A stunning, focused document of Nate Lowman's work from the past four years.
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"Brewing the good, the bad, and the ugly of consumerist modern life in his masterful paintings, Lowman draws a portrait of the times that is equally mischievous and somber." - BOMB Magazine
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With an archive of source material amassed and processed over time, Lowman creates slippery, layered images that transform visual referents found in the news, media, and art history. In this volume, Lowman plays with cataclysmic imagery that probes the tensions between the everyday and the extreme, presence and absence, and violence and representation. In his vibrant paintings of digitally rendered hurricane imagery and crime scene photography cataloging the aftermath of the October 2017 mass shooting in Las Vegas, he considers the physicality of his medium in connection to the chaos of his subject matter.
Spotlighting Lowman's exhibitions at David Zwirner in London and New York along with other recent work, this monograph includes a text by Lynne Tillman that provides a unique perspective across all bodies of Lowman's oeuvre. In an interview with Andrew Paul Woolbright for The Brooklyn Rail, Lowman discusses his engagement with representation and meaning, twentieth-century gestural and pop art, slow painting, and American violence.
A stunning, focused document of Nate Lowman's work from the past four years.
----------
"Brewing the good, the bad, and the ugly of consumerist modern life in his masterful paintings, Lowman draws a portrait of the times that is equally mischievous and somber." - BOMB Magazine
-----------
With an archive of source material amassed and processed over time, Lowman creates slippery, layered images that transform visual referents found in the news, media, and art history. In this volume, Lowman plays with cataclysmic imagery that probes the tensions between the everyday and the extreme, presence and absence, and violence and representation. In his vibrant paintings of digitally rendered hurricane imagery and crime scene photography cataloging the aftermath of the October 2017 mass shooting in Las Vegas, he considers the physicality of his medium in connection to the chaos of his subject matter.
Spotlighting Lowman's exhibitions at David Zwirner in London and New York along with other recent work, this monograph includes a text by Lynne Tillman that provides a unique perspective across all bodies of Lowman's oeuvre. In an interview with Andrew Paul Woolbright for The Brooklyn Rail, Lowman discusses his engagement with representation and meaning, twentieth-century gestural and pop art, slow painting, and American violence.
A stunning document of Nate Lowman's most recent work from the last four years.
New York-based artist Nate Lowman (b. 1979) deftly mines
mass-produced images culled from art history, the news, and popular
media, transforming visual signifiers from these distinct sources
into a diverse body of paintings, sculptures, collages, prints, and
installations. Since the early 2000s, Lowman has continually pushed
the boundaries of language and object making with works that are at
turns political, humorous, and poetic. Through his art-which
dynamically explores themes of representation, celebrity,
obsession, and violence-Lowman stages an encounter with
commonplace, universally recognizable motifs, questioning and
revisiting their intended meanings while creating new narratives in
the process.
Lynne Tillman is a novelist, short story writer, and
cultural critic. She has received a Guggenheim Fellowship; a
Creative Capital/Andy Warhol Foundation Arts Writers Grant; and The
Katherine Anne Porter Prize awarded by The American Academy of Arts
and Letters. She is a professor and writer in residence in the
Department of English at the University at Albany.
Andrew Paul Woolbright is an artist, critic, and curator
working in Brooklyn. In addition to exhibiting his own work, he is
a critic and contributing writer for The Brooklyn Rail, and is the
director of the gallery Below Grand on the Lower East Side.
Jim Lewis is the author of four novels, which have been
translated into many languages: Sister (1993), Why the Tree Loves
the Ax (1998), The King Is Dead (2003), and Ghosts of New York
(2021). He has written extensively on the visual arts, including
contributions to some thirty museum and gallery monographs, and he
has published criticism, essays, and all manner of reportage for
Granta, The New York Times Magazine, Slate, and Wired, among other
outlets.
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