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Essay by Peter Schjeldahl. Edited by David Whitney. Illustrated with reproductions of 77 of Fischl's oil paintings from 1980-1987, 35 of his works on paper, and 12 seminal glassines. Includes a selected bibliography. Stain on rear of dust jacket.

In the 1980s, American painter Eric Fischl mercilessly captured moments in the lives of the American middle classes. Among the painters of his generation, which most notably include David Salle and Julian Schnabel, Fischl is widely recognized as engaging particularly intensely with this typical national theme. As Fischl himself tells it, painting is a process that turns thoughts into feelings, and that uses form and color to create meaning: "...That is always what I am doing now when I paint: making meaning." Fischl's urge to go beyond formal painterly parameters and to allow subjectivity and content onto his canvases links him to younger painters like Luc Tuymans and Elizabeth Peyton, painters credited with a revival of the medium. In the 1990s, Fischl found new impulses and topics: foreign culture, religious rituals, age, and death now take center stage in his compositions. The motifs in his most recent series are based on digitally manipulated photographs of a sparsely furnished room. This catalogue presents an overview of Fischl's work, illustrating approximately 45 paintings and an equal number of drawings, all made between 1979 and 2001.

Eric Fischl emerged in the 1980s as one of America's most important figurative painters. His paintings, many of which show a single intense moment, compel the viewer to participate in a world of middle-class suburban ambiguity and drama. In Fischl's engaging distinctly American canvases, narrative, morality, sexuality, and psychology are preeminent. This volume, an expanded edition of Eric Fischl 1970-2000, is the most comprehensive examination of this important contemporary painter. More than 250 works, selected in conjunction with the artist, present the full scope of Fischl's career: the formative work of the 1970s; the breakthrough paintings of the 1980s, including the controversial Sleepwalker and Bad Boy; and the mature work, often of a personal and contemplative nature, of the 1990s and 2000s. In his most recent paintings, Fischl has turned to multipiece cycles: The Bed, The Chair series, starting with The Philosopher's Chair; canvases inspired by trips to Italy and India; and the paintings—Fischl terms them "narrative fictions"—of the "Krefeld Project." These engrossing images have been accomplished with a mastery that has been compared to that of Caravaggio. The introduction, by philosopher and critic Arthur C. Danto, offers a perceptive study of Fischl's work over the course of four decades. Commentary drawn from interviews with the artist, conducted by noted writer Robert Enright, accompanies the paintings. Finally, a witty and personal afterword by Steve Martin, best known as a gifted comic actor and author, but also an astute collector of modern art, discusses Barbeque, a famed Fischl painting from his private collection.

Eric Fischl emerged in the 1980s as one of America's most important figurative painters. His paintings compel the viewer to participate in a world of middle-class suburban ambiguity and drama. In Fischl's engaging and distinctly American canvases narration, sexuality, and psychology are preeminent. This volume is the latest and most comprehensive examination of this important twentieth-century painter. Two hundred thirty-three works, selected in conjunction with the artist, present the full scope of Fischl's career over the past decades: the 1970s, with Fischl's seminal formative work; the 1980s, when he burst onto the art world; and the 1990s, with the artist's mature works, often of a personal and contemplative nature. In his most recent paintings Fischl has turned to portraits of his intimate circle of friends, including Mike Nichols, Steve Martin, and his wife, the painter April Gornik. These engrossing images have been accomplished with a mastery that has been compared to that of Caravaggio. The introduction, by philosopher and critic Arthur Danto, places Fischl in the context of his contemporaries. Commentary drawn from interviews with Fischl, conducted by noted writer Robert Enright, accompanies the paintings. Finally, a witty and personal afterword by Steve Martin, best known as a gifted comic actor and author, but also an astute collector of modern art, discusses Barbecue, a famed Fischl painting from his private collection.

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This is a catalog of an exhibition organized to celebrate the 10th anniversary of the artist's first one-man show, and contains over 30 black and white and color plates and well as the articles: "Eric Fischl's View: To Whom Does it Belong" by Jean-Christophe Ammann; "Voyeurism, American-Style: Eric Fischl's Vision Of The Perverse" by Donald B. Kuspit; and, "Corrupting Realism: Four Probes Into A Body Of Work" by Bruce W. Ferguson.

Eric Fischl emerged in the 1980s as one of America's most important figurative painters. His paintings, many of which show a single intense moment, compel the viewer to participate in a world of middle-class suburban ambiguity and drama. In Fischl's engaging distinctly American canvases, narrative, morality, sexuality, and psychology are preeminent. This volume, an expanded edition of Eric Fischl 1970-2000, is the most comprehensive examination of this important contemporary painter. More than 250 works, selected in conjunction with the artist, present the full scope of Fischl's career: the formative work of the 1970s; the breakthrough paintings of the 1980s, including the controversial Sleepwalker and Bad Boy; and the mature work, often of a personal and contemplative nature, of the 1990s and 2000s. In his most recent paintings, Fischl has turned to multipiece cycles: The Bed, The Chair series, starting with The Philosopher's Chair; canvases inspired by trips to Italy and India; and the paintings—Fischl terms them "narrative fictions"—of the "Krefeld Project." These engrossing images have been accomplished with a mastery that has been compared to that of Caravaggio. The introduction, by philosopher and critic Arthur C. Danto, offers a perceptive study of Fischl's work over the course of four decades. Commentary drawn from interviews with the artist, conducted by noted writer Robert Enright, accompanies the paintings. Finally, a witty and personal afterword by Steve Martin, best known as a gifted comic actor and author, but also an astute collector of modern art, discusses Barbeque, a famed Fischl painting from his private collection.

Essay by Peter Schjeldahl. Edited by David Whitney. Illustrated with reproductions of 77 of Fischl's oil paintings from 1980-1987, 35 of his works on paper, and 12 seminal glassines. Includes a selected bibliography. Stain on rear of dust jacket.

In the 1980s, American painter Eric Fischl mercilessly captured moments in the lives of the American middle classes. Among the painters of his generation, which most notably include David Salle and Julian Schnabel, Fischl is widely recognized as engaging particularly intensely with this typical national theme. As Fischl himself tells it, painting is a process that turns thoughts into feelings, and that uses form and color to create meaning: "...That is always what I am doing now when I paint: making meaning." Fischl's urge to go beyond formal painterly parameters and to allow subjectivity and content onto his canvases links him to younger painters like Luc Tuymans and Elizabeth Peyton, painters credited with a revival of the medium. In the 1990s, Fischl found new impulses and topics: foreign culture, religious rituals, age, and death now take center stage in his compositions. The motifs in his most recent series are based on digitally manipulated photographs of a sparsely furnished room. This catalogue presents an overview of Fischl's work, illustrating approximately 45 paintings and an equal number of drawings, all made between 1979 and 2001.

Eric Fischl emerged in the 1980s as one of America's most important figurative painters. His paintings compel the viewer to participate in a world of middle-class suburban ambiguity and drama. In Fischl's engaging and distinctly American canvases narration, sexuality, and psychology are preeminent. This volume is the latest and most comprehensive examination of this important twentieth-century painter. Two hundred thirty-three works, selected in conjunction with the artist, present the full scope of Fischl's career over the past decades: the 1970s, with Fischl's seminal formative work; the 1980s, when he burst onto the art world; and the 1990s, with the artist's mature works, often of a personal and contemplative nature. In his most recent paintings Fischl has turned to portraits of his intimate circle of friends, including Mike Nichols, Steve Martin, and his wife, the painter April Gornik. These engrossing images have been accomplished with a mastery that has been compared to that of Caravaggio. The introduction, by philosopher and critic Arthur Danto, places Fischl in the context of his contemporaries. Commentary drawn from interviews with Fischl, conducted by noted writer Robert Enright, accompanies the paintings. Finally, a witty and personal afterword by Steve Martin, best known as a gifted comic actor and author, but also an astute collector of modern art, discusses Barbecue, a famed Fischl painting from his private collection.

From Los Angeles to Long Island, the creative journeys of painters, colleagues and friends Ross Bleckner, Eric Fischl, and David Salle are the focus of this book that charts their careers and reflects on what is to come. Ross Bleckner, Eric Fischl, and David Salle each came into their own during the 1970s when they graduated from the California Institute of Arts and developed painting styles that would characterize their work for decades to come. This book examines nine paintings and accompanying drawings by each artist made between 1975 and 1985, juxtaposing them in aspects of structure and purpose that have not been previously acknowledged. Featured texts include a reflection by Mary Heilmann, a timeline organized by Witt Kegel and Sarah Silverstein, an analytical essay by David Pagel, and an introduction by Terrie Sultan that draws on intimate interviews in which the artists expound upon their vision and goals in art school, their subsequent move to New York, and the friendship that continues to inspire and motivate each of them in their current homes on Long Island.

East End of Long Island, New York Artists shown in catalogue: Alice Aycock, Lynda Benglis, Ross Bleckner, Barbara Bloom, Trisha Brown, Vija Celmins, John Chamberlain, Chuck Close, Michael Combs, Jessica Craig-Martin, Robert Dash, Rafael Ferrer, Eric Fischl, Connie Fox, Jane Freilicher, Barnaby Furnas, Robert Gober, April Gornik, Michael Halsband, Robert Harms, Mary Heilmann, Tony Just, Ilya and Emilia Kabakov, Bill Komoski, Barbara Kruger, Ibram Lassaw, Donald Lipski, Donald, Moffett, Malcom Morley, Tony Oursler, Jorge Pardo, Elizabeth Peyton, David Salle, Matthew Satz, Arden Scott, Cindy Sherman, Alan Shields, Keith Sonnier, Michelle Stuart, Billy Sullivan, T.J. Wilcox, Sue Williams, Jane Wilson and Joe Zucker. This catalogue was for an exclusive exhibit from May - September, 2004. The cover is a thin hardcover without a jacket. The are sent individually wrapped.

In Bad Boy, renowned American artist Eric Fischl has written a penetrating, often searing exploration of his coming of age as an artist, and his search for a fresh narrative style in the highly charged and competitive New York art world in the 1970s and 1980s. With such notorious and controversial paintings as Bad Boy and Sleepwalker, Fischl joined the front ranks of America artists, in a high-octane downtown art scene that included Andy Warhol, David Salle, Julian Schnabel, and others. It was a world of fashion, fame, cocaine and alcohol that for a time threatened to undermine all that Fischl had achieved. In an extraordinarily candid and revealing memoir, Fischl discusses the impact of his dysfunctional family on his art—his mother, an imaginative and tragic woman, was an alcoholic who ultimately took her own life. Following his years as a student at Cal Arts and teaching in Nova Scotia, he describes his early years in New York with the artist April Gornik, just as Wall Street money begins to encroach on the old gallery system and change the economics of the art world. Fischl rebelled against the conceptual and minimalist art that was in fashion at the time to paint compelling portraits of everyday people that captured the unspoken tensions in their lives. Still in his thirties, Eric became the subject of a major Vanity Fair interview, his canvases sold for as much as a million dollars, and The Whitney Museum mounted a major retrospective of his paintings.  Bad Boy follows Fischl’s maturation both as an artist and sculptor, and his inevitable fall from grace as a new generation of artists takes center stage, and he is forced to grapple with his legacy and place among museums and collectors. Beautifully written, and as courageously revealing as his most provocative paintings, Bad Boy takes the reader on a roller coaster ride through the passion and politics of the art world as it has rarely been seen before.

THE FIGURE features outstanding examples of contemporary figurative art by leading and established artists -- Jenny Saville, Eric Fischl, Will Cotton, Jerome Witkin, Hilary Harkness, Mark Greenwold, Eric White, Margaret Bowland and others -- alongside emerging talents. Topical essays by distinguished critics, painters and sculptors -- Donald Kuspit, Irving Sandler, Vincent Desiderio, Alexi Worth, David Ebony, Julie Heffernan, Judy Fox, Kurt Kauper, Laurie Hogin, Robert Taplin, and others -- along with "artist methodologies" by Trenton Doyle Hancock, Richard Phillips,  Rona Pondick,  Steven Assael, F. Scott Hess, Alex Kanevsky, Alyssa Monks, Steve Mumford, Scott Noel, Natalie Frank, Anne Harris, Andrew Raftery, Nicola Verlato, Steve Mumford, Edgar Jerins and others, provide diverse historical contexts for the volume's nearly 170 artworks. The evolution of techniques -- from classical cast drawing, perspective, and the camera obscura to the use of photography, Photoshop, and 3D-modeling -- and changing cultural conditions from antiquity to cyberspace are examined, and the use of old and new techniques in contemporary figurative art described. Underscoring the art of the figure's enduring appeal and the pedagogy of the New York Academy of Art, THE FIGURE is essential to anyone interested in both tradition and progress in figure-based art, from students to professionals and collectors.

East End of Long Island, New York Artists shown in catalogue: Alice Aycock, Lynda Benglis, Ross Bleckner, Barbara Bloom, Trisha Brown, Vija Celmins, John Chamberlain, Chuck Close, Michael Combs, Jessica Craig-Martin, Robert Dash, Rafael Ferrer, Eric Fischl, Connie Fox, Jane Freilicher, Barnaby Furnas, Robert Gober, April Gornik, Michael Halsband, Robert Harms, Mary Heilmann, Tony Just, Ilya and Emilia Kabakov, Bill Komoski, Barbara Kruger, Ibram Lassaw, Donald Lipski, Donald, Moffett, Malcom Morley, Tony Oursler, Jorge Pardo, Elizabeth Peyton, David Salle, Matthew Satz, Arden Scott, Cindy Sherman, Alan Shields, Keith Sonnier, Michelle Stuart, Billy Sullivan, T.J. Wilcox, Sue Williams, Jane Wilson and Joe Zucker. This catalogue was for an exclusive exhibit from May - September, 2004. The cover is a thin hardcover without a jacket. The are sent individually wrapped.

Prologo de Johann Fischl. Octava edicion

Professors Fischl and Paul explain law school exams in ways no one has before, all with an eye toward improving the reader's performance. The book begins by describing the difference between educational cultures that praise students for 'right answers,' and the law school culture that rewards nuanced analysis of ambiguous situations in which more than one approach may be correct. Enormous care is devoted to explaining precisely how and why legal analysis frequently produces such perplexing situations.But the authors don't stop with mere description. Instead, Getting to Maybe teaches how to excel on law school exams by showing the reader how legal analysis can be brought to bear on examination problems. The book contains hints on studying and preparation that go well beyond conventional advice. The authors also illustrate how to argue both sides of a legal issue without appearing wishy-washy or indecisive. Above all, the book explains why exam questions may generate feelings of uncertainty or doubt about correct legal outcomes and how the student can turn these feelings to his or her advantage.In sum, although the authors believe that no exam guide can substitute for a firm grasp of substantive material, readers who devote the necessary time to learning the law will find this book an invaluable guide to translating learning into better exam performance.