Dutch avant-garde artist Jacqueline de Jong (b. 1939) is best known for her involvement in the Situationist International and for her lively, monumental paintings. Her varied, six-decade-long career has encompassed drawing, graphic design, sculpture, jewelry, printmaking, and books, as well as the magazine The Situationist Times, which she edited from 1962-1967. This volume features large-scale reproductions of her works, much of it newly photographed, allowing the reader to appreciate de Jong's keen attention to color and the values of opacity and transparency of paint. An international team of writers and curators offer a panoply of perspectives on the artist's remarkable work and long career.

Jacqueline de Jong: The Ultimate Kiss

Arts & Photography

Ténèze, Annabelle

Gingeras, Alison

Cramerotti, Alfredo

Snauwaert, Dirk

Weijers, Niña

Bayar, Devrim

Desorgues, Juliette

Karskens, Xander

Stuffer, Ute

History & Criticism

Mercatorfonds

Guy Bourdin (German Edition)

Individual Artists

Phaidon Verlag GmbH

“…trippy, drippy figurative paintings that are remixes of specific historical paintings, whose vibe is super fresh and funny.” —JUXTAPOZ magazine Combining the dark wit of Francisco Goya with the lush painterly style of Elizabeth Peyton, Dublin-based artist Genieve Figgis is the painter of the moment. Within just a few years of leaving school, she has become a favorite of critics and artists alike, including Richard Prince, the art world’s resident provocateur. Remarkably prolific, Figgis paints quickly but deftly, cycling through a range of painterly styles and highly charged content, from bawdy, sexual vignettes with women and men in various states of undress to darker, more macabre scenes. Regardless of theme, each work is a world unto its own. The beautifully packaged volume features the full complement of the artist’s ravishingly intimate work, including select drawings. Dodie Kazanjian interviews the artist regarding one of her most recent projects, paintings and sketches devoted to the classic tale of Romeo and Juliet, and her immersive process as she undertook them. Alison Gingeras contributes an essay exploring Figgis’s consummate storytelling and how this impulse relates to the artist’s Irish roots.

Genieve Figgis

Skira/Rizzoli

Douglas Gordon is an inveterate storyteller. The fictions that he weaves extends outward from the objects of his art--film, video, sound installations, photographs and text works--to encompass his own artistic persona. Douglas Gordon's Vanity of Allegory, an exhibition conceived specifically for the Deutsche Guggenheim, Berlin, explores the notion of the veiled self-portrait as an art-historical trope, a literary device and a cinematic strategy while it examines the intersection of vanitas as a meditation on the ephemeral nature of life itself, and a ploy to remain immortal. For Douglas Gordon's Vanity of Allegory, Gordon turned to the history of art for source material. His installation includes loans from the Guggenheim and private collections, as well as examples of his own work and that of his peers. By combining historical and contemporary art and film, Gordon has created a visual collage that narrates issues of self-representation and double identity. This catalogue illustrates each object in the show along with Gordon's rationale for its inclusion.

Douglas Gordon's Vanity Of Allegory

McKee, Francis

Reference

Guggenheim Museum

First recognized for his wood veneer paintings in the 1980s, New York–based artist Carroll Dunham (born 1949) has gone on to explore a diverse range of subjects that test the boundaries of representational imagery and abstraction. This volume serves as a comprehensive survey of Dunham’s Bathers and Trees paintings from 2009–2012, and documents an exhibition at New York’s Gladstone Gallery. Mixing organic forms with unusual geometries, Dunham’s Trees paintings portray fallen or limbless trees in a style incorporating elements of Pop art, Surrealism and Expressionism. The pale, faceless and grotesque nudes of his Bathers series provide a contemporary context for the traditional bather motif.

Carroll Dunham: Bathers Trees

Walther König, Köln

The man who enshrined a hoover vacuum and a basketball, who created a life-sized polychromed wood replica of Michael Jackson and his pet chimp Bubbles, who transfered his sex life with Italian porn star wife Ilona Staller into art, and who made a monumental topiary sculpture in the shape of a puppy, is back! After a seven-year hiatus from the public eye, bad boy Jeff Koons returns in this comprehensive and overdue survey of his work of the past five years. Three elaborate, highly-produced series are presented, including the joyously effusive "Celebration," an ambitious body of 16 photo-realist paintings and 20 stainless steel sculptures that draw upon the symbols and objects associated with the observance of life's festive rituals.

Jeff Koons

Koons, Jeff

Schneider, Eckhard

Schneider, Eckard

Kunsthaus Bregenz

Almost 16 inches tall and 12 inches wide and jacketed in a 53 x 37-inch foldout poster of Jim Shaw's deeply disturbing black-and-white oil painting of Ronald Reagan's distorted face (layered with smaller, ghostlike figures of American violence like Charles Manson and Rambo), this darkly riveting limited-edition artist's book contains works from five series of portraits made over the course of the artist's four-decade-long career: the Distorted Faces drawings (1978-85) and paintings (1986-2007); the Noir portraits of 1978; the sketches for Shaw's Giant Face paintings (1992) and other assorted faces from 1993-2006. The format and print quality of this one-of-a-kind publication truly allow Shaw's legendary graphic abilities to shine--particularly in the hyperreal Distorted Faces series. According to Alison M. Gingeras' catalogue essay, "The jingle-like language of Pop has been transformed into rambling, run-on sentences that describe fragmented ideas, associative thoughts and schizophrenic images. Too strange, too perverse, too lurid, too precise: Shaw is an elusive character that defies categorization."

Jim Shaw: Distorted Faces and Portraits, 1978-2007

JRP|Ringier

Despite his prolific and diverse practice, Robert Overby (1935–93) remains one of the best kept secrets in postwar American art. Rarely exhibiting during his lifetime, Overby―who worked for much of his life as a graphic designer in Los Angeles―nevertheless built up an extraordinary, multifaceted body of work encompassing sculpture, installation, painting, photography, print and collage. He is perhaps best known for his doors, windows and building facades cast in rubber, latex and concrete, a series of works that set off a rigorous period of experimentation with materials and a consistent exploration of the human condition and its decay. This monograph is published on the occasion of the first survey exhibition of the artist's work to be organized in Europe, which brings together more than 50 of Overby's works drawn from European and American collections.

Robert Overby: Works 1969–1987

Clark, Robin

Myers, Terry

Mousse Publishing

William N. Copley (1919–96) was a multifaceted American artist and art-world catalyst. Creator of madcap narrative paintings, drawings and installations, Copley was a unique figure in postwar art history well known for his humorous and sarcastic imagery. Known by his nom de plume CPLY, he was a self-taught artist pushing the limits of art-world decorum, as well as a collector, gallerist and connector of some of the most important artists of the 20th century, in particular European Surrealists and Dadaists such as Max Ernst, Man Ray and Marcel Duchamp, and American Pop artists. William N. Copley assembles works from all phases of the artist’s creation, from the Parisian years to the last period spent mostly in solitude in his home in Sugarloaf Key, Florida, tracing the development of his painterly style and continual experiments with line, color, pattern and allegory. In Paris in the early 1950s, Copley developed a unique, ribald figurative style that bucked prevailing trends toward abstraction, taking inspiration from Surrealist painting, American, cartoon and silent-movie imagery. Throughout his career, he repeatedly returned to subjects like nudes, cars and nationalism; later works reveal his abiding interest in political and psychosexual themes, surrealist visual punning and vaudevillian Americana, making Copley a link between European Surrealist and American Pop circles. Featuring approximately 250 paintings and works on paper, the volume accompanies the first comprehensive presentation of the artist’s work in an American museum, also scheduled to travel to Italy.

William N. Copley

Franklin, Paul

Griffin, Jonathan

Allen, Gwen

Fondazione Prada

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