Jarrett Earnest – författare

Drawing inspiration from iconic figures and imagery from popular media, press photos, and other artworks, Sam McKinniss transforms familiar images into striking original works. By reinterpreting snapshots of celebrities and working with images with an inbuilt cultural power, McKinniss infuses them with a new layer of depth and significance making them more powerful, expressive, and ambiguous. His portraits are not mere copies but rather captured moments of collective memory, heightened with emotion and drama. Transitioning from painting friends to internet-sourced imagery, McKinniss taps into emotional wells sublimated within the drama of entertainment, theater, pageantry, presentation, fashion, and glamour in his work. Investing recognizable faces with emotion, he invites viewers to reflect on their own relationship with these cultural icons and the broader societal forces that shape them. Oscillating between being a fan and an idol, McKinniss illustrates complex roles and identities existing in his art. In this volume, the artist s first monograph, writers Natasha Stagg, Jarrett Earnest, and Drew Sawyer identify key works and exhibitions and detail McKinniss s artistic trajectory.

This book is a captivating exploration of Horn s decades-long fascination with water, both as a material and a metaphor. Known for her provocative approach to perception, identity, and the mutability of form, Horn uses water to mirror human experience and emotion. Born in 1955 in New York, Horn has spent decades pushing the boundaries of art to explore the complexities of identity, perception, and nature. Horn s body of work spans photography, cast glass, and installation, consistently returning to the theme of fluidity. Her iconic series You Are the Weather 100 photographs of Icelandic artist Margret Haraldsdottir Blondal submerged in water reveals how water can both obscure and define identity. Similarly, her liquid glass sculptures play with the tension between solidity and fluidity, their colors ranging from turquoise to black. In an era marked by climate change and water scarcity, Horn s works pose urgent questions about water as a shared resource and a symbol of impermanence and survival. This volume not only offers a retrospective of her water-centered works but also connects them to broader global challenges with critical and poetic texts by Nora Burnett Abrams, Jarrett Earnest, Anne Carson, and the artist herself.

Devotion: Today’s Future Becomes Tomorrow’s Archive, edited by Jarrett Earnest, contains essays and interviews, reproductions of notes, diagrams, works of art, and rare ephemera representing an archive of overlooked and excluded material. Queer people have had to create and maintain archives as alternate repositories due to systematic exclusion from traditional archival practices and institutions. Propelled by the editor’s meticulous collecting and explorations of experimental living practices and embodied materiality, this book is a beautifully designed, radical collection of overlooked and forgotten IBPOC and LGBTQ2S+ archives.Published by PUBLIC Books and distributed in Canada by Wilfrid Laurier University Press.

For four decades, artist, writer, curator, and teacher Nayland Blake has been at the center of discussions of queer aesthetics and contemporary art. Their work has examined racial hybridity, the ins and outs of the BDSM world, and the importance of self-representation. From interviews, and critical essays to performance scripts and collage pieces, My Studio Is a Dungeon Is the Studio gathers forty years of Blake’s groundbreaking thought and writing on their personal explorations of kink and creativity as well as on the making, teaching, and curating art and queer culture. Whether delving into furry fandom or analyzing art, Blake bridges the art and queer kink communities. They also argue that queer artists must champion the work of their peers and elders. As Blake demonstrates throughout, sexual self-expression is an extension of artistic self-expression: they are the same. The volume includes an introduction by artist and critic Jarrett Earnest.

For four decades, artist, writer, curator, and teacher Nayland Blake has been at the center of discussions of queer aesthetics and contemporary art. Their work has examined racial hybridity, the ins and outs of the BDSM world, and the importance of self-representation. From interviews and critical essays to performance scripts and collage pieces, My Studio Is a Dungeon Is the Studio gathers forty years of Blake’s groundbreaking thought and writing on their personal explorations of kink and creativity as well as on the making, teaching, and curating of art and queer culture. Whether delving into furry fandom or analyzing art, Blake bridges the art and queer kink communities. They also argue that queer artists must champion the work of their peers and elders. As Blake demonstrates throughout, sexual self-expression is an extension of artistic self-expression: they are the same. The volume includes an introduction by artist and critic Jarrett Earnest.

Lisa Yuskavage: Babie Brood is the first up-to-date survey of the artist’s small-scale paintings. Known primarily for larger canvases, these intimate works offer a new window into Yuskavage’s transgressive paintings.Based on the artist’s imagination, live models, and maquettes, among other things, the small paintings in this book demonstrate Yuskavage’s methodical exploration of how images come into existence, and where they come from. Some of the small works are studies for large paintings, while others revisit pre-existing images. Yet others are one-of-a-kind compositions only created on this intimate scale. As places for experimenting with color, form, and characters as well as a variety of formats—including stretched and unstretched linen, canvas boards, wood, and paper—these works, play a remarkably dynamic and role within her oeuvre. This catalogue presents the paintings to scale so readers can explore them as if seeing them in person.Documenting the artist’s exhibition at David Zwirner in New York in 2018, this catalogue includes an essay by Jarrett Earnest illuminating Yuskavage’s early influences and exploring the constant, often surprising, themes that can be found throughout her oeuvre.

Lauded by Jerry Saltz as “one of the most reactionary yet radical visions of art,” The Young and Evil tells the story of a group of artists and writers active during the first half of the twentieth century, when homosexuality was as problematic for American culture as figuration was for modernist painting.These artists—including Paul Cadmus, Fidelma Cadmus Kirstein, Charles Henri Ford, Jared French, Margaret Hoening French, George Platt Lynes, Bernard Perlin, Pavel Tchelitchew, George Tooker, Alexander Jensen Yow, and their circle—were new social creatures, playfully and boldly homosexual at a time when it was both criminalized and pathologized. They pursued a modernism of the body—driven by eroticism and bounded by intimacy, forming a hothouse world within a world that doesn’t nicely fit any subsequent narrative of modern American art. In their work, they looked away from abstraction toward older sources and models—classical and archaic forms of figuration and Renaissance techniques. What might be seen as a reactionary aesthetic maneuver was made in the service of radical content—endeavoring to depict their own lives. Their little-known history is presented here through never-before-exhibited photographs, sculptures, drawings, ephemera, and rarely seen major paintings—offering the first view of its kind into their interwoven intellectual, artistic, and personal lives. Edited by Jarrett Earnest, who also curated the exhibition, The Young and Evil features new scholarship by art historians Ann Reynolds and Kenneth E. Silver and an interview with Alexander Jensen Yow by Michael Schreiber.

Art writing, theory, poetry and more from a leading champion of “painting as a poetic act”This unprecedented collection compiles the writings of artist and poet Jesse Murry (1948–93), an extraordinary thinker who believed in the capacity of painting to hold the complexity of human meaning. Painting Is a Supreme Fiction brings together Murry’s published art criticism with previously unpublished philosophical writing and poetry from 1980 to his tragic death from AIDS-related illness at the age of 44. The result is a portrait of an original mind who sought to unite the histories of Romantic landscape painting with the realities of Black experience through “a belief in the restorative and creative powers of the imagination.” No artist before occupied the exact intersections Murry created through his work, which aimed to reclaim “painting as a poetic act” amid the “death of painting” discourse of the 1980s. In addition to Murry’s writings, this volume also includes reproductions of selected paintings; excerpts from a a pair of panel discussions on art criticism and expressionism that took place in 1980; as well as transcriptions of two of the artist's notebooks, in which the spatialization of the words across the page approaches the condition of thought. Painting Is a Supreme Fiction presents Jesse Murry in his own words, offering intimate access to this remarkable figure.