Joan Mitchell: I carry my landscapes around with me

Name: Joan Mitchell: I carry my landscapes around with me
Brand: Thames and Hudson (Australia) Pty Ltd
SKU: 9781644230282
Price: 100.0 NZD
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By Suzanne Hudson and Robert Slifkin and Joan Mitchell

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4.45

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Summary

I carry my landscapes around with me examines American abstract artist Joan Mitchell's large-scale multipanel paintings from the 1960s to the 1990s. Mitchell innovatively combined multiple canvases to create dynamic compositions that evoke landscapes and memories. Her unique approach to abstraction, with inventive figure-ground relationships and expressive colour, results in emotionally charged works that reflect places, times, and personal experiences. This volume accompanies a 2019 exhibition at David Zwirner New York and includes detailed reproductions and essays analysing the formal and conceptual aspects of Mitchell's multipanel practice.
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Format: Hardback

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Book Hero Magic created this recommendation. While it's new and still learning, it may not be perfect - your feedback is welcome! IS THIS YOUR NEXT READ?

This book is ideal for readers interested in modern art, abstract painting, and art history, particularly those who appreciate in-depth studies of influential postwar artists and innovative approaches to landscape interpretation.

Description

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 colour 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.

Book Hero Magic summarised reviews for this book. While it's new and still learning, it may not be perfect - your feedback is welcome! HOW HAS THIS BEEN REVIEWED?

John Vincler of The Paris Review praises Mitchell's ability to create vast yet fluid paintings that resonate with natural elements, while Jeremy Sigler of The Brooklyn Rail highlights their enduring musicality. Critic John Yau, writing for Hyperallergic, calls her work "one of the towering achievements of the postwar period," applauding her skill in imbuing paint with profound emotion.

Book Details

INFORMATION

ISBN: 9781644230282

Publisher: David Zwirner

Format: Hardback

Date Published: 06 February 2020

Country: United States

Imprint: David Zwirner

Audience: General / adult

DIMENSIONS

Weight: 1140g

Pages: 112

Collections

Arts & Culture Joan Mitchell Non-Fiction Robert Slifkin Suzanne Hudson

About the Author

Born in Chicago and educated at the Art Institute of Chicago, from which she received a BFA (1947) and an MFA (1950), Joan Mitchell moved in 1949 to New York, where she 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. It was in Vétheuil that she began regularly hosting artists at various stages of their careers, providing space and support to develop their art. 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 an associate professor of art history and fine arts at the University of Southern California. A longtime contributor to Artforum, she is the author of books including Robert Ryman: Used Paint (2009) and Agnes Martin: Night Sea (2017). Mary Weatherford is forthcoming in 2019 from Lund Humphries and Contemporary Painting in 2020 by Thames & Hudson. 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 an associate professor of fine arts at the Institute of Fine Arts, New York University. He is the author of The New Monuments and the End of Man: U.S. Sculpture between War and Peace, 1945-1975 (2019) and Out of Time: Philip Guston and the Refiguration of Postwar American Art (2013), which was awarded the Phillips Book Prize. His essays and reviews have appeared in such magazines and journals as Artforum, Art in America, Art Bulletin, Art Journal, October, Oxford Art Journal, and Racquet.