages made by Johnson between 1966 and 1994, most never exhibited or published before, with a new essay by writer Brad Gooch, who first came into contact with Johnson when he began receiving unsolicited mail art shortly before the artist's death. The collection of works in this volume shows the artist at his most expansive, combining art history with celebrity, word with image and the personal with the universal.

This catalogue focuses on the formative drawings that Anne Truitt (1921-2004) made while living in Tokyo from 1964 to 1967--a pivotal moment for her, both artistically and intellectually. Though she later destroyed the sculptures she produced there (all in aluminum, a material she ultimately found unsuited to her intentions), this process of discovery was essential to the clarification of her sculptural vision. The innovations she developed in Japan, many in the form of drawings, would profoundly inform her lifelong practice. This book presents the full range of these works on paper, from hard-edge polygons to veil-like fields of color. An illustrated chronology provides a detailed account of her experiences in Japan and its impact on her subsequent work. Also reproduced for the first time are photographs of the 23 sculptures she made in Japan, all since lost or destroyed.

The recent works of YBA artist Gary Hume (born 1962) include not only his signature paintings on aluminum, but also paintings on paper that mark a critical shift in both tecture and depth. These large-scale but intimate works meditate on Hume's mother and her struggle with dementia, as well as scenes recollected from the artist's childhood.