A monograph on the work of Jiří Kovanda, on which Markéta Stará writes about the book’s production: “(Kovanda’s) aim to dissolve the line between art and life brings him to manipulate familiar objects from the outside world and incorporate them into works that, outside of the gallery context (and sometimes even within it), could easily be overlooked. This near invisibility resonates with Kovanda’s efforts to escape artistic trends and avoid any reductive framing. Although it could be argued that his oeuvre hovers on the border between kitsch and high aesthetics, his goal is to test the possibility of their equivalence and thus to deconstruct the distinction between art objects and utilitarian objects. It is exactly this endeavor that brought Kovanda to use the occasion of the publication of a catalogue to transform the book into an art object and make it the subject of his latest exhibition.”
A monograph on the work of Jiří Kovanda, on which Markéta Stará writes about the book’s production: “(Kovanda’s) aim to dissolve the line between art and life brings him to manipulate familiar objects from the outside world and incorporate them into works that, outside of the gallery context (and sometimes even within it), could easily be overlooked. This near invisibility resonates with Kovanda’s efforts to escape artistic trends and avoid any reductive framing. Although it could be argued that his oeuvre hovers on the border between kitsch and high aesthetics, his goal is to test the possibility of their equivalence and thus to deconstruct the distinction between art objects and utilitarian objects. It is exactly this endeavor that brought Kovanda to use the occasion of the publication of a catalogue to transform the book into an art object and make it the subject of his latest exhibition.”
A monograph on the work of Jiří Kovanda, on which Markéta Stará writes about the book’s production: “(Kovanda’s) aim to dissolve the line between art and life brings him to manipulate familiar objects from the outside world and incorporate them into works that, outside of the gallery context (and sometimes even within it), could easily be overlooked. This near invisibility resonates with Kovanda’s efforts to escape artistic trends and avoid any reductive framing. Although it could be argued that his oeuvre hovers on the border between kitsch and high aesthetics, his goal is to test the possibility of their equivalence and thus to deconstruct the distinction between art objects and utilitarian objects. It is exactly this endeavor that brought Kovanda to use the occasion of the publication of a catalogue to transform the book into an art object and make it the subject of his latest exhibition.”
Produced on the occasion of the exhibition R. H. Quaytman: Modern Subjects, Chapter Zero at Wiels, Brussels, 10 September, 2021–30 January, 2022, which explored Brussels’ artistic history and, more specifically, the relationship to power of some of the artists with whom the artist shares an affinity, such as Magritte and Broodthaers. In preparatory research, Quaytman came across the painter Antoine Wiertz and his personal museum, which is now nestled in the heart of the European Quarter. With its unique and spectacular hanging, this museum bears witness to the golden age of monumental painting, which was in the throes of decline in the face of photography and film. Wiertz sought to compensate for this waning with an overabundance of moralising subjects condemning injustice and inequality. He depicted chilling scenes of poverty, war, suicide, or cholera.
Designed by Goda Budvytytė.
This exhibition catalogue presents twenty color illustrations of paintings by the British painter Prunella Clough. Published to commemorate the first German presentation of the artist’s work at June Gallery, Berlin, the book focuses on the artist’s late-career departure from the industrial figuration for which she was known into a wry, quietly influential approach to abstraction. Included are works dated between 1960–1993.
Designed by Dan Solbach.
Produced on the occasion of the exhibition Prunella Clough, The Late Paintings and selected earlier works at Annely Juda Fine Art, London, 1 November–16 December, 2000.
Prunella Clough found her subjects by touring London’s industrial wastelands and bombsites – docks, power stations, factories and scrapyards – creating gritty, urban images. Her work – comprising paintings, collages, drawings, reliefs and graphics – increasingly centred on the components of the cityscape as her art, shifted away from representation through various influences including cubism and European abstraction.
*Please note this publication is secondhand and may have some traces of previous ownership.