Editions and Publications 2022
Petzel presents a selection of recent editions and publications available exclusively online to close out the year 2022. This presentation features two new print editions by Emily Mae Smith—the complementary imagery of each print references the artist’s 2017 painting of the same title in two unique colorways. Sean Landers' signature character Plankboy, as seen in a limited edition of twelve hand-painted bronze sculptures, is made available once again alongside Simon Denny's new functional artwork, The End of History Chair, made of screenprinted cardboard and assembled by the user. Finally, a woodblock print by Zorawar Sidhu and Rob Swainston titled May 28 depicts a burning police station in Minneapolis with sunflowers from a memorial. To accompany, Petzel brings together its newest catalogues published on the occasion of recent exhibitions by Emily Mae Smith, Maria Lassnig, Roger-Edgar Gillet, and Jorge Pardo.
Emily Mae Smith, the first standalone volume of the artist’s work, provides a panoramic view of Smith’s playful, illusionistic, and deeply intelligent oeuvre.
For the past fifteen years, Emily Mae Smith has brought her lush, humorous, and highly stylized sensibility to bear in one visually stunning canvas after another, artfully blending a Surrealist spirit with the flair of Pop Art and her own feminist aesthetic. Emily Mae Smith, the first standalone volume of the artist’s work, provides a panoramic view of Smith’s playful, illusionistic, and deeply intelligent oeuvre. With more than 250 illustrated pages, boasting over 150 full-color reproductions that bring Smith’s crisp and exquisitely detailed paintings to life, the book takes a close look at her career to date.
Emily Mae Smith’s images are supported by text contributions from Suzanne Hudson, Gabriela Rangel, and Jenni Sorkin that contextualize Smith’s work and practice and illuminate her engagement with contemporary subjects like gender, violence, and capitalism — all the while providing analyses of important compositions like her anthropomorphic broom series. Smith’s sly figurations are perhaps best exemplified by this fey avatar, serving at once as a visual referent for the painter’s brush, an emblem of women’s domestic labor, and a playful embodiment of phallic forces. Emily Mae Smith takes readers on a journey through the artist’s ferociously idiosyncratic vision, providing insight into one of the most startling and original bodies of work in contemporary art.
Maria Lassnig’s biography documents her boundary-breaking journey as an artist, from her humble beginnings in Austria to her exposure to international art in the 1940s, and on to New York, where, together with Louise Bourgeois, she plunged into the exploding women’s movement there. Lassnig caused a sensation with numerous solo exhibitions, from the Venice Biennale to the Documenta to the MoMA in NY.
Lassnig’s story is both exemplary and extraordinary for a woman of her generation—exemplary in terms of the hurdles and pitfalls that women in general, and female artists in particular, had to face in those years. She struggled her whole life against the usual stereotypes about women: in her youth, against her mother’s desire that she “marry up”; in relationships with men, against the requirement of putting her own needs aside to nurture and care for her partner’s ego; in the art business, against having to play the role of the sweet and pretty girl; as a university teacher, against having to play the “mother figure”; and as an old woman, against the image of “odd old lady” and the “grande dame.”
Even though she herself wanted to be an artist, not a female artist, her life story is extraordinary because she was finally, despite it all, able to assert herself as an artist and a woman due to her outstanding talent, her persistence, and her single-mindedness.
To accompany the exhibition, Petzel has published “Roger Edgar Gillet,” a catalogue featuring an essay by Raphael Rubinstein. It is the first English language examination of Gillet’s work. The publication follows an exhibition of paintings by Roger-Edgar Gillet (1924–2004), the French artist’s first solo exhibition in New York since his 1961 show at Lefebre Gallery. More significantly, it will be the first presentation in New York of the figurative work that Gillet began making in the 1960s after he turned away from abstraction. Prior to this shift, Gillet was championed by the two leading theorists of art informel, Michel Tapié and Charles Estienne, and showed alongside most of the prominent Parisian abstractionists. In 1956, French art critic Michel Ragon pronounced him “one of the ten best painters of the new generation.” But even then, Gillet had begun to entertain doubts about abstraction. On a 1955 visit to New York, he became riveted by El Greco’s portrait of a bespectacled cardinal at the Metropolitan Museum of Art. As he later recalled, “Faced with the cruelty of this gaze, I said to myself that with abstract painting one lost something: one could no longer paint the depths of that gaze.”
Jorge Pardo: Public Projects and Commissions, 1996–2018—the first monograph to focus strictly on the artist’s public works—documents, in extensive detail, twenty-four seminal projects and installations from Pardo’s oeuvre. In nearly 300 richly illustrated pages with over 200 full-color reproductions, including specially commissioned photographs, the book takes a close look at the private residences, museum installations, city squares, cafés, and other commissions that Pardo transformed with his energetic touch. These projects include 4166 Sea View Lane, Pardo’s earliest public work; his famous redesign of the Dia Center for the Arts lobby in New York City; and Tecoh, one of his most ambitious and largest works to date. Alongside text contributions by Emma Enderby, Maja Hoffman, and Ian Volner, Jorge Pardo also presents twelve of the artist’s never- before-seen “unrealized projects,” discussed in conversation with curator and art historian Hans Ulrich Obrist. Designed by Garrick Gott, the colorful pages are housed between a raised cover that replicates the mosaic tile floor of the boutique hotel L’Arlatan, one of the artist’s most celebrated accomplishments.