Jeffrey Deitch – författare

Commemorating the 50th anniversary of the artist's birth, this book is the intended to be a faithful posthumous execution of the project. Containing a wealth of unpublished materials, and representing a decade of work and research, it promises to be the definitive book on the artist's life and work. Beginning with his very first collages and early subway tags - including many heretofore unseen photographs of the first ephemeral chalk drawings - through the development of the iconic graphic work now synonymous with his name, the book follows his meteoric rise to international stardom and worldwide recognition. Completely unprecedented in its scope, this volume documents everything from sketches to unedited interviews; personal snapshots to party invitations, bringing to life an extraordinary decade in art and history.

Iconic rockstar and performance artist Kembra Pfahler’s life in pictures.Original New York City icon Pfahler has terrorized and tantalized audiences since her arrival in the Lower East Side in the early 1980s. Originally associated with the Cinema of Transgression, Pfahler supported her films with work at an independent porn studio. In the 1990s, she launched The Voluptuous Horror of Karen Black, a rock band associated with Kiss, Alice Cooper, and White Zombie.Nude and covered in paint, with blackened teeth and bouffant hair, Pfahler developed a reputation for wild performance that reached far beyond the Lower East Side. Elements of Kabuki theater, surfing, bugs, and giant sharks from her legendary shows were later repurposed for performance art. Beginning in the early 2000s, Pfahler titillated gallery-goers with openings featuring dozens of painted women, butt-prints, and performances involving endurance and strength. With galleries including Emalin and Deitch Projects, Pfahler created a visual lexicon incorporating occult imagery, bondage, and challenging forms of femininity.Through teaching, activism, and performance art, Pfahler serves as a mentor to students, and in recent years, a muse to designers including Rick Owens, Casey Cadwallader, and Alessandro Michele. Collecting four decades of ephemera, performance documentation, road pictures, and more, the book celebrates Pfahler as a countercultural star.

A fascinating look at Keith Haring’s New York City subway artwork from the 1980sCelebrated artist Keith Haring (1958–1990) has been embraced by popular culture for his signature bold graphic line drawings of figures and forms. Like other graffiti artists in the 1980s, Haring found an empty canvas in the advertising panels scattered throughout New York City’s subway system, where he communicated his socially conscious, often humorous messages on platforms and train cars.Over a five-year period, in an epic conquest of civic space, Haring produced a massive body of subway artwork that remains daunting in its scale and its impact on the public consciousness. Dedicated to the individuals who might encounter them and to the moments of their creation, Haring’s drawings now exist solely in the form of documentary photographs and legend. Because they were not meant to be permanent—only briefly inhabiting blacked-out advertising boards before being covered up by ads or torn down by authorities or admirers—what little remains of this project is uniquely fugitive. Keith Haring: 31 Subway Drawings reproduces archival materials relating to this magnificent project alongside essays by leading Haring experts.Distributed for No More Rulers

Figurative painting of the past five years, represented here by an exciting young generation of artists and vital practitioners, addresses the challenge of contemporary representation through expressionistic compositions and new techniques reflecting digital fluency.Figuration is one of the oldest art forms, but it continually evolves, along with our changing understanding of human identity. The artists featured here often source imagery from the Internet, and draw on aesthetics developed in Internet-first channels. Digital techniques and affordances are incorporated into rendering processes with traditional media: brushstrokes are more precise, lines are sharper, and color is more highly keyed. In these works, expressionism is located more in the composition than in the paint handling.This richly illustrated collection of figurative works is accompanied by texts that connect the present moment in painting to the early 1980s, when the emergence of artists such as Jean-Michel Basquiat, Francesco Clemente, David Salle, and Julian Schnabel revitalized the art dialogue after the extended dissolution of Minimalism, and to its roots in the practice of painters like Picabia.

The first large-scale American museum exhibition to survey the colorful history of graffiti and street art movements internationally. Highlighting the connection between graffiti and street art and other vibrant subcultures, such as those that developed around Hip Hop in the Bronx and skateboarding in Southern California, Art in the Streets explores parallel movements in dance and music. The exhibition is curated by MoCA Director Jeffrey Deitch, working with a curatorial advisory committee that includes Roger Gastman and Aaron Rose.

Thirty-five contemporary artists create their own version of Le Déjeuner sur l’herbe.Édouard Manet’s Le Déjeuner sur l’herbe (1863) is generally cited as the first modern painting. The entry slide in art history lectures about modernism, the work remains among the “most audacious painting[s] ever seen in France,” as Ross King described it in The Judgement of Paris (2006).As Manet did with Le Déjeuner sur l’herbe, the most provocative painters today collapse the historical and the contemporary onto one plane. Jeffrey Deitch invited a group of these influential artists to create their own versions, combined here with historical responses to Manet’s painting. The slim volume features these often biting and satirical works alongside essays discussing Le Déjeuner sur l’herbe’s enduring influence on contemporary figurative painting.

A renewed examination of Jeffrey Deitch’s pivotal exhibitionOriginally exhibited in 1992, Jeffrey Deitch’s groundbreaking exhibition Post Human brought together the work of thirty-six young artists interested in new frontiers of body and identity transformation. The prescient exhibition, which traveled to five international venues, introduced the art world to posthumanism - how the human body continues to merge with and diverge from technology. Both the show and it catalogue, which featured a unique visual essay and innovative design, helped set the agenda for art discourse in the 1990s.More than thirty years later, Deitch revitalized Post Human at his Los Angeles gallery, bringing the themes of the original back to the present. The show’s 2024 iteration presented several key figures who participated in the original exhibition in dialogue with emerging contemporary artists whose boundary-pushing work explores how these themes, particularly recent forms of technology such as AI, have evolved over the course of the twenty-first century.This timely publication revisits artworks from both iterations of the show. Readers will discover color photography of the featured works, along with Deitch’s iconic visual essay from the original catalogue and text contributions from contemporary philosopher Rosi Braidotti and critic Philippa Snow. Together, they form a printed testament to the show’s indelible impact and Deitch’s everlasting influence on the art world.Featured artists include: Isabelle Albuquerque, Matthew Barney, Ivana Bašić, Frank Benson, Ashley Bickerton, Maurizio Cattelan, Chris Cunningham, John Currin, Alex Da Corte, Olivia Erlanger, Jana Euler, Rachel Feinstein, Urs Fischer, Pippa Garner, Robert Gober, Hugh Hayden, Damien Hirst, Tishan Hsu, Pierre Huyghe, Anne Imhof, Alex Israel, Arthur Jafa, Jamian Juliano-Villani, Mike Kelley, Josh Kline, Jeff Koons, Paul McCarthy, Sam McKinniss, Mariko Mori, Takashi Murakami, Wangechi Mutu, Cady Noland, Charles Ray, Cindy Sherman, Kiki Smith, Hajime Sorayama, Anna Uddenberg, Cajsa von Zeipel, Jeff Wall, Jordan Wolfson, and Anicka Yi.