Scrace Japanese Francis Picabia catalogue produced on the occasion of an exhibition at The Museum of Modern Art, Seibu Takanawa 21 July-5 September 1984 and The Seibu Museum of Art, Tokyo 9 September-21 October 1984.
Richly illustrated with many of Picabia’s works spanning his entire oeuvre in painting, drawing, text and print, with texts in Japanese, with some English and French.
Francis Picabia (22 January 1879 – 30 November 1953) was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and pointillism, Picabia became associated with Cubism. His highly abstract planar compositions were colourful and rich in contrasts. He was one of the early major figures of the Dada movement in the United States and in France. His was later briefly associated with Surrealism, but would soon turn his back on the art establishment.
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- Francis Picabia
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The artist Francis Picabia — notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist — has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada.
In this first book in English to focus on Picabia’s work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia’s eyes. Such reimagining involves a new account of the readymade — Marcel Duchamp’s anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia’s hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia’s readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history — and naming them — for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage. Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada “manifestations” to Picabia’s polemical writings; from a lost work by Picabia in the form of a hole (called, suggestively, The Young Girl) to his “painting” Cacodylic Eye, covered in autographs by luminaries ranging from Ezra Pound to Fatty Arbuckle. Baker ends with readymades in prose: a vast interweaving of citations and quotations that converge to create a heated conversation among Picabia, Andre Breton, Tristan Tzara, James Joyce, Friedrich Nietzsche, Jacques Derrida, Gilles Deleuze, and others. Art history has never looked like this before. But then again, Dada has never looked like art history.
George Baker is Assistant Professor of Art History at the University of California, Los Angeles, and an editor at October magazine and October Books. He is the editor of James Coleman (MIT Press) and a frequent contributor to Artforum.
- The Artwork Caught by the Tail : Francis Picabia and Dada in Paris
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Experimental Painting Workshop
Published on the occasion of the exhibition JOHN NIXON: EPW at Castlemaine Art Museum 19 March-25 June, 2017. “This exhibition presents a recent selection from Nixon’s Experimental Painting Workshop (EPW), a project that began in London in 1978 and continues to this day. Rejecting narrative, realism and pictorialism which he sees as limitations on painting, Nixon’s EPW proposes an expanded, and expanding, definition via the principles of modernist non-objectivity, specifically, the monochrome, Minimalism and Constructivism, and dynamic approaches to their exhibition. In his employment of the ready-made object, made famous by Marcel Duchamp in the early 20th century, Nixon demonstrates an intuitive method of collecting, rationalizing and repurposing the everyday into otherwise abstract works. The en masse presentation of this exhibition is a hallmark of the EPW, offering both a spectacular experience of the whole, while also giving emphasis to individual works as evidence of the progression of Nixon’s thesis on the open-ended possibilities for painting.”
Designed by Yanni Florence and John Nixon.
Photography by Christo Crocker.
Text by Emma Busowsky Cox.
Published in an edition of 500 copies.
John Nixon (b. 1949, Sydney) is one of Australia’s foremost artists. Since his first solo exhibition in Melbourne in 1973, Nixon has mounted hundreds of exhibitions in Australia, New Zealand, Europe, and the United States, and his work is included in public and private collections worldwide.
- John Nixon - Experimental Painting Workshop (2017)
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Big Words (Not Mine) - Read the words 'public space'...
This monumental artists’ book returns Vito Acconci’s text, that inspired Nolan’s large scale installation of 282 painted hessian pennants ‘Big Words (Not Mine) Read the words “public space”…’, 2013, back to the codex form of the book. With Acconci’s text broken into strings of letters, the book interrogates the relationship between documentation and representation and explores Nolan’s continued interest in materials, process and seriality.
Design: Warren Taylor
Photography: Garry Sommerfeld
Published in an edition of 200 copies
- Rose Nolan - Big Words (Not Mine) - Read the words 'public space'...
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