Nicole Eisenman : al-ugh-ories / edited by Helga Christoffersen and Massimiliano Gioni.

Contributor(s):

Material type: Text

TextPublication details: New York, NY : New Museum of Contemporary Art, [2016]Description: 91 pages : illustrations ; 25 cmISBN:

9781942607311
1942607318

Other title:

Al-ugh-ories

Subject(s):

Eisenman, Nicole, 1965- -- Exhibitions

DDC classification:

759.13 EIS

Contents:

Foreword / Lisa Phillips -- Interview with Nicole Eisenman / Massimiliano Gioni & Helga Christoffersen -- A world without heroes / Grace Dunham -- Proposal for a new Google logo by Nicole Eisenman / Eileen Myles.

Summary: This show marks the first New York museum survey exhibition of Eisenman\'s work and provides an in-depth look at the symbolic nature of the artist\'s most striking depictions of individuals and groups--from intimate portraits to more complex narrative scenes. One of the most important painters of her generation, Eisenman (b. 1965, Verdun, France) has developed a distinct figurative language that combines the imaginative with the lucid, the absurd with the banal, and the stereotypical with the countercultural and queer. Nicole Eisenman: Al-ugh-ories highlights how allegory permeates her oeuvre and how she fluidly ties the fictional to the autobiographical and the past to the present. From the outset of her career, Eisenman\'s investment in painting has led to frequent experimentation in other mediums, and her practice is characterized by visible shifts that mark her effort never to become too comfortable with any one approach to painting. Eisenman&#x;s preoccupation with the figure and the complexity of its gestures and form has resulted in mesmerizing portraits of an array of characters who range from friends and fellow New Yorkers, to imagined heroines, to tragic losers. From Success to Obscurity (2004) depicts a monstrous superhero contemplating the contents of a letter it holds in its hands and alludes, perhaps, to the fragility of fame and fortune. In Hamlet (2007), a depiction of Shakespeare\'s beautiful and frail Danish prince with lowered sword, Eisenman ponders the possibility of a sensitive and cautious leader at a time when the US was in the final year of George W. Bush\'s presidency. Similarly inspired by contemporary events, the large group portrait The Triumph of Poverty (2009), painted in the aftermath of the 2008 financial crisis, is a reimagining of a lost sixteenth-century painting of the same title by Hans Holbein. Nicole Eisenman: Al-ugh-ories also includes one of the artist\'s large-scale plaster figures, which she began producing in recent years, and two new oversize wax heads made specifically for this exhibition. -- New Museum website

Holdings ( 1 )
Title notes ( 4 )

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode
Standard Loan	LSAD Library Main Collection	759.13 EIS (Browse shelf(Opens below))	1	Available		39002100624650

Enhanced descriptions from Syndetics:

One of the most important painters of her generation, Brooklyn-based artist Nicole Eisenman (born 1965) combines the imaginative with the lucid, the absurd with the banal, and the stereotypical with the countercultural and queer. In her narrative compositions she draws equally from art history and popular culture, making way for accessible and humorous, yet also critical and poignant images of contemporary life. Gathering a body of work produced over the last two decades, Nicole Eisenman: Al-ugh-ories marks the artist's 2016 exhibition at the New Museum and dedicates special attention to the symbolic nature of her depictions of individuals and groups. This fully illustrated catalogue includes an interview with the artist by Massimiliano Gioni and Helga Christoffersen, an essay by writer Grace Dunham and a contribution by poet Eileen Myles.

Catalog of an exhibition at New Museum, New York from May 4-June 26, 2016.

This show marks the first New York museum survey exhibition of Eisenman\'s work and provides an in-depth look at the symbolic nature of the artist\'s most striking depictions of individuals and groups--from intimate portraits to more complex narrative scenes. One of the most important painters of her generation, Eisenman (b. 1965, Verdun, France) has developed a distinct figurative language that combines the imaginative with the lucid, the absurd with the banal, and the stereotypical with the countercultural and queer. Nicole Eisenman: Al-ugh-ories highlights how allegory permeates her oeuvre and how she fluidly ties the fictional to the autobiographical and the past to the present. From the outset of her career, Eisenman\'s investment in painting has led to frequent experimentation in other mediums, and her practice is characterized by visible shifts that mark her effort never to become too comfortable with any one approach to painting. Eisenman&#x;s preoccupation with the figure and the complexity of its gestures and form has resulted in mesmerizing portraits of an array of characters who range from friends and fellow New Yorkers, to imagined heroines, to tragic losers. From Success to Obscurity (2004) depicts a monstrous superhero contemplating the contents of a letter it holds in its hands and alludes, perhaps, to the fragility of fame and fortune. In Hamlet (2007), a depiction of Shakespeare\'s beautiful and frail Danish prince with lowered sword, Eisenman ponders the possibility of a sensitive and cautious leader at a time when the US was in the final year of George W. Bush\'s presidency. Similarly inspired by contemporary events, the large group portrait The Triumph of Poverty (2009), painted in the aftermath of the 2008 financial crisis, is a reimagining of a lost sixteenth-century painting of the same title by Hans Holbein. Nicole Eisenman: Al-ugh-ories also includes one of the artist\'s large-scale plaster figures, which she began producing in recent years, and two new oversize wax heads made specifically for this exhibition. -- New Museum website