Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"In this era, as consciousness dissolves rapidly into a hazy, global network of jiggling pictures, Hume's paintings, in their wry idiosyncrasy, stand for the vestigial physical residue of personal privacy. Their wiped-clean surfaces place them in a private space with us and insist that there is nothing inside them or behind them. I would like this sort of privacy to be the next big thing. I would like a future in which we clamor once again for objects with mysteries but no secrets, with no words attached and no atmosphere of names swirling like gnats around them. Under these conditions we could shrink our global selves down into our own domestic boundaries and admit that, however metaphysical and expensive that thing on our wall might be, it bears a similarly intimate relationship with our paperweights, crystal turtles, wallpaper, curtains, books, furniture, and carpets. In that mirror we might actually see ourselves in the landscape of our choices." Dave Hickey, excerpted from Will Heather Be There? in "Yardwork.
"In this era, as consciousness dissolves rapidly into a hazy, global network of jiggling pictures, Hume's paintings, in their wry idiosyncrasy, stand for the vestigial physical residue of personal privacy. Their wiped-clean surfaces place them in a private space with us and insist that there is nothing inside them or behind them. I would like this sort of privacy to be the next big thing. I would like a future in which we clamor once again for objects with mysteries but no secrets, with no words attached and no atmosphere of names swirling like gnats around them. Under these conditions we could shrink our global selves down into our own domestic boundaries and admit that, however metaphysical and expensive that thing on our wall might be, it bears a similarly intimate relationship with our paperweights, crystal turtles, wallpaper, curtains, books, furniture, and carpets. In that mirror we might actually see ourselves in the landscape of our choices."
--Dave Hickey, excerpted from Will Heather Be There? in "Yardwork.
Published by Matthew Marks Gallery/Sprüth Magers. Text by Alexander Nagel.
The recent works of YBA artist Gary Hume (born 1962) include not only his signature paintings on aluminum, but also paintings on paper that mark a critical shift in both tecture and depth. These large-scale but intimate works meditate on Hume's mother and her struggle with dementia, as well as scenes recollected from the artist's childhood.
PUBLISHER Matthew Marks Gallery/Sprüth Magers
BOOK FORMAT Paperback, 10 x 14 in. / 64 pgs / 33 color.
PUBLISHING STATUS Pub Date 2/27/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2018 p. 181
PRODUCT DETAILS ISBN 9781944929152FLAT40 List Price: $35.00 CAD $47.50 GBP £34.00
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Published by Matthew Marks Gallery. Text by Graham Bader.
In Gary Hume: The Wonky Wheel, the renowned British artist updates the genre of history painting for the twenty-first century. With the 18 paintings and three sculptures gathered in this volume--all new and never before published--Hume unveils colorful abstractions rooted in contemporary conflict and the fragility of human life. If these most recent works are, as Hume himself stresses, a form of history painting--representations of a series of "pregnant moments" connected to one of the great historical dramas of our time--Hume short-circuits this notion by rendering their historical scenes all but invisible, thus apparently declaring his disinterest in any narrative whatsoever. Nonetheless, these moments form the building blocks of the work. History’s forward progress is constant, Hume’s art proposes, but it is always wonky.
Published by Hayward Gallery Publishing. Text by Dave Hickey. Interview by Caroline Douglas.
British artist Gary Hume (born 1962) first found international fame in the early 1990s, with his series of bold, abstract “door paintings.” As one of the leading “Young British Artists” (YBAs), his work was featured in Damien Hirst’s Freeze and Charles Saatchi’s Sensation exhibitions and he has exhibited internationally since, becoming best known for vibrant, large-scale paintings, executed in planes of bold, glossy color. A Turner Prize nominee and Royal Academician, Hume is a key figure in twentieth-century painting and a powerful influence on younger generations of contemporary artists. This beautifully presented hardback book is published to accompany the third exhibition in the Arts Council Collection’s acclaimed Flashback series, in which early acquisitions from key international artists are juxtaposed with newer work. Gary Hume joins Bridget Riley and Anish Kapoor in this popular series of survey publications.
Published by Matthew Marks Gallery. Text by Dave Hickey.
Gary Hume (born 1962) first found acclaim in London in the late 1980s, when his bold paintings of hospital doors, rendered at life-size scale in high-gloss hardware store paints on aluminum panels, drew much attention and ushered Hume into the ranks of the Young British Artists. Twenty years later, Yardwork features recent paintings and sculpture completed by Gary Hume in his upstate New York studio. The pictures explore familiar themes in Hume's work, including flowers, birds, doors and female figures. In the new work, however, the doors are now barn doors, as opposed to the hospital doors found in his earlier works; the blackbirds, roses and daisies are all things he sees from his window, not images drawn from books or media. Yardwork includes an essay by Dave Hickey that places Hume's paintings in the context of a group of artists the author names abstractionists of daily life.
The work of renowned painter and sculptor Gary Hume is characterized by his invigorating use of radiant panes of glossy colour. In his first major monograph the artist's rich, affecting work is granted new life in over 200 full-colour illustrations. Using imagery as diverse as polar bears, snowmen and supermodels, Hume turns ephemera into striking portraits and abstract landscapes – the paintings are simplistic yet engaging, blending a charming naivety with a sophisticated grasp of the colour wheel, all of which confirms Hume's position as one of Britain's most celebrated artists.While Hume's trademark use of gloss planes creates a reduced texture, the flatness of his form and composition combines to suggest an air of melancholy.
Published by Kunsthaus Bregenz. Edited by Eckard Schneider. Essays by Kay Heymer and Rudolf Sagmeister.
In the 80s, Gary Hume became a star of the Young British Art (YBA) movement virtually overnight. His Doors series, which brought him this early success, are based on real doors found in public institutions like hospitals and schools, but Hume represents them sparsely and richly, liberally borrowing strategies from the color field and hard-edge abstraction movements. Beyond doors, Hume has depicted windows, flora, fauna and Michael Jackson, all in his trademark technique of using commercial house paint poured onto aluminum panels. The effect is one of brilliant luster, in which slick smooth surfaces of high-gloss paint reveal embedded relief drawings. The Bird Has a Yellow Beak features a retrospective selection of approximately 70 works, including many never-before-published drawings. Heavy glossy varnish coatings over the reproductions convey an appealing sense of the crucial surfaces of Hume's paintings.
PUBLISHER Kunsthaus Bregenz
BOOK FORMAT Clothbound, 6.75 x 9.5 in. / 162 pgs / 85 color / 3 bw
PUBLISHING STATUS Pub Date 8/2/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2004
PRODUCT DETAILS ISBN 9783883758039TRADE List Price: $60.00 CAD $70.00
Gary Hume: The Wonky Wheel
Gary Hume: Flashback
Gary Hume: Yardwork
Gary Hume: A Cat on a Lap
Gary Hume: The Bird Has A Yellow Beak