Elizabeth Peyton

Total Page:16

File Type:pdf, Size:1020Kb

Elizabeth Peyton ELIZABETH PEYTON Artist Monographs, Catalogues and Other Publications 2019 Elizabeth Peyton: Aire and Angels. London: National Portrait Gallery Publications, 2019. 2018 Elizabeth Peyton: Universe of the World-Breath. New York: Petitcreiu Ltd, 2018. 2017 The Human Form. San Francisco: Berggruen Gallery, 2017. Éternelle Idole - Elizabeth Peyton / Camille Claudel. Milan: Electa, 2017. Elizabeth Peyton: Still Life. Tokyo: Hara Museum of Contemporary Art, 2017. Bell, Kirsty. Elizabeth Peyton: Dark Incandescence. New York: Rizzoli, 2017. 2016 Isolde. London: Sadie Coles HQ, 2016. These Strangers…Painting and People. Ghent: S.M.A.K., 2016. Les Fleurs du Mal. New York: Nahmad Contemporary, 2016. SHE International Women Artists Exhibition. Shanghai: Long Museum West Bund, 2016. 2015 Whitney Museum of American Art: Handbook of the Collection. New York: Whitney Museum of American Art, 2015. Schwartz, Alexandra. Come As You Are: Art of the 1990s. Montclair, New Jersey: Montclair Art Museum, 2015. 2014 Passions Secretes: Collections Privées Flamandes. Lille, France: Lille3000, 2014. Da scheinest du, o lieblichsten der Sterne. New York: Karma, 2014. Peyton, Elizabeth and Jonathan Horowitz. Secret Life. London: Koenig Books, 2014. 2013 Elizabeth Peyton: Klara 13 Pictures. New York: Michael Werner, 2013. The Age of Innocence: Elizabeth Peyton. Zurich: Nieves, 2013. 2012 Kazanjian, Dodie. Elizabeth Peyton: Here She Comes Now. Germany: Staatliche Kunsthalle, 2012. Elizabeth Peyton. Los Angeles: Regen Projects, 2012. 2011 Ghost: Elizabeth Peyton. Ostfildern, Germany: Hatje Cantz Verlag, 2011. Nothing in the World But Youth. Kent, United Kingdom: Turner Contemporary, 2011. Elizabeth Peyton. Paris: Gagosian Gallery / Rizzoli, 2011. 2010 Elizabeth Peyton. Berlin: neugerriemschneider, 2010. 2009 Elizabeth Peyton: Reading & Writing. Dublin, Ireland: Charta / The Irish Museum of Modern Art, 2009. Elizabeth Peyton: New Drawings November 2009. Brussels: Gladstone Gallery, 2009. Barney, Matthew and Elizabeth Peyton. Blood of Two. Athens: Deste Foundation, 2009. Bude, Frans. Peyton’s Facebook. Maastricht, Netherlands: Bonnefantenmuseum, 2009. 2008 Live Forever: Elizabeth Peyton. London: Phaidon, 2009. Heartney, Eleanor. Art & Today. London: Phaidon, 2008. Holzwarth, Hans Werner. Art Now: Vol. 3. Cologne: Taschen, 2008. Getlein, Mark. Living with Art, 8th ed. New York: McGraw Hill. 2007 Collection Art Contemporain. Paris: Centre Pompidou, 2007. Fast Forward: Contemporary Collections for the Dallas Museum of Art. Dallas, Texas: Dallas Museum of Art, 2007. Like Color in Pictures. Aspen, Colorado: Aspen Art Museum, 2007. Davidson, Susan. Art in America: 300 Years of Innovation. New York: Merrell Publishers Limited, 2007. 2006 Hiroyuki, Nakanishi, ed. Essential Painting. Osaka, Japan: The National Museum of Art, 2006. Bowman, Rob and Jens Hoffman, eds. Surprise Surprise. London: Institute of Contemporary Arts, 2006. Browne, Alix and Christopher Bollen. Artists. Paris: Edition 7L, 2006. Krauss, Nicole and Meicost Ettal. Elizabeth Peyton Paintings 1994 - 2002. New York: Two Palms / Gavin Brown’s Enterprise, 2006. Krauss, Nicole and Meicost Ettal. Elizabeth Peyton: Prints 1998 - 2006. New York: Two Palms / Gavin Brown’s Enterprise, 2006. 2005 Higgs, Matthew and Steve Lafreniere. Elizabeth Peyton. New York: Rizzoli, 2005. Richer, Francesca and Matthew Rosenzweig. No. 1: First Works by 362 Artists. New York: D.A.P., 2005. Brugger, Ingried and Matt Gerald. Superstars: von Warhol bis Madonna. Berlin: Hatje Cantz, 2005. Drawing from the Modern, 1975 – 2005. New York: The Museum of Modern Art, 2005. Baume, Nicholas. Getting Emotional. Boston: Institute of Contemporary Art, 2005. Bell, Kristy. Art Now: Volume 2. Berlin: Taschen, 2005. Sholis, Brian. Vitamin D. New York: Phaidon Press, Inc., 2005. th Getlein, Mark. Gilbert’s Living with Art. Boston, Massachusetts: McGraw Hill, 7 ed., 2005. Bidibidobidiboo. Turin, Italy: Foundazione Sandretto Re Rebaudengo, 2005. Nick Mauss and Elizabeth Peyton. East Hampton, New York: Glen Horowitz Bookseller, 2005. 2004 Sammlung Plum. Kleve, Germany: Museum Kurhaus Kleve, 2004. Not Afraid: The Rubell Family Collection. New York: Phaidon, 2004. North Fork/South Fork: East End Art Now. Southampton, NY: The Parrish Art Museum, 2004. Whitney Biennial 2004. New York: Whitney Museum of Art, 2004. Likeness: Portraits of Artists by Other Artists. San Francisco, CA: CCA Wattis Institute, 2004. 2003 The Fourth Sex. Florence, Italy: Fondazione Pitti Immagine Discovery, 2003. Reverie: Works from the Collection of Douglas S. Kramer. Louisville, Kentucky: The Speed Art Museum, 2003. Painting Pictures: Painting and Media in the Digital Age. Bielfeld, Germany: Kerber Verlag, 2003. Dreams and Conflicts: The Dictatorship of the Viewer, la Biennale di Venezia, 50th International Art Exhibition. Venice: Marsilio Editori, 2003. Elizabeth Peyton. Italy: Two Palms Press, 2003. 2002 Peyton, Elizabeth. 16 Artists. Salzburg: Salzburger Kunstverein, 2002. Hoptman, Laura. Drawing Now: eight propositions. New York: Museum of Modern Art, 2002. The Image Regained: Painting and Photography from the Eighties to Today. Ostfildern, Germany: Hatje Cantz Publishers, 2002. 2001 Grosenick, Uta. Women Artists in the 20th and 21st Century. Cologne: Taschen, 2001. Elizabeth Peyton. Ostfildern, Germany: Hatje Cantz Verlag / Deichtorhallen, Hamburg, 2001. Elizabeth Peyton: Prince Eagle. Brooklyn: Powerhouse Books, 2001. 2000 Elizabeth Peyton: Tony sleeping. Munster, Germany: Westfalische Kunstverein Munster, 2000. Reading California: Art, Image, and Identity, 1900-2000. Los Angeles: Los Angeles County Museum of Art, 2000. 1999 Riemschneider, Burkhard and Uta Grosenick. Art at the Turn of the Millennium. Cologne: Taschen, 1999. 1998 Adams, Brooks and Lisa Liebmann. Young Americans 2: New American Art at the Saatchi Gallery. London: The Pale Green Press, 1998. Craig. Cologne: Farbo Druck, 1998. Elizabeth Peyton. Basel: Museum fur Gegenwartskunst Basel, 1998. 1997 Elizabeth Peyton: Live Forever. Tokyo, Japan: Composite Press, 1997. Hirsch Farm Project. Northbrook, Illinois: Hirsch Foundation, 1997. Kunst Arbeit: Aus der Sammlung Sudwest LB. Ostfildern, Germany: Hatje Cantz Verlag, 1997. Steiner, Rochelle. Currents 71: Elizabeth Peyton. Saint Louis, Missouri: Saint Louis Art Museum, 1997. New. New York: Harry N. Abrams, Inc., 1997. 1996 Universalis. Sao Paulo: Sao Paulo Bienal, 1996. 1995 Bonami, Francesco. Campo. Venice, Italy: Marsilio Editore, 1995. 1994 Bonami, Francesco. Don’t Postpone Joy of Collecting Can Be Fun. New York: Austrian Cultural Institute, 1994. 1993 Blau, Douglas. Hotel Chelsea. New York, 1993. Selected Articles and Reviews 2020 Kazanjian, Dodie, “What Does the Art World Look Like Now?” Vogue, April 27, 2020. 2019 Bidisha, “Elizabeth Peyton: Aire and Angels review – beautiful loners,” The Guardian, October 12, 2019. Khaos, Marissa, “Elizabeth Peyton: Aire and Angels at National Portrait Gallery,” The Up Coming, October 7, 2019. Sooke, Alastair, “Elizabeth Peyton: Aire and Angels review, National Portrait Gallery: a fascinating meeting of pop stars, film stars and Elizabethan grandees,” The Telegraph, October 2, 2019. Sherwin, Skye, “Elizabeth Peyton’s David: haunting mortality,” The Guardian, September 27, 2019. 2017 Eddy, Melissa, “The Chancellor Next Door,” The New York Times, August 2017. Eddy, Melissa, “Angela Merkel’s Humanity, Captured in an Elizabeth Peyton Oil,” The New York Times, July 23, 2017. Deboer, Simon, “‘Still Life,’ Wonderfully Alive,” Tokyo Art Beat, May 5, 2017. Yamauchi, Yuki, “Elizabeth Peyton: Still Life,” The Japan Times, January 17, 2017. 2016 Lester, Paul, “Elizabeth Peyton’s portraits capture the glamour of artistic talent,” TimeOut, December 13, 2016. “Artguide Must See,” Artforum, November 2016. Mafi, Nick, “The Metropolitan Opera Will Broadcast Tristen und Isolde Live in Times Square,” Architectural Digest, September 12, 2016. Mufson, Beckett, “Elizabeth Peyton and Marching Church Put the Pain Back in Painting,” The Creators Project (VICE), August 30, 2016. Cullinan, Nicholas, “Interview with Elizabeth Peyton,” The White Review, April 2016. Buck, Louisa, “Elizabeth Peyton: paintings about love,” The Telegraph, January 22, 2016. 2015 Peyton, Elizabeth, “Dark Incandescence,” Elephant, Spring 2015. Peyton, Elizabeth, Elephant, Spring 2015. Gilsoul, Guy, “Le portrait en mode Peyton,” Le Vif, no. 1, January 2015, p. 75. 2014 “Artist’s Favourites by Elizabeth Peyton,” Spike Art Magazine, Winter 2014. “Painter’s Photography,” IMA Living with Photography, Vol. 10, Winter 2014. Archey, Karen, “Elizabeth Peyton,” ARTnews, October 2014, p.126. Elkann, Alain, “Elizabeth Peyton,” alainelkanninterviews.com, August 13, 2014. Benschop, Jurriaan, “Elizabeth Peyton,” Artforum, August 1, 2014. Amend, Christoph and Daniel Haaksman, “The Art of Feelings,” Zeit Magazine, June 19, 2014. “Who’s Who,” W Magazine, June-July 2014, p. 12. "Studio Visits," W Magazine, May 2014. Van Noten, Dries, “Fabric of Thought,” The New York Times Style Magazine, March 6, 2014. 2013 Van Noten, Dries, “Beautiful Minds,” Financial Times, June 2013. Levin, Kim, “Barack & Michelle, Tristan & Isolde, Irony Not Included,” ArtNews, May 2013. Schjeldahl, Peter, “Critic’s Notebook: Song Lines,” The New Yorker, April 2013. Smith, Shannah Elinor, “Elizabeth Peyton at Gavin Brown’s enterprise,” Opening Ceremony, April 2013. Heinrich, Will, “New York Artists Now,” Gallerist NY, April 9, 2013. “Painting People: A Conversation Between Elizabeth Peyton and Alex Katz,” Mousse, February
Recommended publications
  • Oral History Interview Jennifer Bartlett, 2011 June 3-4
    Oral history interview Jennifer Bartlett, 2011 June 3-4 This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jennifer Bartlett on June 3 and 4, 2011 . The interview took place in Brooklyn, New York, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project. Jennifer Bartlett has reviewed the transcript. Her corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JAMES MCELHINNEY: This is James McElhinney speaking with Jennifer Bartlett at her home and studio in Brooklyn on Friday June the 3rd, 2011. Good morning. JENNIFER BARTLETT: Good morning. MR. MCELHINNEY: Where were you born? MS. BARTLETT: Long Beach, California. MR. MCELHINNEY: Really? MS. BARTLETT: [Laughs.] Yes. MR. MCELHINNEY: And what was your childhood like? Were you exposed to art at an early age? MS. BARTLETT: There—we—there was some art books at home that I would look at, but not a lot. And I think probably bought by my mother. My father was a big—feeling that artists were parasites on society—[laughs]— and you know the rest.
    [Show full text]
  • Elizabeth Peyton (American, B. 1965) – Artist Resources Peyton at Gladstone Gallery in New York
    Elizabeth Peyton (American, b. 1965) – Artist Resources Peyton at Gladstone Gallery in New York Peyton at Galerie Thaddaeus Ropac In 2008, one of Peyton’s muses, musician Jarvis Cocker, talked with the artist for Interview Magazine about photography, creativity, and what she is drawn to in her subjects. “It was something I wanted to know existed—that people could be heroic or could come from anywhere and make great things out of themselves…I wanted to highlight that. I felt like there weren’t pictures in the world of people who did things like that-pictures which were going to last.” The interview was published to celebrate an exhibition of Peyton’s photography at the Aldrich Contemporary Art Museum in Connecticut. 2008 also saw Peyton’s first retrospective tour internationally, at the New Museum in New York followed by The Walker Art Center and Whitechapel Gallery in London. “The paintings are about the person, very much, and my feelings for them. But it is a transformative process. To see the work as autobiographical is just a little bit too literal to me somehow,” Peton tells The Gentlewoman in a 2013 profile about Peyton, 1999 her rise to fame, love of music, literature, and art. Self-portrait The National Portrait Gallery in London celebrated Peyton’s prowess in portraiture with a solo exhibition in 2019. Gallery director Nicholas Cullinan worked directly with Peyton to produce the show, which is the first in the institution’s history to intersperse its historical collection with an exhibition of a single artist. Cullinan even sat for a portrait.
    [Show full text]
  • Elizabeth Peyton Biography
    Sadie Coles HQ Elizabeth Peyton Biography 1965 Born Danbury CT, USA Lives and works in New York NY, USA 1987 BFA from School of Visual Arts, New York NY, USA Lives and works in New York NY, USA Solo Exhibitions 2021 Leeahn Gallery, Seoul, Korea 2020 Lara, Gladstone Gallery, Gladstone 64, New York NY, USA Practice, UCCA Center for Contemporary Art, Beijing, China Eternal Return, online: https://petitcrieu.com/ 2019 Aire and Angels, National Portrait Gallery, London, England Sadie Coles HQ, Davies Street, London, England 2018 Eventyr, Thaddeus Ropac, Salzburg, Austria Universe of the World-Breath, Kling&Bang, Reykjavik, Iceland 2017 Eternal Idol, Elizabeth Peyton – Camille Claudel, The French Academy in Rome, Villa Medici, Rome, Italy 2016 Hara Museum of Contemporary Art, Tokyo, Japan SPEED POWER TIME HEART / NEW PAINTINGS, Gladstone 64, New York NY, USA with Kristian Emdal, Tantris (Young Tristan), Times Square, New York NY, USA, commissioned by Gallery Met Shorts Tristan und Isolde, Gallery Met, The Metropolitan Opera, New York NY, USA Manon Lescaut, Gallery Met, The Metropolitan Opera, New York NY, USA Sadie Coles HQ, Davies Street, London, England 2014 Dark Incandescence, Gladstone Gallery, Brussels, Belgium Neugerriemschneider, Berlin, Germany 2013 Klara: 13 Pictures, Michael Werner Gallery, New York NY, USA Gavin Brown’s enterprise, New York NY, USA Here She Comes Now, Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany 2012 with Jonathan Horowitz, Secret Life, Sadie Coles HQ, New Burlington Place, London, England Regen Projects, Los Angeles CA, USA 2011 Gagosian Gallery, Paris, France Wagner, Gallery Met, Metropolitan Opera, New York NY, USA Ghost, Opelvillen villas Rüsselsheimm, Rüsselsheimm, Germany Ghost, Mildred Lane Kemper Art Museum, St.
    [Show full text]
  • Vogue on Yves Saint Laurent
    Model Carrie Nygren in Rive Gauche’s black double-breasted jacket and mid-calf skirt with long- sleeved white blouse; styled by Grace Coddington, photographed by Guy Bourdin, 1975. Linda Evangelista wears an ostrich-feathered couture slip dress inspired by Saint Laurent’s favourite dancer, Zizi Jeanmaire. Photograph by Patrick Demarchelier, 1987. At home in Marrakech, Yves Saint Laurent models his new ready-to-wear line, Rive Gauche Pour Homme. Photograph by Patrick Lichfield, 1969. DIOR’S DAUPHIN FASHION’S NEW GENIUS A STYLE REVOLUTION THE HOUSE THAT YVES AND PIERRE BUILT A GIANT OF COUTURE Index of Searchable Terms References Picture credits Acknowledgments “CHRISTIAN DIOR TAUGHT ME THE ESSENTIAL NOBILITY OF A COUTURIER’S CRAFT.” YVES SAINT LAURENT DIOR’S DAUPHIN n fashion history, Yves Saint Laurent remains the most influential I designer of the latter half of the twentieth century. Not only did he modernize women’s closets—most importantly introducing pants as essentials—but his extraordinary eye and technique allowed every shape and size to wear his clothes. “My job is to work for women,” he said. “Not only mannequins, beautiful women, or rich women. But all women.” True, he dressed the swans, as Truman Capote called the rarefied group of glamorous socialites such as Marella Agnelli and Nan Kempner, and the stars, such as Lauren Bacall and Catherine Deneuve, but he also gave tremendous happiness to his unknown clients across the world. Whatever the occasion, there was always a sense of being able to “count on Yves.” It was small wonder that British Vogue often called him “The Saint” because in his 40-year career women felt protected and almost blessed wearing his designs.
    [Show full text]
  • News from the Stacks of the ACAD Library
    News from the Stacks of the ACAD library Art just cannot live on itself. It has to draw on a broader knowledge. Anselm Kiefer ISSUE 3 February 2018 If there is a publication in which your writing and/or work appear please let us know at [email protected] We will be pleased to highlight it here. School of Craft + Emerging Media School of Communication Design More School of Critical + Creative Studies School of Visual Arts Celebrating our Own … Jane Kidd curious (Jane Kidd is a former senior ACAD faculty member) (Content by Amy Gogarty, ACAD alum + former faculty member) Jane Kidd’s technically demanding and conceptually rich tapestries provoke questions about handcraft, disciplinary knowledge, and the importance of bringing historical practices into the contemporary art arena for critical discussion and debate. Using various weaving techniques and inspired by Curiosity Cabinets and the Natural History Museum, Kidd’s tapestries evoke relationships and contradictions between art and science, imagination and knowledge, and decoration and display. Kidd is an award-winning, internationally recognized artist. Having taught at the Alberta College of Art + Design, she currently maintains a studio practice on Salt Spring Island in British Columbia. In 2016 she was awarded the Governor General's Award for Visual and Media Arts. Catalogue Kelowna Art Gallery Keepsakes of Conflict: Trench Art and other Canadian war-related craft (Julia Krueger, primary researcher, is an ACAD alum and Sessional Faculty at ACAD) “The duality of trench art is its one constant.
    [Show full text]
  • Vogue Media Kit 2019
    MEDIA KIT 2019 EDWARD ENNINFUL OBE A NEW ERA OF BRITISH VOGUE “Before I got the job I spoke to certain women and they felt they were not represented by the magazine, so I wanted to create a magazine that was open and friendly. A bit like a shop that you are not scared to walk into. You are going to see all different colours, shapes, ages, genders, religions. That I am very excited about.” - Editor-In-Chief, Edward Enninful, OBE The first issue under Enninful was The December 2017 issue. VA N E S S A K I N G O R I M B E “I’m excited to assume this highly-coveted role. In a moment when continuous change across the communications; fashion and luxury industries creates dynamic and exhilarating opportunities for the strongest media brands, Vogue’s unrivalled equity sets it apart as the best of the best.” - Publishing Director, Vanessa Kingori, MBE Vanessa is the first new Publishing Director at British Vogue in a quarter of a century. Having begun her tenure in January 2018, she ushers in a new direction in Vogue’s business strategy. BRITISH VOGUE LEADERSHIP TEAM ACHIEVEMENTS & AWARDS 2018 Edward Enninful OBE Vanessa Kingori MBE Goldsmith’s, University of London | University of the Arts London | Honorary Honorary Fellowship Doctorate “Enninful’s trailblazing work on Italian and “The first female publisher in British Vogue’s American Vogue and W Magazine led to his 102 year-long history, Vanessa Kingori MBE is appointment at British Vogue – where he has instrumental to the creative vision and continued to innovate and inspire.” emphasis on diversity
    [Show full text]
  • UCCA Beijing Announces 2020 Exhibitions Released December 5, 2019
    UCCA Beijing Announces 2020 Exhibitions Released December 5, 2019 Editorial Contacts: UCCA Center for Contemporary Art is proud to announce the exhibitions for its flagship Beijing museum in 2020. Featuring leading figures in Chinese contemporary UCCA art alongside key international voices, the year’s programs include solo exhibitions by Danyu Xu artists both emerging and established, and group exhibitions that bring art history into International Media Relations Supervisor dialogue with contemporary practice. UCCA Beijing’s 2020 exhibitions are detailed +86 10 5780 0258 below. Three exhibitions at UCCA Dune, as well as further details on UCCA’s +86 138 1082 9590 upcoming center in Shanghai, will be announced at a later date. In addition, UCCA will [email protected] continue to expand its academic and philanthropic initiatives, including educational outreach programs for children from underserved communities, and a new museum Brunswick Arts library and archive in Beijing. Through these exhibitions and programs, UCCA Alice Murphy, Brunswick Arts America continues its mission to deepen and improve lives, and to connect cultures, through +1 (212) 333-3810 contemporary art. Damian Chandler, Brunswick Arts Asia UCCA Director and CEO Philip Tinari has commented, “At the conclusion of an +852 9661 7660 eventful year, which began with the total revitalization of our Beijing flagship, continued with the landmark exhibition “Picasso – Birth of a Genius,” and ended with [email protected] the announcement of our Shanghai museum to open officially in 2021, UCCA looks forward to presenting a compelling program in 2020. Next year’s exhibitions span Press material available at eras and geographies, from the history of computer art, to the artistic ferment of ucca.org.cn/en/press 1980s New York City, to contemporary China as seen through the sharp and sensitive eye of Cao Fei.
    [Show full text]
  • Elizabeth Peyton October 8, 2008 - January 11, 2009
    1 NEW MUSEUM LIVE FOREVER: ELIZABETH PEYTON OCTOBER 8, 2008 - JANUARY 11, 2009 Napoleon 1991 Charcoal on paper 22 x 18 in 55.9 x 45.7 cm Private collection, Courtesy Sadie Coles, HQ, London Ludwig Riding to Paris 1992 Charcoal on newsprint 11 ! x 16 " in 29.8 x 41.9 cm Private collection Ludwig with Josef Kainz 1992 Charcoal on paper 16 " x 11 ! in 41.9 x 29.8 cm Courtesy the artist and Gavin Brown’s enterprise 2 Kings and Queens 1993 Ink on paper 5 " x 7 " in 14 x 19.1 cm Collection Laura Stevenson Maslon Ludwig Caressing the Bust of Marie Antoinette 1993 Charcoal on paper 13 ! x 10 ! in 34.9 x 27.3 cm Collection Karen and Andy Stillpass Princess Elizabeth’s First Radio Address 1993 Charcoal on paper 14 x 11 in 35.6 x 27.9 cm Collection Karen and Andy Stillpass 3 Rirkrit, age 3 (Argentina) 1993 Ink on paper 5 " x 3 ! in 14 x 9.5 cm Courtesy the artist and Gavin Brown’s enterprise Dallas, TX (January 1978) 1994 Oil on board 20 x 16 in 50.8 x 40.6 cm Private collection, Courtesy Sadie Coles, HQ, London John Lydon 1994 Oil on canvas 12 x 9 in 4 30.5 x 22.9 cm Private collection Ludwig in Versailles 1994 Charcoal on newsprint 16 " x 11 ! in 41.9 x 29.8 cm The Stephanie and Peter Brant Foundation, Greenwich, CT Ludwig II of Bavaria 1994 Oil on board 17 x 12 in 43.2 x 30.5 cm Los Angeles County Museum of Art, gift of Peter Norton Alizarin Kurt 1995 Oil on canvas 24 x 20 in 61 x 50.8 cm Private collection, New York 5 Blue Kurt 1995 Oil on canvas 20 x 16 in 50.8 x 40.6 cm Private collection, New York John Simon Beverley Ritchie (Sid) 1995 Oil
    [Show full text]
  • Nordstrom Unveils New Fall Fashion Campaign
    Nordstrom Unveils New Fall Fashion Campaign August 7, 2017 Retailer showcases fashion through the lens of photographer Max Farago and director Clara Cullen SEATTLE, Aug. 7, 2017 /PRNewswire/ -- Today, Nordstrom, Inc. launched a new national brand campaign shot by photographer Max Farago with video by director Clara Cullen, which celebrates the best of fall fashion. The campaign will debut on August 7 in the U.S. and on September 4 in Canada with print, digital, social, out of home and video components. The campaign vision and concept was developed by Olivia Kim, Vice President of Creative Projects at Nordstrom, who has set the creative tone for the retailer's last five brand campaigns. Kim along with her creative team tapped Farago and Cullen, the husband and wife creative duo favored by the fashion world, to bring their vision to life. The campaign features intimate and honest portraits of models and non-models alike, minimally edited and styled how people really dress to depict a modern and relevant perspective on a high-fashion campaign. The full campaign imagery and videos can be seen at Nordstrom.com/Fall2017. "People are the foundation of Nordstrom," said Kim. "Our customers and employees are at the center of everything we do. They are our friends and our friends-of-friends, and this season we wanted to convey a sense of community and celebrate real people who are doing great and extraordinary things, who inspire us in our everyday lives. "We see the brand campaigns as our opportunity to tell our most fashion-forward story, yet this season we put the focus back on the people.
    [Show full text]
  • Dorothy Todd's Modernist Experiment in British Vogue, 1922 -1926, by Amanda
    This work is protected by copyright and other intellectual property rights and duplication or sale of all or part is not permitted, except that material may be duplicated by you for research, private study, criticism/review or educational purposes. Electronic or print copies are for your own personal, non- commercial use and shall not be passed to any other individual. No quotation may be published without proper acknowledgement. For any other use, or to quote extensively from the work, permission must be obtained from the copyright holder/s. “A plea for a renaissance”: Dorothy Todd’s Modernist experiment in British Vogue, 1922 -1926 Figure 1 Amanda Juliet Carrod A thesis submitted for the degree of Doctor of Philosophy in English Literature June 2015 Keele University Abstract This is not a fashion paper: Modernism, Dorothy Todd and British Vogue "Style is thinking."1 In 1922, six years after its initial inception in England, Vogue magazine began to be edited by Dorothy Todd. Her spell in charge of the already renowned magazine, which had begun its life in America in 1892, lasted until only 1926. These years represent somewhat of an anomaly in the flawless history of the world's most famous fashion magazine, and study of the editions from this era reveal a Vogue that few would expect. Dorothy Todd, the most enigmatic and undocumented figure in the history of the magazine and, arguably within the sphere of popular publications in general, used Vogue as the vehicle through which to promote the innovative forms in art and literature that were emerging at the beginning of the twentieth century.
    [Show full text]
  • Elizabeth Peyton Ebook Free Download
    ELIZABETH PEYTON PDF, EPUB, EBOOK Elizabeth Peyton | 112 pages | 25 May 2016 | Distanz Publishing | 9783954760763 | English, German | Berlin, Germany Elizabeth Peyton PDF Book Shop Now. Elizabeth Peyton has painted the rich, the famous, and the incredibly attractive-particularly that cool, unaffected brand of attractive that is thin, fey, angular, and so often swathed in long, scruffy hair. Sources Art in America , May , p. The literature surrounding this exhibition swung the debate, as it positioned Peyton as not just a traditional figurative painter and celebrity admirer, but an artist taking a critical view of and approach to contemporary portrait painting itself. The original Doogie Howser series ran from to and starred Neil Patrick Harris as the titular genius. She has said of printmaking, "It's a very free medium. As well as paintings and drawings, Peyton began to make prints and to make use of new materials such as handmade papers and various colored inks. Lee's casting follows her groundbreaking Andi Mack series coming to an end in How you can keep your mind sharp She learned to draw and paint with her left hand, having been born with just forefinger and thumb on her right with which she holds her work. Cocoa Banana Soap Bar. He had this wonderful sensitivity to art and music… And he gave us Richard Wagner. Previous slideshow slide Next slideshow slide. First Name. Twilight Oil on board The artist has described how in reading the book, she understood the importance of individual people in the world. In the original series, which was created by the late Steven Bochco and David E.
    [Show full text]
  • P Ho T O a U C T Io N
    VIENNA, OCTOBER 2ND 2020 PHOTO AUCTION 77, ALFRED EISENSTAEDT EXPERTEN SPECIALISTS PROF. JOHANNES FABER 22. Gründer der Galerie Johannes Faber in Wien, OSTLICHT Kunsthändler und Experte für klassische PHOTO AUCTION Fotografie; zahlreiche Ausstellungen, Preise, Freitag, 2. Oktober 2020, Stipendien und Publikationen. 17 Uhr (MESZ) Founder and director of Galerie Johannes Faber in Vienna, art dealer and expert for classic VORBESICHTIGUNG photography; numerous exhibitions, awards, ab Mittwoch, 23. September scholarships and publications. nach persönlicher Vereinbarung: PHOTO [email protected], Tel.: +43 1 996 20 66 17 ND AUCTION 22 OSTLICHT ANNA ZIMM PHOTO AUCTION Kunsthistorikerin, Expertin für Fotografie, Researcher. Friday, October 2nd 2020, Seit 2008 bei OstLicht (früher WestLicht) Photo Auction. 5 pm (CEST) Art historian, Photographs Specialist, Researcher. Working for OstLicht (former WestLicht) Photo Auction VIEWING since 2008. from Wednesday, September 23rd [email protected] only by appointment: [email protected], Tel.: +43 1 996 20 66 17 MICHAEL KOLLMANN Kurator Fotobuch WestLicht / OstLicht, Begründer vom Vienna Photo Book Festival, Fotobuch- UPDATED BUYER’S Herausgeber und Experte für seltene Fotobücher. PREMIUM Photo book curator WestLicht / OstLicht, founder The total purchase price for of the Vienna Photo Book Festival, editor of photo all lots consists of the hammer books and expert for rare photo books. price plus the premium of Absberggasse 27, 26 % (incl. 5 % VAT) for lots [email protected] 1100 Vienna, Austria remaining in the EU. Tel.: +43 1 996 20 66 17 For lots that are exported to For general enquiries third countries or purchased about this auction, email with a valid VAT number the should be addressed to premium is 20 %.
    [Show full text]