Paul Kasmin Gallery – förlag

Two paintings from Krasner’s very first solo exhibition, reunited here after 70 years, provide a window into the artist’s rarely examined early geometric abstractionsThe early works of Abstract Expressionist pioneer Lee Krasner (1908–84), in her first solo exhibition in 1951, emphasized geometric relations. But during this same period, Krasner would often destroy or paint over her canvases to create new works. In a special and ambitious exhibition, Kasmin reunites the only two surviving paintings from her first solo show, displayed together for the first time in over 70 years. Replete with 18 color plates, related archival material and newly commissioned texts, The Edge of Color foregrounds a rarely examined chapter of Krasner’s five-decade career. Beyond the scope of an exhibition catalog, the book takes its reader behind Krasner’s paintings to provide never-before-published visual evidence regarding these early paintings. It positions these works, realized in the upstairs bedroom at the artist’s home in Springs, NY, in relation to Krasner’s contemporaries including Jackson Pollock and Piet Mondrian.

A personal, playful tribute to the Lalannes featuring their signature animal-inspired works as well as some rare collaborative piecesIn 1964, Claude (1925–2019) and François-Xavier Lalanne (1927–2008) held their first joint solo exhibition, titled Zoophites: an obsolete French term for invertebrate animals that resemble plants. This would turn out to be a fitting title for their oeuvre, chiefly composed of whimsical renditions of sheep, monkeys, rabbits, birds and more. To celebrate the 60th anniversary of this show, Kasmin presents a revitalized exhibition of the Lalannes’ work under the same title. The zoomorphic tables, chairs, sculptures and more are all drawn entirely from the collection of the Lalannes’ eldest daughter, Caroline Hamisky Lalanne. The catalog features over 100 color images in addition to archival photographs. Zoophites is also unique in that it documents some rare collaborative sculptures by the artist couple, who shared a home and studio but rarely worked together.

Charcoal Studies presents a series of figurative charcoals made by Lee Krasner (1908 84) from 1937 to 1940 under the tutelage of Hans Hofmann that would become seminal to the artist's career.In 1977, Krasner demonstrated the relevance of these charcoal works in a brilliant late series of collage paintings in which she repurposed a large number of her Hofmann School drawings. Fortunately, Krasner did not destroy all the drawings. Fifty of these are included in her 1995 catalogue raisonne; another portfolio with 20 more (including four previously unknown still lifes) has recently come to light.Charcoal Studies includes the never-before-published works as well as updated research and text to serve as a complete listing of all surviving Hofmann School charcoal sketches and as a definitive reference on this pivotal period within Krasner's oeuvre.

Al-Hadid's allegorical panel paintings, architecture-inspired sculptures and intricate works on paper scrutinize notions of femininity through a historical and narrative lensPublished with Eli and Edythe Broad Art Museum at Michigan State University.Working across large-scale sculptures, panel paintings, installations and works on paper, Syria-born, New York–based artist Diana Al-Hadid (born 1981) creates allegorical abstractions that draw from such sources as Greek mythology and global literature.unbecoming accompanies a 20-year survey organized by the Eli and Edythe Broad Art Museum at Michigan State University, bringing together works that examine how these narrative sources have molded expectations for women. The accompanying catalog captures the arc of Al-Hadid's unique visual language to date, including a recent series of handmade paper works and a new panel realized for the exhibition. New essays and an artist interview take readers through Al-Hadid's process and address the way questions of gender have continually been at the heart of her practice.

Site-specific sculptures in dialogue with pre-Columbian works, from a midcareer American artist known for his use of natural materialsThis catalog follows the 2022 exhibition of works by US-born, Mexico-based sculptor Alma Allen (born 1970) in Diego Rivera’s iconic Museo Anahuacalli in Mexico City. Through 26 newly commissioned sculptures installed among the volcanic architecture and grounds of the museum, this volume delves into Allen’s ongoing engagement with time, form and hybridity. The publication features more than 70 illustrations alongside a long-form interview with the artist by exhibition curator Karla Niño de Rivera, an analysis on site specificity by world-renowned architect Mauricio Rocha and an essay concerning the mythologies shared across Rivera’s and Allen’s work by curator and critic Mimi Zeiger. The symbolic and ritualistic potentials enacted by Allen’s contemporary intervention are in dialogue with Mesoamerican culture. Informed by the unique experience of how time is perceived at Museo Anahuacalli—where the ancient and present collide—the authors discuss different facets of the museum and collection (the Aztec goddess Coatlicue, the energy of Colima figures and these objects’ historical use as portals into other worlds) in relation to Allen’s work.

A concise introduction to the later work of the self-taught American Surrealist artist and authorAmerican Surrealist artist Dorothea Tanning (1910–2012) worked across painting, sculpture, printmaking, installation and writing over the course of seven decades, producing one of the 20th century’s most enigmatic oeuvres. Tanning’s work conjures dreamlike worlds that straddle the hazy border between figuration and abstraction, pioneering a unique prismatic formal language that resonates keenly today.This fully illustrated catalog highlights Tanning’s works created between the 1950s and ’90s, a particularly fruitful period in the artist’s career, and traces her stylistic arc through over 20 significant paintings drawn from interrelated phases of the artist’s practice. Scholars Mary Ann Caws, Victoria Carruthers and Kate Conley contribute essays to the volume; additionally, it reproduces Tanning’s 1986 essay “To Paint,” a poetic and impassioned manifesto on painting and Surrealism. The catalog takes its title from the last line of this text.

This book focuses on the iconic Umber Paintings of Lee Krasner (1908–84), which consist of only 24 paintings. Painted between 1959 and 1962, the Umber Paintings were realized during one of Krasner’s most ambitious periods of cproduction following the sudden and tragic loss of her husband, Jackson Pollock. During this time of newfound solitude, Krasner moved into Pollock’s studio at their home in the Springs, East Hampton, which enabled her to experiment on large canvases for the first time. In addition to the increase in scale, this period was also characterized by a further commitment to %allover% compositions. By the end of the 1950s, Krasner’s emotional turmoil confined her to work only at night under artificial light. The Umber Paintings convey a distinctive rawness and intensity that was unprecedented in her oeuvre until this point, and remain lauded as the artist’s most psychologically evocative works.