Background
Catherine M. de Zegher was born on April 14, 1955, in Groningen, Netherlands. She is the daughter of Albert de Zegher, a pediatrician, and Christiane (Dhooge) de Zegher.
St. Pietersnieuwstraat 33, 9000 Gent, Belgium
University of Ghent
25 Harbor Shore Drive, Boston, MA 02210, United States
Institute of Contemporary Art
(Published on the occasion of a major exhibition opening a...)
Published on the occasion of a major exhibition opening at the Institute of Contemporary Art in Boston, Inside the Visible presents a gendered reading of more than thirty women artists of vastly different background and experience. The work of important yet previously "invisible" figures is highlighted alongside the work of established artists to create a retheorized interpretation of the art of this century. Structured in terms of recurrent cycles over time, Inside the Visible focuses on three periods (the 1930s and 1940s, the 1960s and 1970s, and the 1990s) that anticipated a wave of political repression, nationalism, and xenophopia, often stimulating artistic production that redefined practice. Illustrated essays document each artist in the collection. In addition, four general essays trace the connections among the artists. These take up such issues as why artistic recognition eluded certain artists and why their work is only just becoming visible today. They also address overlapping themes such as gender and sexuality; the intersection of racial, class, ethnic, sexual, and regional identities; and the nature of the relationship between work and viewer.
http://www.amazon.com/gp/product/0262540819/?tag=2022091-20
1996
("I want to make art about the commonplace, art that illum...)
"I want to make art about the commonplace, art that illumines social life. I want to enlist art to question the mythical explanations of everyday life that take shape as an optimistic rationalism and to explore the relationships between individual consciousness, family life, and the culture of monopoly capitalism." Since the late 1960s, American artist Martha Rosler has produced seminal works in the fields of photography, performance, video, installation, critical writing, and theory. Committed to an art that engages a public beyond the confines of the art world, Rosler investigates how socioeconomic realities and political ideologies dominate ordinary life. Her astute critical analyses are often cloaked in deadpan wit. This book, which accompanies the first retrospective exhibition of Rosler's work, contains seven color photo essays by Rosler; an excerpt from the curatorial project "If You Lived Here"; essays by Alexander Alberro, Catherine de Zegher, Sylvia Eiblmayr, Jodi Hauptman, and Annette Michelson; a conversation between Rosler and Benjamin Buchloh; and a biography/bibliography along with a complete list of art works. EXHIBITION SCHEDULE: Ikon Gallery Birmingham, UK December 1998 - January 1999 Nouveau Musée Villeurbanne, France January 1999 - February 1999 Generali Foundation Vienna, Austria May 1999 - August 1999 MACBA Barcelona, Spain Fall 1999 The New Museum New York City Spring 2000
http://www.amazon.com/gp/product/026204174X/?tag=2022091-20
1999
(Ed Pien: Luminous Shadows presents the work of Toronto-ba...)
Ed Pien: Luminous Shadows presents the work of Toronto-based artist Ed Pien, known for his drawing-based installations that immerse the viewer in a surreal, unique experience. The book is lavishly produced, and illustrated throughout with two screenprinted 16-page signatures on bespoke paper with Pien’s latest drawings and stunning installation photographs. The book focuses on the eponymous exhibition curated by Catherine Elliot Shaw and presented at McIntosh Gallery in late 2015 that featured his two latest large-scale installations: Imaginary Dwelling, consisting of a makeshift townscape inside a tent with projected videos, mirrors and shadows; and Spectral Drawings, depicting ghostly figures rendered in white ink that float on walls with differing black gradations. The drawing-based installations explore ideas of fantasy and vision as shadows are illuminated on dark walls covered with his drawings. These shadows and projections create the illusion of ghostly silhouettes and figures presented within the installation space. Pien’s drawings are assembled as composite images of mysterious monster-human characters. The viewer has a sensual, emotional experience while interacting with the dream-like environments that balance haunting beauty, play and a sense of uneasiness. Pien’s work draws upon different influences including Asian ghost stories, myths and legends, hell scrolls, calligraphy, Inuit art and the work of artists such as Francisco Goya. Ed Pien: Luminous Shadows captures the magical, surreal qualities of Pien’s work with critical illustrated texts by Catherine de Zegher and Angela Kingston, further exploring Pien’s artistic practice while providing fascinating insight into his work and a contextual understanding of his wider practice. Ed Pien was born in Taipei, Taiwan, and immigrated to Canada at the age of 11. He received a BFA from The University of Western Ontario in 1982 and an MFA from York University in 1984. Pien’s work has been exhibited at the Drawing Center, New York; Biennale of Sydney, Australia; Goethe Institute, Berlin; Contemporary Art Gallery, Vancouver; the National Gallery of Canada; and McIntosh Gallery, London, Ontario, Canada. He also currently teaches at the University of Toronto. Ed Pien: Luminous Shadows presents the work of Toronto-based artist Ed Pien, known for his drawing-based installations that immerse the viewer in a surreal, unique experience. The book is lavishly produced, and illustrated throughout with two screenprinted 16-page signatures on bespoke paper with Pien’s latest drawings and stunning installation photographs. The book focuses on the eponymous exhibition curated by Catherine Elliot Shaw and presented at McIntosh Gallery in late 2015 that featured his two latest large-scale installations: Imaginary Dwelling, consisting of a makeshift townscape inside a tent with projected videos, mirrors and shadows; and Spectral Drawings, depicting ghostly figures rendered in white ink that float on walls with differing black gradations. The drawing-based installations explore ideas of fantasy and vision as shadows are illuminated on dark walls covered with his drawings. These shadows and projections create the illusion of ghostly silhouettes and figures presented within the installation space. Pien’s drawings are assembled as composite images of mysterious monster-human characters. The viewer has a sensual, emotional experience while interacting with the dream-like environments that balance haunting beauty, play and a sense of uneasiness. Pien’s work draws upon different influences including Asian ghost stories, myths and legends, hell scrolls, calligraphy, Inuit art and the work of artists such as Francisco Goya. Ed Pien: Luminous Shadows captures the magical, surreal qualities of Pien’s work with critical illustrated texts by Catherine de Zegher and Angela Kingston, further exploring Pien’s artistic practice while providing fascinating insight into his work and a contextual understanding of his wider practice. Ed Pien was born in Taipei, Taiwan, and immigrated to Canada at the age of 11. He received a BFA from The University of Western Ontario in 1982 and an MFA from York University in 1984. Pien’s work has been exhibited at the Drawing Center, New York; Biennale of Sydney, Australia; Goethe Institute, Berlin; Contemporary Art Gallery, Vancouver; the National Gallery of Canada; and McIntosh Gallery, London, Ontario, Canada. He also currently teaches at the University of Toronto.
http://www.amazon.com/gp/product/1910433969/?tag=2022091-20
(Eva Hesse (1936--1970) was a highly experimental artist w...)
Eva Hesse (1936--1970) was a highly experimental artist who continually challenged the conventions of her time. For Hesse, drawing played a unique role, providing the nexus between her works in all media. Eva Hesse Drawing is the first book to explore her drawing process, following her work from drawing to painting and sculpture, and always back to drawing. The book features important, recently rediscovered working drawings,” providing an intimate look at Hesse’s everyday practice and methodology. An accomplished draftswoman, Hesse began to develop her wandering, tentative line while studying at Yale University in the late 1950s. Her early 1960s works on paper engaged with visual vocabularies from geometry to biomorphic abstraction. In 1965, Hesse combined her tactile sensibility for materials with her stringlike line to achieve a breakthrough: her astonishing reliefs, which began to bridge the space between two and three dimensions. Balancing the disembodiment of line with its intensified materialization, Hesse went on to develop one of the most innovative oeuvres of the twentieth century, anticipating the hybridization of media and crossing borderlines linking one impossible space to another. Eva Hesse (1936--1970) was a highly experimental artist who continually challenged the conventions of her time. For Hesse, drawing played a unique role, providing the nexus between her works in all media. Eva Hesse Drawing is the first book to explore her drawing process, following her work from drawing to painting and sculpture, and always back to drawing. The book features important, recently rediscovered working drawings,” providing an intimate look at Hesse’s everyday practice and methodology. An accomplished draftswoman, Hesse began to develop her wandering, tentative line while studying at Yale University in the late 1950s. Her early 1960s works on paper engaged with visual vocabularies from geometry to biomorphic abstraction. In 1965, Hesse combined her tactile sensibility for materials with her stringlike line to achieve a breakthrough: her astonishing reliefs, which began to bridge the space between two and three dimensions. Balancing the disembodiment of line with its intensified materialization, Hesse went on to develop one of the most innovative oeuvres of the twentieth century, anticipating the hybridization of media and crossing borderlines linking one impossible space to another.
http://www.amazon.com/gp/product/0300116187/?tag=2022091-20
(This presentation of rarely seen drawings by so many arti...)
This presentation of rarely seen drawings by so many artists from different cultural backgrounds alerts readers to fresh and startling connections between their work and gives new insight into creative processes. In the accompanying texts, key writers discuss the significance of drawing today. From the literary and theatrical influences on artists such as Joshua Reynolds and Henry Fuseli to the gestural acts of Francis Bacon and Cy Twombly, this book presents a unique view of drawing and its place in the history of art.
http://www.amazon.com/gp/product/1854374885/?tag=2022091-20
(3x an Abstraction presents the extraordinary work of thre...)
3x an Abstraction presents the extraordinary work of three important women artists whose innovative ideas and approaches to drawing had a significant impact on the history of modern abstraction. Hilma af Klint (Sweden, 18621944), Emma Kunz (Switzerland, 18921963), and Agnes Martin (Canada, b. 1912; U.S. citizenship 1950) approached geometric abstraction not as formalism, but as a means of structuring philosophical, scientific, and spiritual ideas. Using line, geometry, and the grid, each of these artists created diagrammatic drawings of their exploration of complex belief systems and restorative practices. Noteworthy among the 150 illustrations in the volume are a large number of works by Hilma af Klint, reproduced here for the first time in a major publication; Emma Kunz’s drawings, exhibited in the United States for the first time in 2005; and approximately 20 early works by Agnes Martin. The book also includes writings by each of the artists, an introduction by Catherine de Zegher, seven essays by distinguished contributors, and brief statements from five contemporary artists. By considering collectively the works of these three artists anew, 3x an Abstraction highlights the artistic contributions of af Klint and Kunz and revisits the work of Martin from a new perspective. 3x an Abstraction presents the extraordinary work of three important women artists whose innovative ideas and approaches to drawing had a significant impact on the history of modern abstraction. Hilma af Klint (Sweden, 18621944), Emma Kunz (Switzerland, 18921963), and Agnes Martin (Canada, b. 1912; U.S. citizenship 1950) approached geometric abstraction not as formalism, but as a means of structuring philosophical, scientific, and spiritual ideas. Using line, geometry, and the grid, each of these artists created diagrammatic drawings of their exploration of complex belief systems and restorative practices. Noteworthy among the 150 illustrations in the volume are a large number of works by Hilma af Klint, reproduced here for the first time in a major publication; Emma Kunz’s drawings, exhibited in the United States for the first time in 2005; and approximately 20 early works by Agnes Martin. The book also includes writings by each of the artists, an introduction by Catherine de Zegher, seven essays by distinguished contributors, and brief statements from five contemporary artists. By considering collectively the works of these three artists anew, 3x an Abstraction highlights the artistic contributions of af Klint and Kunz and revisits the work of Martin from a new perspective.
http://www.amazon.com/gp/product/0300108265/?tag=2022091-20
(A recent recipient of the highly prestigious MacArthur Fo...)
A recent recipient of the highly prestigious MacArthur Foundation “Genius Grant,” Julie Mehretu is an important American artist. With several major solo exhibitions in the last few years, including a traveling exhibition organized by the Detroit Institute of the Arts that debuts in fall 2007, Mehretu has captivated her audience with her ambitious large-scale wall installations that include a dizzying array of signs, symbols, and motifs worked into compositions that take as their point of departure architectural renderings and sketches. While known primarily as a painter, it is the artist’s drawings that drive her work; she produces scores of major drawings a year (while her output of paintings generally never exceeds ten in a given year.) Concerned with how individuals come to understand their place in the world–both metaphorically and physically–through their identification with different communities or their experience of different places, Mehretu has created a body of work that is as dynamic as the subjects with which she is engaged. In this book–the most comprehensive study of her exquisite drawings–the fullness of her ideas and explorations of form are considered.
http://www.amazon.com/gp/product/0847829804/?tag=2022091-20
(Early in his career, Belgian painter James Ensor (1860-19...)
Early in his career, Belgian painter James Ensor (1860-1949) broke away from Impressionism, rejecting its prettiness in favor of an original, highly dramatic style. Incorporating elements of satire, caricature, masquerade, and the grotesque, Ensor was a sharp observer of his social and political milieu and a skilled controversialist. Bridging the nineteenth and twentieth centuries and not easily fitting into one particular movement or group, his drawings are increasingly valued for their innovative subjects and techniques, as well as the strong social criticism at their heart. This volume, published to accompany the first major New York exhibition of Ensor's drawings, includes more than one hundred plates, most of them in color. Essays by Susan M. Canning (College of New Rochelle), Marcel De Maeyer (University of Ghent), and Robert Hoozee (Museum of Fine Arts, Ghent), along with a chronology by Xavier Tricot, serve to place Ensor's drawings in the context of both artistic and historical developments of his time and his oeuvre. Catherine de Zegher is executive director of the Drawing Center in New York City and cocurator (with Robert Hoozee) of the exhibition "Between Street and Mirror: The Drawings of James Ensor." Distributed for the Drawing Center
http://www.amazon.com/gp/product/0816640122/?tag=2022091-20
(A work of stunning beauty, Ocean Flowers explores a littl...)
A work of stunning beauty, Ocean Flowers explores a little-known moment of exhilarating artistic experimentation. The book focuses on natural-history imagery in the mid-nineteenth century, with particular emphasis on botanical drawings and photograms by the artist Anna Atkins (1799-1871) and her Victorian contemporaries. Besides providing a feast for the eyes, the book illuminates intriguing shifts in the way the natural world was represented. In the mid 1800s, the advent of photography provided new possibilities, generating as much creative fervor as digital media have in recent years. In addition to hand-made drawings, hand-colored prints, nature prints (direct imprints from plants), and natural illustrations (real specimens mounted on the page), artists began making photogenic drawings (as William Henry Fox Talbot first dubbed his early photographs) to record botanical specimens. A kind of "drawing with light," this new art form complemented, rather than superceded, the other forms of graphic media. Far from rendering conventional approaches obsolete, it encouraged experimentation with all kinds of media. Ocean Flowers demonstrates how this concept of "fluidity" in crossing the traditional borders between media is paralleled in the contemporary art world. Replete with 200 color illustrations, the book accompanies an exhibition of the same name organized by the Drawing Center in New York City in association with the Yale Center for British Art. More than just an exhibition catalog, it includes essays by the coeditors, as well as by the artist Craigie Horsfield and scholars Edward Eigen, Elaine Scarry, and Kathryn Tuma. Exhibition Schedule http://www.drawingcenter.org/exhibitions.htm The Drawing Center New York, New York March 25-May 22, 2004 http://www.yale.edu/ycba/index.htm The Paul Mellon Centre for Studies in British Art Yale University, New Haven, Connecticut June 12-August 8, 2004
http://www.amazon.com/gp/product/0691119481/?tag=2022091-20
(An artist’s book from Malaysian multimedia artist Simryn ...)
An artist’s book from Malaysian multimedia artist Simryn Gill (born 1959), Wormholes features subtle black-and-white photographs that trace the remains of life in a building that slowly and gradually turns to ruin. Textual interventions by the artist guide the reader through the unsettling atmosphere.
http://www.amazon.com/gp/product/9492321378/?tag=2022091-20
Catherine M. de Zegher was born on April 14, 1955, in Groningen, Netherlands. She is the daughter of Albert de Zegher, a pediatrician, and Christiane (Dhooge) de Zegher.
De Zegher received License in History of Art and Archaeology from the University of Ghent in 1977.
De Zegher was a co-founder of the Kanaal Art Foundation, in Kortrijk, Belgium, in 1985, becoming a director of the organization 2 years later. She served as a visiting curator of the Institute of Contemporary Art from 1995 till 1997.
De Zegher held the position of a lecturer at such educational institutions as the University of Leeds, the Royal College of Art, London, and the University of London.
At the October Books, New York City, she was an executive editor in 1997. Catherine de Zegher was the Director of The Drawing Center in New York from 1999 to 2006.
In addition, she participated in archaeological excavations in Greece and Belgium and was a curator of art exhibits around the world.
In 2000, she became director of the New York City's The Drawing Center. As a curator, de Zegher has contributed to catalogues, collections, and related volumes, including Inside the Visible: An Elliptical Traverse of Twentieth-Century Art, in, of, and from the Feminine, which consists of forty-two illustrated essays, including de Zegher's opening essay, that speak to the art of thirty-seven women collected in a major exhibition at the Institute of Contemporary Art in Boston. The artists include Louise Bourgeois, Theresa Hak Kyung Cha, Lygia Clark, Yayoi Kusama, Agnes Martin, Ana Mendieta, and Charlotte Salomon.
De Zegher is an editor of Between Street and Mirror: The Drawings of James Ensor, which examines the drawings and prints of the Belgian artist (1860-1949) who often portrayed himself as a skeleton. She is also the author of exhibition catalogs. De Zegher and Mark Wigley are coeditors of The Activist Drawing: Retracing Situationist Architectures from Constant's New Babylon to Beyond, which resulted from a 1999 exhibition at The Drawing Center. Much of the book consists of papers that were delivered at a related symposium.
She is the Director of the Museum of Fine Arts, in Gent (Belgium), as well.
(Published on the occasion of a major exhibition opening a...)
1996(An artist’s book from Malaysian multimedia artist Simryn ...)
(This presentation of rarely seen drawings by so many arti...)
(3x an Abstraction presents the extraordinary work of thre...)
(Ed Pien: Luminous Shadows presents the work of Toronto-ba...)
(Early in his career, Belgian painter James Ensor (1860-19...)
(A recent recipient of the highly prestigious MacArthur Fo...)
(A work of stunning beauty, Ocean Flowers explores a littl...)
(Eva Hesse (1936--1970) was a highly experimental artist w...)
("I want to make art about the commonplace, art that illum...)
1999De Zegher married Philippe De Jaegere, a lawyer, on July 21, 1977. They have 3 children - Samuel, Eva, and Marga.