VITAMIN P3 · 2017. 8. 6. · Arts, she studied Diego Velásquez (1599–1660) and Francisco de Zurbarán (1598–1664), as well as other Spanish School artists, the influence of

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LIST OF NOMINATORS

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COURTNEY MARTIN CHUS MARTINEZSARAH MCCRORYCHARLES MEREWETHERJEN MERGELHELEN MOLESWORTHGREGOR MUIRALEXANDRA MUNROETRACEY MURINIKJOANNA MYTKOWSKABOB NICKASHANS ULRICH OBRISTTRICIA PAIKADRIANO PEDROSAPHILIPPE PIROTTEANDRZEJ PRZYWARABEATRIX RUFRALPH RUGOFFRICHARD SCHIFFBARRY SCHWABSKYREID SHIERBRIAN SHOLISAMY SILLMANFRANKLIN SIRMANSJOHN SLYCENANCY SPECTORANTHONY SPIRAPOLLY STAPLEROCHELLE STEINERDANIEL STURGISALI SUBOTNICKGRAINNE SWEENEYSALLY TALLANTEUGENE TANSAM THORNEPHILIP TINARIALINA TORTOSAJACKIE WULLSCHLAGERJOHN YAULYDIA YEE ANITA ZABLUDOWICZ

Vitamin P3 New Perspectives in Painting is the next installment in the popular ‘Vitamin’ series – the world’s hottest painters, selected by international experts.

Since the first volume of Vitamin P, published in 2002, contemporary painting has gone from strength to strength, with the emergence of new generations of painters across the world, whose work has both responded to the historic importance of the medium and taken it in fresh and exciting directions.

While painting continues to be a central pillar of artistic practice, it also has enduring popular appeal. Painting old and new dominates the art market at all levels and contem-porary painting is a frequent subject for exhibitions at museums and galleries alike, such as ‘The Forever Now: Contemporary Painting in an Atemporal World’ (MoMA, New York, 2014–15) and ‘Painting Now: Five Contemporary Artists’ (Tate Britain, London, 2013–14).

Vitamin P3 presents the work of outstanding artists who are currently engaging with and pushing the boundaries of the medium. Following the format of the previous ‘Vitamin’ books, Phaidon Editors invited international curators, critics, collectors and art educators to nominate artists who have made a unique or innovative contribution to recent paint-ing. The resulting short list of over 100 names includes emerging artists, long-established painters who have received critical acclaim only in the past five years, and artists better known for work in other media who have recently turned to painting.

Organized A to Z by artist, examples of each painter’s work is accompanied by a specially commissioned essay on their practice and a short biography. The book also features an introduction by expert on contemporary painting, New York-based critic Barry Schwabsky.

05Etel Adnan

For an artist as multifaceted as Etel Adnan – who was born in Beirut in 1925 to a Greek mother and a Syrian father, speaks five languages and has devoted many decades to writing plays, novels, poems and essays, as well as making films, tapestries, drawings, paintings and artist’s books – the division between her writing and painting would appear to be the clearest. On the one hand, Adnan is driven by politics and writes about civil war, violence and environmental devastation. She began writing poetry in the 1960s, when she was teaching in California, as a response to the enormity of the Algerian struggle for independence from France and the Vietnam War. Later, in the 1970s, she returned to Beirut to work as a journalist and to paint. Since then, the episodic conflict in Lebanon has smouldered through her poetry and prose.

On the other hand, in her paintings Adnan aspires to pure beauty, landscapes so emptied of everyday agitation that they become a modular vocabulary of abstract forms: a triangle for a mountain, a circle for the sun, a line for the horizon running between sea and sky. Her colours and shapes convey a kind of stillness, hollowing out and slowing down the process of thought. While her writings acknowledge the darkest, most uncomfortable corners of humanity, her paintings are seemingly joyful, eternal expressions of the simplest, most straightforward love of the world and one’s life within it. From her untitled canvases of the 1960s, with their overlapping squares of gauze, to the gentle, rolling hills of her similarly untitled paintings from 2015, her work speaks of a richly saturated, pastel-coloured peacefulness.

Even in the Paris apartment where Adnan now lives and works, she keeps separate desks for her writing and painting, pushed to opposite ends of a room. And yet, what complicates the clarity of this division is the fact that it is precisely her writing that captures her painting so completely. ‘Painters have a knowledge which goes beyond words’, Adnan writes in Journey to Mount Tamalpais (1986), her riveting account of falling in love with the hill in California she describes as her best friend. ‘They are where musicians are. When someone blows the saxophone the sky is made of copper. When you make a watercolour you know how it feels to be the sea lying early in the day … It seems to me that I write what I see, paint what I am … I draw roses. What if I do nothing but draw roses? Why not? … What if a rose bush walked toward me and took me into its affection?’

So what if Adnan’s paintings were understood as the repetitive, ritualistic marks of a writer, her daily warm-up, a spiritual practice to signal the beginning or the end of a difficult and challenging line of enquiry, to be realised through poetry or prose? After all, she has often said that she composed her early paintings in Arabic, a language she spoke but never really wrote in. Certainly her artist’s books beautifully confuse the reading of letters and words with the perceiving of lines and shapes. Perhaps, in one sense, Adnan’s writing and painting are not separate but rather the same. And perhaps that says something about an ancient art form in our high-tech, twenty-first-century age.

KWG

ETEL ADNAN Born 1925, Beirut, Lebanon. Lives and works in Paris, France Selected Solo Exhibitions: 2015 – Haus Konstruktiv, Zurich; Irish Museum of Modern Art, Dublin; 2014 – ‘Writing Mountains’, The Museum der Moderne Salzburg, Austria; ‘Etel Adnan in All Her Dimensions’, Mathaf, Arab Museum of Modern Art, Doha, Qatar; 2013 – Sfeir–Semler Gallery, Beirut; ‘Worlds and Places: Etel Adnan’, Wattis Institute for Contemporary Arts, San Francisco; ‘Etel Adnan, Works 1965–2012’, Sfeir–Semler Gallery, Hamburg, Germany Selected Group Exhibitions: 2015 – Sharjah Biennial 12, Sharjah; Istanbul Biennial, Turkey; 2014 – Whitney Biennial, Whitney Museum of Modern Art, New York; ‘Here and Elsewhere’, New Museum, New York; ‘this secret world that exists right here in public’, Rampa Istanbul, Turkey; 2012 – dOCUMENTA (13), Kassel, Germany Bibliography: 2015 – Negar Azimi, ‘Why the Art World Has Fallen for 90-Year-Old Etel Adnan’, The Wall Street Journal, Feb; 2014 – Etel Adnan, To look at the sea is to become what one is: An Etel Adnan Reader, Nightboat Books, New York; 2013 – Maymanah Farhat, ‘Paintings and Drawings: Etel Adnan’, ArtAsiaPacific, Nov/Dec

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1. Untitled, 2015 Oil on canvas 33 x 24 cm

2. Untitled, 2015 Oil on canvas 33 x 24 cm

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Rooted in the history and traditions of painting, Njideka Akunyili Crosby’s practice contains ideas of hybridity in both form and content. Formally, her canvases are striking combinations of painting, drawing, printmaking and collage, comprising acrylic mixed with coloured pencil, pastel, charcoal, Xerox transfer and marble dust. Likewise, her imagery brings together her diverse experiences living in Nigeria and on both the east and west coasts of the United States, merging recollections of a range of experiences, both real and imagined. The results are complex, multi-layered canvases that weave together references to personal events, popular culture and art history. The artist currently lives and works in Los Angeles, where she finds similarities to her home town of Enugu, Nigeria in terms of the weather, light, colour palette (in particular the hot yellows and warm chartreuse greens) and temporary architectural structures – such as the use of lightweight, translucent scrims to demarcate space – all of which feature in her recent works.

Figures play a central role in Akunyili Crosby’s practice, which includes intense studies of individuals (as seen in the series The Beautyful Ones, 2014), couples (depicting herself and her husband), and groups of multi-generational families gathered around sitting rooms and dining tables. Her interior scenes are marked by formal and casual living spaces featuring combinations of realistically-rendered American and Nigerian domestic products set on crowded tables, as in Tea Time in New Haven, Enugu (2013), pointing to her experiences of both of these cultures and the fluidity of exchange between the two.

Akunyili Crosby’s work is typified by her bold use of blocks of colour to organize the canvas and designate space, with simplified figures and interior features arranged within shallow planes. Her interest in printmaking influences the pared down approach to defining space and presenting information in distinct fields. Akunyili Crosby has also utilized printmaking to create a unique visual language: swathes of images from Nigerian magazines and other popular media – which she avidly collects and covets as a way of referencing her home – are presented through Xerox transfer, silkscreens and other printing techniques. This repetition conveys the patterned fabrics and textures of carpets, wallpaper, draperies and clothing within her motifs.

Yet it is the history of painting that has had the greatest influence on Akunyili Crosby’s compositions and approach to making art. As a student at Philadelphia Academy of Fine Arts, she studied Diego Velásquez (1599–1660) and Francisco de Zurbarán (1598–1664), as well as other Spanish School artists, the influence of which is particularly visible in The Beautyful Ones, in both the posture of the figures and their arrangement in space. Contemporaries such as Kerry James Marshall (b.1955) and Chris Ofili (b.1968) also serve as inspiration, themselves both deeply indebted to painting traditions while at the same time departing from them. Their influence is evident in Akunyili Crosby’s experimentation with composition, including her signature mixture of sweeping gesture and intense detail. Her highly constructed images, such as Nwantinti (2012), take viewers on an optical journey through layers of paint, glazes, patterns and textures – her scope at times as broad as to denote a wall, doorway or bed, at others as finely calibrated as to convey an individual sequin on a dress or jewel on an earring.

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NJIDEKA AKUNYILI CROSBY Born 1983, Enugu, Nigeria. Lives and works in Los Angeles, California Selected Solo Exhibitions: 2016 – ‘Njdeka Akunyili: I Refuse to be Invisible’, Norton Museum of Art, West Palm Beach, Florida; 2015 – ‘The Beautyful Ones’, Art + Practice, Los Angeles Selected Group Exhibitions: 2016 – ‘Hey You! Who Me?!’, Yale School of Art, Connecticut; 2015 – ‘Forces in Nature’, Victoria Miro, London; 2014 – ‘Draped Down’, The Studio Museum in Harlem, New York Bibliography: 2015 – Simone Krug,

‘Njdeka Akunyili Crosby, Hammer Museum’, Art in America, Dec; Jean-Philippe Dedieu, ‘Njdeka Akunyili Crosby’s Intimate Universes’, The New Yorker, Nov; Holland Cotter, ‘Casting a Wary Eye on the Future’, The New York Times, Feb; 2014 – Teju Cole, ‘Kings County’ (cat.), Stevenson Gallery, Cape Town and Johannesburg

Njideka Akunyili Crosby

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1. The Beautyful Ones (series), 2014 Acrylic, coloured pencils, and transfers on paper 152.4 x 106.7 cm

2. Nwantinti, 2012 Acrylic, charcoal, pencil colour, collage and transfers on paper 169.8 x 200.1 cm

3. Wedding Portrait, 2012 Acrylic, pastel, coloured pencils, marble dust, transfers and fabric on paper 160 x 137.1 cm

9Cui Jie

4. Crane House #4, 2015 Oil on canvas 230 x 150 cm

5. Zhao Wei Building, 2014 Oil on canvas 200 x 190 cm

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Russian-born but based in the United States since he was ten years old, Sanya Kantarovsky is a quintessential painter. From time to time he will foray into other realms – creating video animations, curating the work of other artists or building scenes for a performance work – but painting is his primary focus, and he excels atit.

Trained at the Rhode Island School of Design, Rhode Island, and UCLA, Los Angeles, Kantarovsky is well schooled in the history of painting, and his work reflects this visual literacy. Drawing on many different art forms and historical moments, Kantarovsky creates a unique visual vocabulary that balances harmony and discord. There is something timeless about his paintings, which are imaginatively figurative, peopled by long-limbed characters, and often rendered in vibrating and bold colours. He employs an offbeat colour palette that separates his work from any given historical moment though seems very much of the now: blazing ochres, lavenders seeped with carmine, sickly greens, and cerulean blues predominate. Kantarovsky tends to tint the faces of his figures in ways that echo the early twentieth-century Fauves (‘wild beasts’), as seen in the portraits by André Derain (1850–1954). In places, though anchored by figures, his paintings also dissolve into examinations of colour and brushstroke that recall mid-twentieth century abstraction.

The scenes that Kantarovsky portrays are full of agitated ambiguity; they seem to tell a story, but the narrative is never straightforward. Solitary figures posture, saunter or simply appear perplexed. In one painting, a man slumps over a desk as if bored, asleep or simply exhausted. In another, the burnt umber face of a boy searches the lavender face of his mother inside an airplane, while she stares straight ahead at the sketchily rendered oxygen mask dangling before her. While most of his paintings are populated with characters of the artist’s own creation, Kantarovsky also draws inspiration from Russian literature and other fragments of modern culture. His figures are often stretched, elongated, sinewy amalgams of too-long arms and legs, bureaucrats struggling with paperwork or a scheming yellow-faced character known as ‘Kolobok’, taken from a Slavic fairytale. Drawing in a style that takes in equal parts from Egon Schiele (1890–1918) and a New Yorker cartoon, Kantarovsky’s figures come off as playful yet dark, representational yet surreal.

JH

SANYA KANTAROVSKY Born 1982, Moscow, Russia. Lives and works in New York, NY Selected Solo Exhibitions: 2016 – ‘In the Gutter’, Tanya Leighton, Berlin; 2015 – ‘Gushers’, Marc Foxx, Los Angeles; ‘How To Work Together’, Studio Voltaire, London; 2014

– ‘Happy Soul’, LAXART, Los Angeles; 2012 – ‘Monday’s Dirty Light’, Altman Siegel, San Francisco Selected Group Exhibitions: 2016

– ‘The Eccentrics’, SculptureCenter, New York; 2015 – ‘Tightrope Walk: Painted Images After Abstraction’, White Cube Bermondsey, London; 2014 – ‘What Were You Expecting, Mr. Milquetoast, a Plot?’, Badischer Kunstverein, Karlsruhe, Germany Bibliography: 2016 – Jens Hoffmann, ‘The Importance of Being an Influence, Mousse, Feb; 2014 – Paul Teasdale, ‘What’s so funny?’, Frieze, Nov; 2012 – Jan Tumlir, ‘Sanya Kantarovsky’, Artforum, May

Sanya Kantarovsky

1. Untitled, 2010 Oil and watercolour on linen 55.2 x 64.8 cm

2. Untitled, 2010 Ink, watercolour, oil on linen 73.7 x 55.9 cm

3. Sky Alliance, 2015 Oil, pastel, watercolour, and oil stick on linen 119.4 x 88.9 cm

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The work of Éder Oliveira appears at its most dramatic on the streets of his native town of Cidade Velha Belém, the capital of the state of Pará, Brazil. As one of the most dangerous states in the country, Pará is beset by lawlessness comparatively unchecked by under-resourced and outgunned state authorities. Riven by the rapid and ongoing expansion of deforestation, corporate oil production and drug trafficking, Pará offers little hope of gainful employment but offers a kaleidoscope of opportunities for profitable engagement in illegal trades. In these challenging circumstances, positioned far outside the established gallery system operating in more affluent areas, Amazonian street artist Oliveira has adopted a position of voluble dissent to resist the racial discrimination that people of his ethnicity face in Pará.

Like the figures depicted in his work, Oliveira is caboclo, of mixed Indigenous Brazilian and European descent. For the 31st São Paulo Biennial in 2014, the artist painted copper red, monochromatic bust-length portraits of young men on a monumental scale, arranged shoulder-to-shoulder, floor to ceiling. He takes his source images from the newspapers, where local men are regularly shown handcuffed and escorted by police officers. The sensationalism of these photographs and their use in the media presents these men as dangerous; isolating them further, Oliveira views this as a form of institutional racism. In response, he depicts them free of incriminating details – handcuffs, tattoos, weapons or ‘wanted’ signs – and paints them on a scale normally reserved for advertising or political slogans. This attempt at rehabilitation stages these characters as young men rather than criminals. Thus, by stressing his subjects’ universal humanity and vulnerability, Oliveira’s work restores a human dimension to the political narrative surrounding the Amazon region and the ongoing exploitation of its rich resources, arguing for a more compassionate, empathic response to those accused of criminal acts.

These deadpan painted portraits, often closely arranged side by side or in comparative line-ups that echo those organised by the police for the purposes of identification, also recall the photographs taken for nineteenth-century anthropological studies of non-Western ethnic groups by white, Western colonialists. Oliveira’s adoption of this format exposes the problematic similarity between ethnographic tools previously used to assert white superiority and the dehumanising criminalisation of his contemporaries by the media. Oliveira’s portraits, painted on street walls throughout the city, often dwarf passers-by and it is tempting to see these painstakingly rendered faces, lurking on street corners and in untended alleyways, as a plea to consider the human story behind the fearful spectre – promoted by the mass media – of violent male youths loitering on the roadside.

HL

ÉDER OLIVEIRA Born 1981, Timboteua, Brazil. Lives and works in Belém, Brazil Selected Solo Exhibitions: 2015 – ‘Páginas Vermelhas’, Blau Projects, São Paulo; ‘Alistamento’, Centro Cultural SESC Boulevard, Belém Selected Group Exhibitions: 2014 – ‘Pororoca - A Amazônia no MAR’, Museu de Arte do Rio, Rio de Janeiro; ‘Como falar de coisas que não existem’, Pavilhão Ciccillo Matarazzo, São Paulo; 2013 – ‘Circular Campina’, Atelier do Porto, Belém; 2012 – ‘Amazônia, Lugar da Experiênci’, Casa das Onze Janelas, Belém; 2008 – ‘Eu, o Outro’, Fortaleza, Centro Cultural Fortaleza;

‘Vertentes da Pintura Contemporânea’, Casa da Cultura de Castanhal, Castanhal Bibliography: 2014 – Jonathan Watts, ‘São Paulo Biennial: radical art and the struggle for survival’, Guardian, Sept-; Oliver Basciano, ‘Cultures and Vultures’, Art Review, Sept

Éder Oliveira

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1. Untitled, 2015 Acrylic on wall Street view



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15Nicolas Party

4. Ivy and the Janitor in January, 2009 Acrylic on canvas Diptych, 137 × 152.5 cm

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It is an historical fact that what originally prompted many modern artists to paint in a naïve, elementary way was mostly a conflictual relationship with the concept of representation – an urge to challenge the status quo by making things that wouldn’t meet the accepted standards of what was considered aesthetically valid or valuable. Rose Wylie’s paintings are childlike, direct, simple and uncommonly appealing, but they come from observation rather than confrontation. A twenty-year long hiatus from art to raise her children in what is normally considered a pivotal moment in a career – something the most career-driven spirits might find difficult to understand – enabled her to enjoy her family and reprise painting with a more mature understanding of the medium and without any pressure. As she once remarked, ‘If you get recognized just out of art college, you’ve got to work with that reputation and the misery of whether you can keep it going or not. You do stuff according to what people want to buy, and that’s the worst thing. That’s why I always thought Madonna was so good, because she did something quite different and occasionally quite shocking’.

Wylie’s reference to Madonna, while a little unexpected, leads to the second significant benefit that resulted from her voluntary break: the possibility of experiencing firsthand ordinary circumstances at a convenient distance from the dynamics and the politics of the art world – an occurrence that would leave her fresh, unjaded and with an open mind, and that eventually would enter her work in the form of frequent but subtle references to sport, cinema, cartoons, and other forms of popular culture. The television and newspaper characters that permeate her paintings do not provide social commentary – they are there because of their intrinsic worth in the eyes of the artist, or for their visual quality. The difference between what is reality and what is painted as real is at the core of Wylie’s work, and it manifests itself through a rejection of mannerism and a heavy reliance on spontaneity. The extra pieces of canvas carrying additional signs or colours that are stuck over some of her paintings are evidence of the constant revisions that take place in her compositions; but whereas for artists like William Kentridge (b.1955) erasures are made visible to signify movement, in Wylie’s case they tell of the journey into the unknown that she undertakes at the moment of making her work.

Unfazed by the idea of publicly taking pratfalls and unapologetic about pointing out how excessive knowledge can at times be more of a limitation than an asset, what Wylie ultimately lets transpire in her paintings are the decisions that never stop coming, the honesty of her images, and the certainty that being skilful has nothing to do with getting what you want, but with how well you get it.

MR

ROSE WYLIE Born 1834, Hythe, Kent, UK. Lives and works in Kent, UK Selected Solo Exhibitions: 2016 – Space K, Seoul, Korea; Turner Contemporary, Kent; ‘Rose Wylie: Tilt The Horizontal Into A Slant’, Chapter Gallery, Cardiff, UK; 2015 – ‘Rose Wylie: Dressed to Kill’, VW, Berlin; 2013 – ‘Rose Wylie: Big Boys Sit in the Front’, Jerwood Gallery, Hastings; ‘BP Spotlight: Rose Wylie’, Tate Britain; ‘Woof-Woof’, Haugar Museum, Tønsberg; 2012 – ‘After Daphne’, Rosenwald- Wolf, Philadelphia; 2011 – ‘Picture on the Wall’, Michael Janssen, Berlin Selected Group Exhibitions: 2016 – ‘One Day Something Happens: Paintings of People’, a Hayward Touring Arts Council Collection exhibition, UK; 2015 – Contemporary British Drawing, Xi’an Academy of Fine Arts, China; Summer Exhibition, Royal Academy of the Arts, London Bibliography: 2015 – Isabella Zamboni,

‘Rose Wylie: Dressed to Kill’, Mousse, Dec/Jan; 2014 – Magdalena Kröner, ‘Rose Wylie’, Frieze d/e, Jun/Aug; 2013 – Jennifer Higgie and Savannah Miller, Rose Wylie, Skira, Milan

Rose Wylie

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1. Willow Tree, 2015 Oil on canvas 182 x 170 cm

2. Herr Rehlinger in White Armour, 2014 Oil on canvas 186 x 169 cm

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087Leidy Churchman


6. Ivy and the Janitor in January, 2009 Acrylic on canvas Diptych, 137 × 152.5 cm 6.

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095Mary Corse



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When people talk about ‘conceptual painting’ they often mistak-enly assume that such an approach strives to reduce painting to the illustration of ideas in paint. What they fail to grasp is that conceptual painting is itself a mischievous paradox: all painting is to a greater or lesser extent conceptual, but, equally, its concepts crystallize in the realm of the visual, and it is there that they ulti-mately succeed or fail. Richard Aldrich spends a lot of time thinking deeply about what it means to be a painter today. His practice aims to encompass big questions – about history, time and the ways in which we position ourselves in the world – but it is also about, in his words,

‘the number of different things one does in a day’. He has made portraits, abstract works, text works, assemblage, large and small paintings (sometimes of the same composition), sculptures, perfor-mances, music and poetry. Newcomers to his wide-ranging oeuvre might assume that he deliberately avoids a coherent aesthetic style, and that his attitude to his art is somehow detached, cerebral, even ironic. As it happens, most of the time he works intuitively, feeling his way tentatively in the dark rather than charging forward, map in hand. For instance, in a 2010 exhibition at Marc Foxx gallery in Los Angeles, Aldrich exhibited the work ufo2 (2006), which consisted of the letters ‘ufo’ written above a diamond-shaped hole in the surface of the canvas. The once radical gesture of cutting into the canvas – thus revealing the painting’s stretcher and the wall beneath – now belongs to a solidly historicized area of modernist discourse, dominated, of course, by the Italian Lucio Fontana. For Aldrich, however, it was merely an attempt to solve a problem: he didn’t like what he’d painted previously, so he sliced the offending area away. In fact, in notes accompanying the exhibition he admits that he was ‘never quite sure of’ ufo2, and had left it crated for the four years since it was last exhibited. Exposing it once again to public scrutiny, now framed by the doubt expressed in his text, became a way of trying to make the painting ‘work’. This combination of candidness and casual involvement, offset-ting difficult, reticent work, is typical of Aldrich. He understands that paintings only become complex when one comes to them lightly, and from an angle. If I Paint Crowned I’ve Had It, Got Me (2008) is another painting with a large section of canvas cut away, as well as having thin strips of wood fixed over the top (it’s almost more a sculpture than a painting). Aldrich titled it after reading Maurice Merleau-Ponty’s 1945 essay ‘Cézanne’s Doubt’; it refers to Cézanne’s comment that if he tried to transpose the words ‘a tablecloth […] crowned with blond rolls’ into paint, his representa-tion would fail to match the expressiveness of language. The disconnect between ideas conveyed in words and expres-sions inherent in images or objects lies at the core of Aldrich’s eva-sive practice. His painting Two Planes (with text) (2007) admitted almost as much, in hand-written text scrawled across the abstract image: ‘The ideas exist in the roots & the art exists at the tops of the trees. They aren’t related except for, of course […] they are the same thing.’ Jonathan Griffin

JIRI GEORGE DOKOUPIL Born 1963, Geraardsbergen, Belgium. Lives in Ghent, Belgium Selected Solo Exhibitions: 2011 Műcsarnok Kunsthalle, Budapest / 2011 Württenbergischer Kunstverein, Stuttgart / 2011 Kunstnernes Hus, Oslo / 2010 Royal Palace of Belgium, Brussels / 2010 Museum of Contemporary Art, Denver / 2009 ‘Automat’, Kestner Gesellschaft, Hannover / 2008

‘Veldwerk’, Centro de Artes Visuais, Coimbra, Portugal Selected Group Exhibitions: 2010 ‘Ordinary Madness’, Carnegie Museum of Art, Pittsburgh / 2010 ‘Until Now: Collecting the New (1960-2010)’, Minneapolis Institute of Arts, Minnesota / 2009 ‘Mapping the Studio’, Palazzo Grassi, Venice / 2009 ‘Automatic Cities’, Museum of Contemporary Art, San Diego / 2009 ‘In-finitum’, Palazzo Fortuny, Venice / 2008 ‘Collecting Collections’, Museum of Contemporary Art, Los Angeles Selected Bibliography: 2009 Jeffrey Grove, Paintings, Hatje Cantz, Ostfildern / 2009 Martin Germann and Veit Görner (eds.), Automat, Hatje Cantz, Ostfildern / 2009 David Coggins, ‘Michaël Borremans’, Art in America

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Peter Dreher


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BOOK SPECIFICATIONS

Binding: HardbackFormat: 290 × 250 mm

11 3/8 × 9 7/8 inchesExtent: 352 pp

Word count: 75,000Number of images: 500

ISBN 978 0 7148 7145 5#Vitamin P3

Phaidon Press LimitedRegent’s Wharf

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VITAMIN P3 · 2017. 8. 6. · Arts, she studied Diego Velásquez (1599–1660) and Francisco de Zurbarán (1598–1664), as well as other Spanish School artists, the influence of