Publisher: San Francisco and Minneapolis, Minnesota: San Francisco Museum of Modern Art and the Wexner Center for the Arts, in association with D.A.P./Distributed Art Publishers, Inc., 2009
Edition: 1st Edition
Condition: New / New
Item #: 107042
First edition, first printing. Signed in black ink on the half-title page by Tuymans. Hardcover. Fine gray cloth-covered boards with title debossed on cover and spine; with photographically illustrated dust jacket. Paintings by Luc Tuymans. Edited by Madeleine Grynsztejn and Helen Molesworth. Essays by Helen Molesworth, Joseph Leo Koerner, Ralph Rugoff and Bill Horrigan. Additional contributions by Alison Gass, Prudence Peiffer, Joshua Shirkey and Lanka Tattersall. Includes a catalogue of the exhibition, exhibition history and reviews and a selected bibliography. Designed by Takaaki Matsumoto, Matsumoto Incorporated, New York. 228 pp., with 75 four-color plates and numerous additional illustrations, finely printed in Germany by Cantz. 11-3/4 x 10 inches.
Published on the occasion of a major exhibition organized by the San Francisco Museum of Modern Art and the Wexner Center for the Arts, and traveling to the Dallas Museum of Art, the Museum of Contemporary Art, Chicago, and the Centre for Fine Arts, Brussels.
New in New dust jacket (opened only for signature).
Luc Tuymans' paintings are more photographic than most photographs. His work is deeply rooted in the aesthetics of memory, the stream of media images in our culture, cinema and video, the "photographic" cues that we expect -- the way the edges of light look in an enlarged low-resolution image, the fragmentation in a snapshot, the "physicality" of a Polaroid -- and the apparent randomness of his wide-ranging subject matter (from the Holocaust to the specific pink color of the Financial Times).
From the publisher: "Luc Tuymans is one of today's most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. As a European child of the 1950s, his relationship to painting is inevitably structured by television, cinema and by the lingering effects of World War II; more recent historical preoccupations have included the dramatic turn of world events post-9/11. Tuymans combines a muted palette with deteriorated surface effect and a singular use of cropping, close-up and sequencing--perfect devices with which to undertake his investigation of the pathological, the banal and the conspiratorial.
Published in conjunction with the artist's first full-scale American survey, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter's main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers the nature of visual experience in light of Tuymans' recent work, and Bill Horrigan examines cinematic sources. This book is not only the most comprehensive survey of Tuymans' career to date, but also the most thorough chronology of his artistic development."