Fr. 66.00

I Carry My Landscapes Around With Me

English · Hardback

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I carry my landscapes around with me focuses on American abstract artist Joan Mitchell''s large-scale multipanel works from the 1960s through the 1990s. Mitchell''s exploration of the possibilities afforded by combining two to five large canvases allowed her to simultaneously create continuity and rupture, while opening up a panoramic expanse referencing landscapes or the memory of landscapes. Mitchell established a singular approach to abstraction over the course of her career. Her inventive reinterpretation of the traditional figure-ground relationship and synesthetic use of color set her apart from her peers, resulting in intuitively constructed and emotionally charged compositions that alternately evoke individuals, observations, places, and points in time. Art critic John Yau lauded her paintings as ''one of the towering achievements of the postwar period.'' Published on the occasion of the eponymous exhibition at David Zwirner New York in 2019, this book offers a unique opportunity to explore the range of scale and formal experimentation of this innovative area of Mitchell''s extensive body of work. It not only features reproductions of each painting in this selection as a whole, but also numerous details that allow an intimate understanding of the surface texture and brushwork. In the complementing essays, Suzanne Hudson examines boundaries, borders, and edges in Mitchell''s multipanel paintings, beginning with her first work of this kind, The Bridge (1956), considering them as both physical and conceptual objects; Robert Slifkin discusses the dynamics of repetition and energy in the artist''s paintings, in relation to works by Monet and Willem de Kooning, among others.

About the author










Joan Mitchell (1925–1992) established a singular visual vocabulary over the course of her more than four decade career. Born in Chicago and educated at the School of the Art Institute of Chicago, from which she received a BFA (1947) and an MFA (1950), Mitchell moved to New York in 1949 and was an active participant in the downtown arts scene. She began splitting her time between Paris and New York in 1955, before moving permanently to France in 1959. In 1968, Mitchell settled in Vétheuil, a small village northwest of Paris, while continuing to exhibit her work throughout the United States and Europe. When Mitchell passed away in 1992, her will specified that a portion of her estate should be used to establish a foundation to directly support visual artists.

A Los Angeles–based art historian and critic, Suzanne Hudson is professor of art history and fine arts at the University of Southern California. A longtime contributor to Artforum, she is the author of the books Robert Ryman: Used Paint (2009), Agnes Martin: Night Sea (2017), and Contemporary Painting (2021). Supported by a New Directions Fellowship from the Andrew W. Mellon Foundation, she is pursuing research into the practical applications of art making for Better for the Making: Art, Therapy, Process, a study of the therapeutic origins of process within American modernism.

Robert Slifkin is a professor of fine arts at the Institute of Fine Arts, New York University, where he teaches classes on modern and contemporary art and photography. He is the author of The New Monuments and the End of Man: U.S. Sculpture Between War and Peace, 1945–1975 and Out of Time: Philip Guston and the Refiguration of Postwar American Art, which was awarded the Phillips Book Prize. His essays and reviews have appeared in such journals as American Art, Artforum, The Art Bulletin, Art Journal, Burlington Magazine, October, Oxford Art Journal, and Racquet.

Product details

Authors Suzanne Hudson, Joan Mitchell, Robert Slifkin
Publisher Zwirner David Books
 
Languages English
Product format Hardback
Released 29.02.2020
 
EAN 9781644230282
ISBN 978-1-64423-028-2
Dimensions 260 mm x 360 mm x 15 mm
Subject Humanities, art, music > Art > Art history

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