Painting

Hooker's Green Lake
Faye Wei Wei
Editions Lutanie - 16.00€ -

A series of recent drawings by London-based artist Faye Wei Wei.

Faye Wei Wei (born 1994) is a British artist. She has had solo shows at Project Room, Galerie Kandlhofer, Vienna (2020), Cob Gallery, London (2019), SADE Gallery, Los Angeles (2018), Centre For Chinese Contemporary Art, Manchester (2018)... She graduated from the Slade School of Fine Art in 2016. She lives and works in London.

the ALL-OVER
Amy Sillman
Dancing Foxes Press - 40.00€ -

Shifting between figuration and abstraction, comedy and doubt, order and mess, Amy Sillman's painting has greatly influenced generations of American artists.

New York-based Amy Sillman (born 1955) is one of the most beloved and quietly influential contemporary American artists. The ALL-OVER provides a comprehensive overview of her most recent bodies of work, including painting and serially exhibited large-scale abstractions, as well as diagrams, drawings, animations and sculpture.

The title of the book, and the exhibition it accompanies at Frankfurt's Portikus, refers to a concept often used to describe abstract painting (the classic instance of which is the work of Jackson Pollock). Much of Sillman's oeuvre can be categorized as such, although her abstractions often suggest recognizable forms and figures. In the 24-canvas series Panorama, motifs seem to run continuously around the walls of the exhibition space, but in fact are repeated prints of the artist's drawings with painterly interventions. The materiality is lost through the superimposition of print and oil paint; what remains is pure color and gesture. Also present here are stills from an animation developed by Sillman to be exhibited alongside Panorama and an insert made especially for the book by the artist. Alongside essays by Manuela Ammer, Yve-Alain Bois and Sillman herself. The book includes a conversation with the artist by Fabian Schöneich.

Crocodile
Leidy Churchman
Dancing Foxes Press - 35.00€ -

Ranging from figurative representation to gestural abstraction, monumental landscape paintings to more intimate portraits, the oeuvre of American painter Leidy Churchman (born 1979) channels his artistic and literary influences, friendships, moods, surrounding landscapes and the visual iconography of divergent religions and philosophies.

Crocodile highlights the artist's investigations into consciousness in his renderings of anthropomorphic animals and psychological states; his appropriation of existing artworks and aesthetics; and his recasting of various signs and symbols, from his depiction of the Buddhist symbol of the protector deity in Mahakala (2017) to the Mastercard logo in Mastercard (2013).  

Churchman, who divides his time between New York and Maine, emerges here as a dynamic protagonist of contemporary American painting. In addition to collecting 90 reproductions of works, the book features artwork made especially for it, plus texts by Ruba Katrib, Alex Kitnik and Arnisa Zeqo, in addition to a conversation between Churchman and Lauren Cornell.

Programmed Melancholy
Gabriel Abrantes
Mousse Publishing - 25.00€ -

Gabriel Abrantes has been making a career in cinema; with numerous international exhibitions, he's been keeping prolific, with video installations, drawing, painting, and now also VR. This book, published by maat and Mousse, attests exactly this. A book that is predominantly visual and clearly structured, efficient in transposing a certain formal and conceptual attitude that runs through Abrantes's work into the book's aesthetic approach, expressing humour and irony visually within a relatively classical framework.

"The juxtaposition of references to art and cultural history with personal and socio-political commentary is a guiding thread throughout Programmed Melancholy." writes Emily Butler, in one of the essays included in this book (other texts are an interview with the artist and short essay by Rosa Lleó). Butler continues: "His works engage with our emotions, with a range of personal feelings, often humorous, potentially rousing ethical and political beliefs. Unstable, multi-faced, polysexual, his characters waver between expressing personal emotions and wider social, environmental and political concerns."

SPEED
Heike-Karin Föll
Montez Press - 54.00€ -

Heike-Karin Föll’s foundational collection of works on paper refuses, in its totality, to be pinned down. SPEED exists in a sequence of autonomy, embracing simultaneity and resisting typical chronology or logic. A resource library for Foll’s more well known painted works, each page also stands on its own. The “writing” and “rewriting” of these pages is a rejection by the artist to rest on what has already been accomplished, and insists on constantly renewing modes of expression amidst the routine and expected.

SPEED takes the form of visual index, a micro structure of narrative, through the space of the page. Blank spaces (components of in-betweens and not-yets), textual elements, found images, and abstract icons are assembled from a daily stream of computational information and graphics to bring us into the temporal now. The pages slip from medium to medium, relying on short forms and small units as the bases for recontextualisation and variation. Montez Press is honoured to be able to offer an opening for these vast and untamable works by Heike-Karin Föll.

Heike-Karin Föll is painter who is currently based in Berlin. She works with the materiality and mechanics of painting and language, treating textuality as equally a vehicle of content, a visual motif and a material form.

Multiple Densities
Katja Mater
Roma Publications - 35.00€ -

This publication brings together works made between 2010 and 2013 that share the same principle: a method of constructing images of time by layering multiple moments, creating hybrids between photography and other media, documenting something that is positioned beyond our human ability to see.

Each series adds a different parameter to the principle, such as two- and three- dimensional space, scale, perspective, performance, installation and parallel events. The publication also features an alternative view on Mater’s practice with a chapter of research and process material.

With an essay by Maxine Kopsa. Design: Veronica Ditting.

Time is an Arrow, Error
Katja Mater
Self-Published - 26.00€ -

Two clock-faces are staring at each other.
They are two sides of one thing, as different as they are the same.
They move as two bodies revolving around each other, into a tender embrace.
A kiss, made of time, in time.
Mirrored shape shifters, their hour-numbers climbing on each other's shoulders.
Running up against the limits of their own usefulness, clocklikeness.

A book by Katja Mater, with a text by Amelia Groom designed by Elisabeth Klement
79 clocks, 192 pages, open spine, 17 × 21 cm
Printed by Wilco Art Books on Arena White Rough by Fedrigoni 

Alison Katz
Clément Dirié (ed.)
JRP Editions - 32.00€ -  out of stock

This first comprehensive monograph encompasses the manifold painterly practice of Allison Katz. Gathering together Katz's successive bodies of works since the beginning of the 2010s, the publication includes essays by Oakville Galleries director Frances Loeffler, art critic Kirsty Bell, Canadian poet Lisa Robertson, and The MIT List Visual Arts Center Director Yuri Stone.

Texts by Kirsty Bell, Allison Katz, Frances Loeffler, Lisa Robertson, Yuri Stone, Camilla Wills.

Nicole Eisenman
Clotilde Viannay (ed.)
L'Incroyable - 20.00€ -

L'Incroyable is a monographic magazine dedicated to an artist's teenage years and his cultural background. This third issue proposes an immersion into the young years of artist Nicole Eisenman in New York in the 1980s.

Founded in 2015 by artist Clotilde Viannay, L'Incroyable magazine is dedicated to adolescence and retraces the teenage years of a personality, examining the cultural context of his youth.
The magazine is extended by the “Mini” series. Each book immerses itself in the youth of artists through an interview about their teenage years.

Since the 1990s the American artist Nicole Eisenman (born 1965 in Verdun, France, lives and works in New York) has garnered attention with her figurative paintings that, playfully and with great artistic freedom, cross stylistic and compositional elements from the history of art from Renaissance painting to modernism with comics, slapstick, TV culture, pornography, and subcultural image strategies. 

Central to Eisenman's oeuvre is a complex, excessive, drawing-based work that comprises all the classical picture genres as well as a wit formulated between the outrageous and the idiotic. Nicole Eisenman's work is an inspired and gleeful deconstruction of conventions in art and society and it questions social models above all by reversing the clichés of female and male roles. It is about power and powerlessness, about art and commerce, consumerism and sex, about the possibilities made available by professionalism and dilettantism, and how artistic success and everyday life are constructed.

At the same time her work deals with the subsequent question of how the individual and she herself as artist and woman can take up a position within these roles. Eisenman's narratives of grotesque reformulations of social orders, or her depictions of human individuality, are always interspersed with possible failure or scenic breakdown: the pictorial content, the painting procedure, and the message contradict each other, and investigate a state of decline in historical as well as current conventions.

Sirens
Dawn Mellor
Montez Press - 30.00€ -

‘Masturbation in between the crimes against you will become a deciding matter in the kangaroo court. Philosophical questions will be answered without inquiry.’ 

If you have ever wondered how a cross between a funding application gone wrong and a tabloid column about the art world would read, this is it. Mellor presents a unique combination of novel and image, creating a polymorphous narrator who moves between personifications. Perhaps the most hazardous of these is Tippy Rampage, who is satisfyingly livid with the state of, well, everything. 

In a series of paintings, female police officers from British television shows such as Happy Valley and The Bill are positioned in an array of apocalyptic settings: freezing, burning, and backdropped by flooding. The accompanying text chronicles an acute feeling of being watched, what it feels like to watch whoever is watching you, or, as Mellor writes, how it feels to be kettled in your own flat, by your own paintings. 

Fragmented accounts map the protagonist’s shifting relationship to crime, gender, class and sexuality from multiple perspectives: as a child in Gamesley in the ‘70s, a lesbian performer in sex clubs in the mid ‘90s, an artist with and without gallery representation, and as a lecturer within an academic institution. These changes of position mix the language of a rally cry with an acerbic satire of the authorial voice and everyone they encounter. 

Published by Montez Press, Sirens is the first novel by Dawn Mellor and includes the complete set of the Sirens paintings. 

Dawn Mellor (b.1970) is an artist based in London, who has been exhibiting internationally since the 1990s. Solo exhibitions and special projects include Sixty Years at Tate Britain; London, Vile Affections at Studio Voltaire; London, Dawn Mellor at The Migros Museum; Zurich, Sirens at Team Gallery; New York, Madame X and The Party Tricks at Victoria Miro; London, Michael Jackson On The Wall at The National Portrait Gallery; London (touring), What Happened to Helen? Focal Point Gallery; Southend and Malerei, Böse at Kunstverein; Hamburg.

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