Bøger af Dan Nadel

Frank Frazetta ist seit 50 Jahren der unangefochtene Meister der Fantasy-Kunst, und sein Ruhm ist in den Jahren seit seinem Tod stetig gewachsen. Seine Gemälde brechen mittlerweile Auktionsrekorde: Sein Werk Egyptian Queen wurde gerade für 5,4 Millionen US-Dollar verkauft . Auch deshalb war es höchste Zeit, diese ultimative Monografie über ihn zu produzieren. Frank Frazetta wurde 1928 als Sohn einer sizilianischen Familie in Brooklyn geboren. Er war Profi-Baseballer in der amerikanischen Liga, Kleinkrimineller und notorischer Verführer mit dem Aussehen eines Filmstars und außergewöhnlichen Begabungen. Er behauptete, nur dann sich der Kunst zu widmen, wenn es nichts Besseres zu tun gab - lieber spielte er Baseball - und begann seine Karriere als professioneller Comiczeichner doch schon im Alter von 16 Jahren. Seine Auftragsarbeiten führten ihn zu den berüchtigten EC Comics , dann zu den Ölgemälden für die Tarzan- und die Conan-Serie . Beide Charaktere wurden schon von vielen vor ihm dargestellt, aber, wie er in den 1970er-Jahren erklärte: "Ich bin sehr körperfixiert. In Brooklyn kannte ich Conan, ich kannte Typen, die exakt so drauf waren wie er". Und er nutzte seine Vertrautheit mit Muskelpaketen und Machos, um die Fantasy-Helden noch massiver, bedrohlicher und testosteron-gesteuerter zu zeichnen. Als Gegengewicht erfand er eine neue Spezies von Frauen, gerade so nackt wie die Zensur es erlaubte, mit Elfengesichtern und gebärfreudigen Körpern: fette Schenkel, volle Hintern, Brüste, die weit hervorstehen. Und doch schuf er sie überzeugend realitätsnah, mit weichen Bäuchen und Anzeichen von Cellulitis. Dazu noch etwas Action, Fantasywesen, dämmrige Welten aus jagenden Schatten - Frazettas Kunst ist so süchtig machend wie Kartoffelchips.

"A monograph of paintings and films by Mike Henderson accompanying the artist's major retrospective exhibition "Mike Henderson: Before the Fire, 1965-1985"--

One of America's finest abstract painters, Chris Martin (born 1954) explores the fertile areas between sophisticated formalism and the visionary joy of outsider art, making abstract painting look enviably effortless. For this massive volume, Martin and Dan Nadel have assembled a massive compendium of Martin's drawings from the past 30 years, presenting them chronologically so the reader-viewer can follow the artist's continual pursuit and discovery of new forms--from sound waves to mushrooms to Tantric arches to the iconic visages of James Brown and Sigmar Polke. For Martin, drawing is an end in itself that also often leads to themes he later reprises and explores in his painting. Taking its design inspiration from the artist's books of Dieter Roth, Drawings acts as a flipbook of discovery, one that charts Martin's artistic development over the past three decades.

An epistolary history of postwar American art through the weird and wonderful mind of Peter Saul A New York Times critics' pick Best Art Books 2020 Painter Peter Saul (born 1934), considered one of the founding fathers of pop art but certainly not reducible to that movement, is best known for his cartoonish paintings in Day-Glo hues satirizing American culture. Saul was born and raised in Northern California, attended Washington University, lived in Europe from 1956 to 1964, and then settled in Marin County from 1964 to 1976, where he found a community and began to make his reputation. The story of Saul's development in these crucial years is narrated by the artist himself in Peter Saul: Professional Artist Correspondence, 1945-1976. The letters in this volume, first to Saul's parents and then to his dealer, Allan Frumkin, are intimate and wide-ranging, full of the same kind of observations that make Saul's work so compelling. Throughout this period Saul was concerned not only with making his work but also making his life as an artist. The book is therefore very much the story of an artist finding his voice and then attempting to understand and participate in "the art world," as Saul worked first through pop, then "funk," and then essentially created his own category. Taken together, the letters in this book form not just an autobiography of the artist, but a memoir of American art history at a critical moment.

Ben Jones (born 1977), one third of the artist collective Paper Rad and progeny of Providence's Fort Thunder warehouse-based art scene, makes work that harks back to the Saturday morning cartoons and video games of the 1980s. Jones' previous book, "New Painting and Drawing," quickly sold out, making "Men's Group Black Math"--his newest volume, beautifully bound in dark blue denim covers--the only currently available collection of his work. The book's theme is maleness: in addition to Jones' signature neon-infused images, paintings, digital pictures and built environments, "Men's Group Black Math" includes a 24-page comic strip about contemporary male life, plus a series of texts about manhood commissioned from men the artist admires, including artists Peter Saul, Gary Panter and Joe Bradley, writers Keith McCulloch and Byron Coley and gallerist Phil Grauer. Topping it all off is a lengthy interview with Jones conducted by Dan Nadel.

Originally published by Chicago's Black press, long neglected by mainstream publishing, and now included in a Museum of Contemporary Art Chicago exhibition, these comics showcase some of the finest Black cartoonists.Between the 1940s and 1980s, Chicago’s Black press—from The Chicago Defender to the Negro Digest to self-published pamphlets—was home to some of the best cartoonists in America. Kept out of the pages of white-owned newspapers, Black cartoonists found space to address the joys, the horrors, and the everyday realities of Black life in America. From Jay Jackson’s anti-racist time travel adventure serial Bungleton Green, to Morrie Turner’s radical mixed-race strip Dinky Fellas, to the Afrofuturist comics of Yaoundé Olu and Turtel Onli, to National Book Award–winning novelist Charles Johnson’s blistering and deeply funny gag cartoons, this is work that has for far too long been excluded and overlooked. Also featuring the work of Tom Floyd, Seitu Hayden, Jackie Ormes, and Grass Green, this anthology accompanies the Museum of Contemporary Art Chicago’s exhibition Chicago Comics: 1960 to Now, and is an essential addition to the history of American comics.The book's cover is designed by Kerry James Marshall.Published in conjunction with the Museum of Contemporary Art Chicago, on the occasion of Chicago Comics: 1960s to Now, June 19–October 3, 2021. Curated by Dan Nadel.

Drawing on inspiration from Buddhism to Amy Winehouse, Chris Martin creates bold abstract works that explore the unknowable psychological tendencies of art. His canvases are characterized by flat-yet-textured planes of saturated color, and will often incorporate found materials and highly personal paper ephemera. Works such as Untitled (2013) demonstrate the influence of Pablo Picasso's collages, and his canvases' strong geometries also elaborate a self-proclaimed attachment to Piet Mondrian. Martin's practice came of age in 1980s New York, which saw the explosion of the East Village art scene, led by Keith Haring. This monograph collects texts by Glenn O'Brien, Nancy Princenthal, Trinie Dalton and Dan Nadel: in detail essays are focused on Chris Martin as a young man in he 1970s (Glenn O'Brien); on Brooklyn in the 1990s and Martin's influence in the 2000s (Dan Nadel); on Chris Martin and the history of New York abstraction (Nancy Princenthal) and on the culture that has informed Chris Martin (Trinie Dalton).