This stunning book encompasses more than twenty works detailing Sterling Ruby’s simultaneous exhibitions at Gagosian Gallery’s two Paris locations in 2015. Depicted here, Ruby’s YARD paintings test the formal limits of the medium, using rollers and brooms to spread a multicolored palette of acrylic paints over unprimed canvases, while fabric, cardboard, and other materials are attached to the edges of each painting, like mysterious satellites at the borders of indeterminate topographies. Meanwhile, huge fragments of reclaimed American submarine combine with engine parts and steel pipes to convey the raw potential of sculpture. Featuring more than 40 color plates, including detail images that highlight the various aspects of each piece, this book presents stunning installation photo- graphs of both of the artist’s recent Paris shows and an insightful new essay by critic Philippe Dagen. Colorful double-page spreads of the artist’s two studios depict the creative process for the aforementioned paintings and sculptures.

Sterling Ruby: Paris

Arts & Photography

DAGEN, Philippe

Individual Artists

Gagosian / Rizzoli

Art critic and scholar Philippe Dagen approaches Picasso as a subject through a series of questions. What does it mean to be an artist in the twentieth century? What does it mean to be an artist in the time of newspapers and museums, in a time when the art market has expanded to reach the entire western world? Is modern civilization so different that it gives an artist a new attitude and causes him to redefine his role for the public, the market, and, therefore, to invent entirely new artistic practices? Picasso is considered here in view of this last, and most probable, hypothesis. He is a product of his situation and time, in the broadest sense of the term. Refusing to confine himself to his studio or the small artistic community in Paris, Picasso responded forcefully to world affairs, giving pictoral and sculptural form to the passions and events he witnessed around him. This is a thoroughly modern Picasso, constantly and consciously confronting the modernity of the world. Dagen's original exploration of his techniques, materials, and images shows how the artist both allowed modernity to in?ltrate his work and at the same time to react against it. Picasso moved between acceptance and rejection, a perpetual confrontation that is, perhaps, the most satisfying explanation of his will to create change that drove him to leave the most varied and diverse body of work in the entire history of art.

Picasso

History & Criticism

The Monacelli Press

Published to accompany an exhibition at the Fondation Louis Vuitton from 4 May-29 August 2022 A stunning exhibition catalogue reuniting international contemporary artists around their usage of color 
The exhibition brings together five contemporary artists of international stature: Sam Gilliam (United States, 1933), Katharina Grosse (Germany, 1961), Steven Parrino (United States, 1958-2005), Megan Rooney (Canada, 1985), Niele Toroni (Switzerland / France, 1937). Their works are characterized by an expansive use of color, which emerges from canvas to invade walls, floors, and ceilings. Within of the FLV, each of these artists will have a dedicated space. This book presents in an exhaustive way the works of the exhibition. Organized in five main parts, each being dedicated to an artist, it mixes texts by specialists and interviews with artists. 
Under the direction of Ludovic Delalande, Nathalie Ogé and Claire Staebler, with texts by great specialists in contemporary art: Jonathan P. Binstock, Philippe Dagen, Frank Gehry, Hans Ulrich Obrist, Florence Ostende, and Ludger Schwarte.

Fugues in Color: Sam Gilliam, Katharina Grosse, Steven Parrino, Megan Rooney, Niele Toroni

GEHRY, FRANK

Binstock, Jonathan P.

Delalande, Ludovic

Buizza, Claudia

Gallimard]

Le Silence des peintres: Les artistes face à la Grande Guerre

Literature & Fiction

Essays & Correspondence

FAYARD

Barthélémy Toguo is a multiple disciplinary artist whose work addresses migration, colonialism, race, exile and displacement.Born in 1967 in Cameroon, he lives and works between Bandjoun and Paris. After studying at the fine arts academy in Abidjan, Ivory Coast, Toguo made his way to the fine arts academy in Grenoble, then the Kunstakademie in Düsseldorf. Freely encompassing drawing, sculpture, video, installation and performance, his creations draw inspiration from his experience, travels and encounters. Watercolour has a central place in his work.Toguo plays with the spaces where different materials overlap. He created pathways between Western and African traditions and observes the language and new identities that arise therein. His cultural and social engagement is evident in the Bandjoun Station art centre that he created in Cameroon in 2013.Toguo's work is in the collections of the Museum of Modern Art and the Studio Museum in Harlem, New York; Centre Georges Pompidou, Paris; Musée d'art contemporain, Lyon; Fondation Louis Vuitton; and Kunstsammlungen der Stadt, Düsseldorf, among others. Solo exhibitions of his work have been presented at institutions including Uppsala Art Museum, Sweden; Musée d'art moderne et contemporain de Saint-Etienne, France; La Verrière by Hermès, Brussels; Fundaçao Gulbenkian, Lisbon; and Palais de Tokyo, Paris.Languages: French and English

Barthélémy Toguo

Skira

Adrian Burns: Imbroglio

Kaeppelin, Olivier

Photography & Video

SKIRA PARIS

Chosen for the Lebanese pavilion at the 59th Venice Biennale, Ayman Baalbaki is an artist born in Beirut in 1975. The last 10 years have been compiled through this unpublished work. Text in English, French and Arabic.

Ayman Baalbaki: Face Au Ko/Facing Ko (Arabic Edition)

ARDENNE, Paul

Pradel, Jean-Louis

Savatier, Thierry

Tamraz, Nayla

Editions Norma

A la fois biographique et r flexive, cette monographie cherche r pondre un certain nombre de questions que soul vent le temp rament artistique et l'oeuvre exceptionnelle de Picasso surgis une poque non moins exceptionnelle. Picasso y est consid r en fonction de sa situation en son temps, au sens le plus large du mot, bien au-del des amiti s et des rivalit s strictement artistiques du milieu parisien et fran ais. Lui-m me par nombre de ses prises de position n'a-t-il pas affirm qu'il refusait de s'enfermer dans l'atelier et se r servait le droit d'intervenir dans les affaires du monde - d'y r agir et de leur r pondre ? C'est donc d'un Picasso r solument moderne parce que constamment et consciemment confront la modernit du monde qu'il s'agira de montrer: comment il laisse cette modernit p n trer dans ses travaux - mat riaux, images, techniques, inventions - et comment, en r action contre elle, il donne forme picturale ou sculpturale des arch types - des passions, des pulsions- dont, ses yeux en tout cas, la permanence atteste de l'intemporalit . Mouvement d'acceptation mouvement de refus: cette confrontation sans tr ve est, peut- tre, l'explication la plus satisfaisante que l'on puisse avancer de la volont de changement qui l'a anim au point de laisser l'oeuvre la plus polymorphe et la plus diverse de toute l'histoire de l'art. La r flexion se d veloppe ainsi en quatre mouvements. Le premier, qui s'ach ve peu avant que la Premi re Guerre Mondiale r v le la face terrible de la modernit scientifique et industrielle, est celui de l'ouverture toutes les modernit s. La travers e rapide des styles artistiques issus de la Renaissance - de ce qui a t l'art et son histoire jusqu'alors- conduit au moment critique par excellence: le primitivisme, qui peut tre pens comme la n gation r solue du moderne, et le cubisme, qui appara t l'inverse comme son acceptation et la fa on la plus radicale d'en tirer les cons quences plastiques. Le deuxi me, dont la conjonction du cubisme et d'un dessin quasi ingresque Avignon au d but de l' t 14 marque le commencement et qui dure jusqu'au d but des ann es 30, se caract rise l' vidence par la simultan it de pratiques et de styles si distincts qu'on peut les penser incompatibles, le post-cubisme qui ne dispara t pas, le n o-classicisme et l'invention d'une autre peinture encore. Cette p riode pourrait tre dite celle de l'artiste ma tre du monde , puisque capable de donner chaque sujet et chaque sentiment sa forme visuelle la plus juste - ma trise qui est aussi celle d'une vedette la prosp rit visible, soup onnable d'embourgeoisement; celle, en somme, d'un Picasso assur de ses moyens et de sa logique, de sa position et de sa gloire. La troisi me se place sous le signe des monstres, quand la ma trise maintenue pendant une quinzaine d'ann es clate sous la pression d' v nements publics et priv s qui sont tous de l'ordre du d sordre et du drame. Il n'y aura pas d'ordre, il n'aura que des trag dies. Il n'y a donc plus lieu de maintenir l' quilibre compl mentaire entre plusieurs styles, mais de se pr cipiter dans l'exp rimentation, du c t des terreurs et des crimes avec pour principaux compagnons les surr alistes et surtout Andr Breton. A moins que l'on ne veuille reconna tre dans l'oeuvre picassienne des ann es 30 et 40 quelque chose comme l' quivalent de l'analyse freudienne - celle du malaise dans la civilisation qui tourne la catastrophe. Ces v rit s montr es, que reste-t-il faire ? D'une part pousser ses extr mit s les plus affolantes l'exp rience de la violence - ce qui a donn la derni re p riode de l'oeuvre selon les terminologies habituelles, longtemps la moins admise et la plus redout e. Et d'autre part d montrer par la reprise et la mise nu de leurs toiles que les grands pr d cesseurs de Picasso avaient donn de l'humanit des repr sentations qu'il suffit de durcir pour y reconna tre les sc nes d'Eros et de Thanatos, les F

Picasso. Monographie

Hazan

Les carnets de Rose Valland - Le pillage des collections pri

POLACK, Emmanuelle

History

FAGE

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