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Fb2 JONATHAN LASKER: EARLY WORKS 1977- 1985 (CHEIM READ, NEW YORK) ePub

by Jonathan Lasker

Subcategory: Different
Author: Jonathan Lasker
ISBN: 098514100X
ISBN13: 978-0985141004
Language: English
Publisher: Cheim & Read (2012)
Pages: 100
Fb2 eBook: 1864 kb
ePub eBook: 1302 kb
Digital formats: docx azw txt rtf

Items related to JONATHAN LASKER: EARLY WORKS 1977- 1985 (CHEIM &.

Items related to JONATHAN LASKER: EARLY WORKS 1977- 1985 (CHEIM &. Jonathan Lasker JONATHAN LASKER: EARLY WORKS 1977- 1985 (CHEIM & READ, NEW YORK). ISBN 13: 9780985141004. 20 pp text, 22 plates, 6 pp list biography, (72 pages total), frontispiece-photo portrait by kim keever of Jonathan Lasker 1982; Jonathan Lasker's Figurative Abstraction by Robert Hobbs, the full-color reproductions of the paintings-one to a double side with title opposite, followed by a chronology list-an aesthetic biography 1980-1985. 10" x 1. 5" white folding wraps.

Lasker's Pop Art–like pirouettes and basket-weave patterns applied in thick, distinct lines of pigment were definitely meta, but stuck to first principles of. .This look back at those works proves that they hold up in a 21st-century light.

Lasker's Pop Art–like pirouettes and basket-weave patterns applied in thick, distinct lines of pigment were definitely meta, but stuck to first principles of applying a mark to canvas. Posted: Thursday March 15 2012. Event phone: 212-242-7727.

Jonathan Lasker (born 1948) is an American abstract painter whose work has played an integral role in the development of Postmodern Painting. He currently lives and works in New York City. Lasker has been awarded National Endowment for the Arts Fellowship Grants in 1987 and again in 1989. In 1989 he was also awarded the New York Foundation for the Arts Fellowship Grant.

January 7 – February 13, 2016. Lasker’s previous show with the gallery, comprised of early work (1977–1985), was in 2012. Lasker lives and works in New York City, and is represented by Cheim & Read. Cheim & Read is pleased to present an exhibition of recent work, including a series of black and white drawings, by Jonathan Lasker. The current exhibition will be accompanied by a catalogue with an essay by Raphael Rubinstein. Rubinstein also curated Cheim & Read’s 2013 show, Reinventing Abstraction: New York Painting in the 1980s, which included Lasker.

Jonathan Lasker - Robert Hobbs. I. s r. t' ;c:dwmor thc·s tr:!fi con. fi. um tion ~fbemediumth t ·l. · ca lla·work~ a ·ttbut bringsftdin intob~in,jwt rr do tespom,'j o rlc: . eet· ofth ~ e wr:nwl'. text by Robert Hobbs. Cheim & Read, New York. Page 1: Jonathan Lasker: Early Works. New Y. Page 7 and 8: coursesatthesch. Page 9 and 10: ealizeit,eofthe.

Coauthors & Alternates.

Jonathan Lasker (born 1948) is an American artist. Lasker was born in Jersey City, New Jersey, and attended the School of Visual Arts in New York City as well as the California Institute of the Arts in Valencia, California. He lives and works in New York City.

Jonathan Lasker’s show at Cheim & Read is a happy mix of contradictions. It is these imagined scenarios that give Lasker’s work its strength. For his colorful paintings and his black-and-white graphite-and-ink series, he starts by drawing loose and spontaneous forms, like a cast of characters, and selects a few to combine into his final works. The result is a mélange of shapes, colors, techniques, and textures, formally arranged yet full of spontaneity. The way his characters in picture-book colors parade around the rooms mingles a playful narrative into each canvas.

Lasker was born in Jersey City, New Jersey, in 1948. After attending Queens College and the School of Visual Arts in New York, he enrolled in CalArts, in Valencia, California, in the late 1970s. His time at CalArts, which coincided with the school's heyday of Conceptualism, became an important determining factor on his work. Committed to painting and its history, Lasker defended his chosen medium against a critical audience of teachers and fellow students, most of whom dismissed painting as "dead" in a post-modern era. CalArt's Conceptualism challenged Lasker to rethink painting's significance and "progression," thus strengthening his arguments. He adhered to the rigorous critical discourse of his peers but re-positioned it for a different end, ultimately exposing the unique dialectic inherent to painting: its objecthood versus that which it represents. Both physical and illusionist, literal and figurative, dimensional and flat, painting's contradictory elements have provided Lasker with continually rich territory.
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