Ce catalogue d'exposition exxplore la relation entre les artistes Jasper Johns et Edvard Munch.

The author begins this challenging monograph by probing Modernism's surfaces and subjects, its public and private meanings, in order to establish Johns's importance as the modern allegorical artist in the years after Abstract Expressionism. Yet, Figuring Jasper Johns is not an essay that presumes to offer an instant interpretation. Rather, Fred Orton self-consciously constructs a "Jasper Johns" whose work is introduced and explained in three chapters, each of which addresses a specific picture or sculpture like Flag, Painted Bronze (Savarin) and Untitled 1992. These in-depth studies situate individual works in their social context as well as in Johns's oeuvre. Fred Orton's purpose is to get to terms with and find terms for a difficult and elusive body of work by one of the most important artists of the 20th century."

A fascinating look at how Mapplethorpe and Munch, although separated by many years, shared certain affinities in their lives and artwork This revelatory catalogue delves into the many affinities shared between two widely renowned and discussed artists, Robert Mapplethorpe (1946-1989) and Edvard Munch (1863-1944), whose intensely studied work has, until now, never been considered in relation to one another. Mapplethorpe + Munch brings to light how these two monumental figures curiously relate on an existential level, in how they deal with questions concerning sexuality, and in their way of utilizing self-portraiture as a means to explore issues of personal identity. Featuring essays that examine the thematic impulses behind the accompanying exhibition, this publication establishes a previously unexplored association between two equally contentious art figures, while working to impart alternative perspectives and new insight into their respective outputs. Although distinct in their legacies, Mapplethorpe and Munch remain remarkably intertwined. Distributed for Mercatorfonds Exhibition Schedule: Munch Museum, Oslo (02/06/16-05/29/16)

Volume covers the Collection of Prints and Illustrated Books, not the collection of artists' books.

Unveiling the unconventional : Kehinde Wiley's portrait of Barack Obama / Taína Caragol -- "Radical empathy" : Amy Sherald's portrait of Michelle Obama / Dorothy Moss -- The Obama portraits, in art history and beyond / Richard J. Powell -- The Obama portraits and the National Portrait Gallery as a site of secular pilgrimage / Kim Sajet -- The presentation of the Obama portraits : a transcript of the unveiling ceremony.

Tipped-in: One sheet (1 unnumbered page: illustrations (chiefly color); 31 cm), contains artist and authors information.

In Self-Portrait: Between the Clock and the Bed, the elderly Edvard Munch stands like a sentinel in his bedroom/studio surrounded by the works that constitute his artistic legacy. A powerful meditation on art, mortality, and the ravages of time, this haunting painting conjures up the Norwegian master’s entire career. It also calls into question certain long-held myths surrounding Munch—that his work declined in quality after his nervous breakdown in 1908–9, that he was a commercially naive social outsider, and that he had only a limited role in the development of European modernism. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} The present volume aims to rebut such misconceptions by freshly examining this enigmatic artist. In the preface, the renowned novelist Karl Ove Knausgaard considers Munch as a fellow creative artist and seeks to illuminate the source of his distinctive talent. The four groundbreaking essays that follow present numerous surprising insights on matters ranging from Munch’s radical approach to self-portraiture to his role in promoting his own career. They also reveal that Munch has been an abiding inspiration to fellow painters, both during his lifetime and up to the present; artists as varied as Jasper Johns, Bridget Riley, Asger Jorn, and Georg Baselitz have acknowledged his influence. More than sixty of Munch’s paintings, dating from the beginning of his career in the early 1880s to his death in 1944, are accompanied by a generous selection of comparative illustrations and a chronology of the artist’s life. The result is an intimate, provocative study that casts new light on Munch’s unique oeuvre—an oeuvre that Knausgaard describes as having gone “where only a painting can go, to that which is beyond words, but which is still part of our reality.”