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ELLSWORTH KELLY - Portrait Drawings

Ellsworth Kelly (1923-2015)

Featuring one hundred figurative works on paper by Ellsworth Kelly5), this volume shows a new side of an artist best known for abstraction. These informal depictions of friends and expressive self-portraits—all rarely or never previously displayed or published—span the entirety of Kelly’s career, from the mid-1940s to the early 2000s. Throughout his life, Kelly made portraits as a means of keeping his hand adept at drawing, which provided a place to test his ideas, refine his bold use of lines, and interrogate the space between naturalism and abstraction. These works also capture his social milieu, which intersected with other creative circles and the queer community. He painstakingly recorded how his own appearance changed over time, and once described some of these sketches by saying, “I use myself in order to draw.” The accompanying critical essays unpack the ways in which such intimate efforts were fundamental to Kelly’s practice and situate this important aspect of his work within the artist’s wider oeuvre.
 
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Emne
Kunstner ELLSWORTH KELLY
Forfatter Edited by Kevin Salatino and Emily Vokt Ziemba. Contributions by Jordan Carter, Richard Meyer, Susan Tallman and Jack Shear
Sprog Engelsk
Illustrationer 130 ill. i farver
Format / Sideantal 21 x 26 cm / 190 sider
Udgivelsesår 2023
Indbinding Indbundet (D-3)
Forlag Yale University Press
Antikvarisk
Antal
Køb
ISBN
Lev. 3-5 dage
Ellsworth Kelly (1923-2015)

Featuring one hundred figurative works on paper by Ellsworth Kelly5), this volume shows a new side of an artist best known for abstraction. These informal depictions of friends and expressive self-portraits—all rarely or never previously displayed or published—span the entirety of Kelly’s career, from the mid-1940s to the early 2000s. Throughout his life, Kelly made portraits as a means of keeping his hand adept at drawing, which provided a place to test his ideas, refine his bold use of lines, and interrogate the space between naturalism and abstraction. These works also capture his social milieu, which intersected with other creative circles and the queer community. He painstakingly recorded how his own appearance changed over time, and once described some of these sketches by saying, “I use myself in order to draw.” The accompanying critical essays unpack the ways in which such intimate efforts were fundamental to Kelly’s practice and situate this important aspect of his work within the artist’s wider oeuvre.