Jan Cox
Founding member of the group Jeune Peinture Belge in 1945, Jan Cox came to the United States in 1950 to fulfil his dreams. He exhibited in New York at Curt Valentine’s gallery and then Catherine Viviano’s. From 1956 onwards, after a stay in Rome he worked in Boston as Head of the Painting Department at the School of the Museum of Fine Arts, where he realized his first important painting cycle based on the myth of Orpheus. In 1974 he returned to Antwerp to dedicate himself entirely to painting and in 1975 produced his monumental painting cycle based on Homer’s Iliad. This series of paintings was both his catharsis of violence and disappointment he had previously experienced in Modern society and the purging of his haunting memories of the Second World War. Jan Cox’s career continued with works on the subjects of Mozart’s Die Zauberflöte and The Martyrdom of Christ until his death in Antwerp on 7 October 1980.
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Documents of Contemporary Art. Utopias: Throughout its diverse manifestations, the utopian entails two related but contradictory elements: the aspiration to a better world, and the acknowledgment that its form may only ever live in our imaginations. Furthermore, we are as haunted by the failures of utopian enterprise as we are inspired by the desire to repair the failed and build the new... |
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South African Art Now. South African Art Now documents, through in-depth essays and stunning full-color photographs, the remarkable work of nearly one hundred South African artists working in every medium from painting, sculpture, and video to cutting-edge performance art. This lush volume includes the impressive work of art world stars such as William Kentridge and Marlene Dumas; newly prominent artists such as Berni Searle, Robin Rhode, and Mustafa Maluka; and exciting newcomers still unknown outside their own country, but clearly marked for success... |
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James Rosenquist. Painting Below Zero: Notes on a Life in Art. “Frank, funny, truthful, ironic and in every way an entertaining account of one major American artist’s involvement in an art movement that interests everyone–and, more than that, of his own character. Jim Rosenquist is a true American original and his book ought to be read by anyone who wants to understand the last half-century of his country’s visual culture, high, low, and in between.” –Robert Hughes, amazon |
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