Harper’s
Books is pleased to present an exhibition of twenty-one paintings and
works on paper by British artist Stuart Sutcliffe (1940–1962). Curated
by Richard Prince, Stuart Sutcliffe: Yea Yea Yea marks the
artist’s first U.S. retrospective since 2001. The subject of numerous
international shows and much critical acclaim, these pieces signal the
apotheosis of Sutcliffe’s late style, emphasizing his movement away from
figuration into the collaged geometricism of his works on paper and the
dense gestural abstraction of his paintings.
Although his legacy
is most often overshadowed by his brief membership in an early lineup
of The Beatles, Sutcliffe was recognized during his lifetime as a fount
of incipient artistic potential, exhibiting at The Walker Art Gallery in
Liverpool and participating in the John Moores Biennial while still a
teenager. He was accepted into The Liverpool Regional College of Art at
the age of sixteen and later attended Hamburg’s Hochschule für Bildende
Künste under the tutelage of Pop artist Eduardo Paolozzi, who recognized
his unbridled creative talent and exceptional promise early on.
In
the years between 1957 and 1960, Sutcliffe met and befriended fellow
art school student John Lennon, bought a bass guitar at John's urging
with proceeds from the sale of one of his paintings to John Moores, and
joined The Beatles, playing a formative role in the emerging band’s
style and artistic direction. After a series of exhaustive all-night
stints during the group’s notorious Hamburg tour, Sutcliffe abandoned
his nascent musical career to pursue art full time. Moving in with his
fiancée, the photographer Astrid Kirchherr, he immersed himself in the
arts, working unremittingly on his canvases until his sudden and
unexpected death at the age of twenty-one.
Whereas Sutcliffe’s
brief life and career have been documented extensively in films, plays,
books, and cultural lore, this exhibition seeks to recontextualize his
oeuvre within the paradigm of the contemporary art world, highlighting
the enduring significance of his work for both late Modernist art
history and present-day artistic practices. Rather than consider what
could have happened had he lived beyond his early twenties, Stuart Sutcliffe: Yea Yea Yea focuses on the impressive body of work he left behind, while examining its continued import and influence.
Informed
by the context of postwar England and Germany, Sutcliffe's paintings,
lithographs, and collages grapple with issues of representation while
bringing, as critic Donald Kuspit notes, a renewed freshness to European
permutations of Abstract Expressionism. Half a century after his death,
his raw energy and nuanced approach to multimedia composition continue
to resonate with audiences, cementing his place as a seminal figure
within the broader spectrum of late twentieth century art. Richard
Prince’s curation and accompanying text further evince the timelessly
visceral impact of Sutcliffe’s aesthetic and its abiding relevance for
artists working today. - See more at:
http://www.harpersbooks.com/exhibitions/22/stuart-sutcliffe/yea-yea-yea#sthash.o4fjZYOB.dpuf
Books is pleased to present an exhibition of twenty-one paintings and
works on paper by British artist Stuart Sutcliffe (1940–1962). Curated
by Richard Prince, Stuart Sutcliffe: Yea Yea Yea marks the
artist’s first U.S. retrospective since 2001. The subject of numerous
international shows and much critical acclaim, these pieces signal the
apotheosis of Sutcliffe’s late style, emphasizing his movement away from
figuration into the collaged geometricism of his works on paper and the
dense gestural abstraction of his paintings.
Although his legacy
is most often overshadowed by his brief membership in an early lineup
of The Beatles, Sutcliffe was recognized during his lifetime as a fount
of incipient artistic potential, exhibiting at The Walker Art Gallery in
Liverpool and participating in the John Moores Biennial while still a
teenager. He was accepted into The Liverpool Regional College of Art at
the age of sixteen and later attended Hamburg’s Hochschule für Bildende
Künste under the tutelage of Pop artist Eduardo Paolozzi, who recognized
his unbridled creative talent and exceptional promise early on.
In
the years between 1957 and 1960, Sutcliffe met and befriended fellow
art school student John Lennon, bought a bass guitar at John's urging
with proceeds from the sale of one of his paintings to John Moores, and
joined The Beatles, playing a formative role in the emerging band’s
style and artistic direction. After a series of exhaustive all-night
stints during the group’s notorious Hamburg tour, Sutcliffe abandoned
his nascent musical career to pursue art full time. Moving in with his
fiancée, the photographer Astrid Kirchherr, he immersed himself in the
arts, working unremittingly on his canvases until his sudden and
unexpected death at the age of twenty-one.
Whereas Sutcliffe’s
brief life and career have been documented extensively in films, plays,
books, and cultural lore, this exhibition seeks to recontextualize his
oeuvre within the paradigm of the contemporary art world, highlighting
the enduring significance of his work for both late Modernist art
history and present-day artistic practices. Rather than consider what
could have happened had he lived beyond his early twenties, Stuart Sutcliffe: Yea Yea Yea focuses on the impressive body of work he left behind, while examining its continued import and influence.
Informed
by the context of postwar England and Germany, Sutcliffe's paintings,
lithographs, and collages grapple with issues of representation while
bringing, as critic Donald Kuspit notes, a renewed freshness to European
permutations of Abstract Expressionism. Half a century after his death,
his raw energy and nuanced approach to multimedia composition continue
to resonate with audiences, cementing his place as a seminal figure
within the broader spectrum of late twentieth century art. Richard
Prince’s curation and accompanying text further evince the timelessly
visceral impact of Sutcliffe’s aesthetic and its abiding relevance for
artists working today. - See more at:
http://www.harpersbooks.com/exhibitions/22/stuart-sutcliffe/yea-yea-yea#sthash.o4fjZYOB.dpuf
Harper’s Books is pleased to present an exhibition of twenty-one paintings and works on paper by British artist Stuart Sutcliffe (1940–1962). Curated by Richard Prince. Stuart Sutcliffe: Yea Yea Yea marks the artist’s first U.S. retrospective since 2001.
The subject of numerous international shows and much critical acclaim, these pieces signal the apotheosis of Sutcliffe’s late style, emphasizing his movement away from figuration into the collaged geometricism of his works on paper and the dense gestural abstraction of his paintings.
Stuart Sutcliffe
Yea Yea Yea
August 10, 2013 - October 14, 2013
Opening Reception: Saturday, August 10: 6:00 PM - 8:00 PM
- See more at: http://www.harpersbooks.com/exhibitions/22/stuart-sutcliffe/yea-yea-yea#sthash.sHNSDijN.dpuf
Stuart Sutcliffe
Yea Yea Yea
: August 10-October 14,2013
Opening Reception:Aug 10: 6:00PM-8:00PM
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Although his legacy is most often overshadowed by his brief membership in an early lineup of The Beatles, Sutcliffe was recognized during his lifetime as a fount of incipient artistic potential, exhibiting at The Walker Art Gallery in Liverpool and participating in the John Moores Biennial while still a teenager. He was accepted into The Liverpool Regional College of Art at the age of sixteen and later attended Hamburg’s Hochschule für Bildende Künste under the tutelage of Pop artist Eduardo Paolozzi, who recognized his unbridled creative talent and exceptional promise early on.In the years between 1957 and 1960, Sutcliffe met and befriended fellow art school student John Lennon, bought a bass guitar at John's urging with proceeds from the sale of one of his paintings to John Moores, and joined The Beatles, playing a formative role in the emerging band’s style and artistic direction. After a series of exhaustive all-night stints during the group’s notorious Hamburg tour, Sutcliffe abandoned his nascent musical career to pursue art full time. Moving in with his fiancée, the photographer Astrid Kirchherr, he immersed himself in the arts, working unremittingly on his canvases until his sudden and unexpected death at the age of twenty-one.
Whereas Sutcliffe’s brief life and career have been documented extensively in films, plays,books, and cultural lore, this exhibition seeks to recontextualize his oeuvre within the paradigm of the contemporary art world, highlighting the enduring significance of his work for both late Modernist art history and present-day artistic practices. Rather than consider what could have happened had he lived beyond his early twenties, Stuart Sutcliffe: Yea Yea Yea focuses on the impressive body of work he left behind, while examining its continued import and influence.Informed by the context of postwar England and Germany, Sutcliffe's paintings, lithographs, and collages grapple with issues of representation while bringing, as critic Donald Kuspit notes, a renewed freshness to European permutations of Abstract Expressionism. Half a century after his death,his raw energy and nuanced approach to multimedia composition continue to resonate with audiences, cementing his place as a seminal figure within the broader spectrum of late twentieth century art. Richard Prince’s curation and accompanying text further evince the timelessly visceral impact of Sutcliffe’s aesthetic and its abiding relevance for artists working today.
Harper’s
Books is pleased to present an exhibition of twenty-one paintings and
works on paper by British artist Stuart Sutcliffe (1940–1962). Curated
by Richard Prince, Stuart Sutcliffe: Yea Yea Yea marks the
artist’s first U.S. retrospective since 2001. The subject of numerous
international shows and much critical acclaim, these pieces signal the
apotheosis of Sutcliffe’s late style, emphasizing his movement away from
figuration into the collaged geometricism of his works on paper and the
dense gestural abstraction of his paintings.
Although his legacy
is most often overshadowed by his brief membership in an early lineup
of The Beatles, Sutcliffe was recognized during his lifetime as a fount
of incipient artistic potential, exhibiting at The Walker Art Gallery in
Liverpool and participating in the John Moores Biennial while still a
teenager. He was accepted into The Liverpool Regional College of Art at
the age of sixteen and later attended Hamburg’s Hochschule für Bildende
Künste under the tutelage of Pop artist Eduardo Paolozzi, who recognized
his unbridled creative talent and exceptional promise early on.
In
the years between 1957 and 1960, Sutcliffe met and befriended fellow
art school student John Lennon, bought a bass guitar at John's urging
with proceeds from the sale of one of his paintings to John Moores, and
joined The Beatles, playing a formative role in the emerging band’s
style and artistic direction. After a series of exhaustive all-night
stints during the group’s notorious Hamburg tour, Sutcliffe abandoned
his nascent musical career to pursue art full time. Moving in with his
fiancée, the photographer Astrid Kirchherr, he immersed himself in the
arts, working unremittingly on his canvases until his sudden and
unexpected death at the age of twenty-one.
Whereas Sutcliffe’s
brief life and career have been documented extensively in films, plays,
books, and cultural lore, this exhibition seeks to recontextualize his
oeuvre within the paradigm of the contemporary art world, highlighting
the enduring significance of his work for both late Modernist art
history and present-day artistic practices. Rather than consider what
could have happened had he lived beyond his early twenties, Stuart Sutcliffe: Yea Yea Yea focuses on the impressive body of work he left behind, while examining its continued import and influence.
Informed
by the context of postwar England and Germany, Sutcliffe's paintings,
lithographs, and collages grapple with issues of representation while
bringing, as critic Donald Kuspit notes, a renewed freshness to European
permutations of Abstract Expressionism. Half a century after his death,
his raw energy and nuanced approach to multimedia composition continue
to resonate with audiences, cementing his place as a seminal figure
within the broader spectrum of late twentieth century art. Richard
Prince’s curation and accompanying text further evince the timelessly
Harper’s
Books is pleased to present an exhibition of twenty-one paintings and
works on paper by British artist Stuart Sutcliffe (1940–1962). Curated
by Richard Prince, Stuart Sutcliffe: Yea Yea Yea marks the
artist’s first U.S. retrospective since 2001. The subject of numerous
international shows and much critical acclaim, these pieces signal the
apotheosis of Sutcliffe’s late style, emphasizing his movement away from
figuration into the collaged geometricism of his works on paper and the
dense gestural abstraction of his paintings.
Although his legacy is most often overshadowed by his brief membership in an early lineup of The Beatles, Sutcliffe was recognized during his lifetime as a fount of incipient artistic potential, exhibiting at The Walker Art Gallery in Liverpool and participating in the John Moores Biennial while still a teenager. He was accepted into The Liverpool Regional College of Art at the age of sixteen and later attended Hamburg’s Hochschule für Bildende Künste under the tutelage of Pop artist Eduardo Paolozzi, who recognized his unbridled creative talent and exceptional promise early on.
In the years between 1957 and 1960, Sutcliffe met and befriended fellow art school student John Lennon, bought a bass guitar at John's urging with proceeds from the sale of one of his paintings to John Moores, and joined The Beatles, playing a formative role in the emerging band’s style and artistic direction. After a series of exhaustive all-night stints during the group’s notorious Hamburg tour, Sutcliffe abandoned his nascent musical career to pursue art full time. Moving in with his fiancée, the photographer Astrid Kirchherr, he immersed himself in the arts, working unremittingly on his canvases until his sudden and unexpected death at the age of twenty-one.
Whereas Sutcliffe’s brief life and career have been documented extensively in films, plays, books, and cultural lore, this exhibition seeks to recontextualize his oeuvre within the paradigm of the contemporary art world, highlighting the enduring significance of his work for both late Modernist art history and present-day artistic practices. Rather than consider what could have happened had he lived beyond his early twenties, Stuart Sutcliffe: Yea Yea Yea focuses on the impressive body of work he left behind, while examining its continued import and influence.
Informed by the context of postwar England and Germany, Sutcliffe's paintings, lithographs, and collages grapple with issues of representation while bringing, as critic Donald Kuspit notes, a renewed freshness to European permutations of Abstract Expressionism. Half a century after his death, his raw energy and nuanced approach to multimedia composition continue to resonate with audiences, cementing his place as a seminal figure within the broader spectrum of late twentieth century art. Richard Prince’s curation and accompanying text further evince the timelessly visceral impact of Sutcliffe’s aesthetic and its abiding relevance for artists working today. - See more at: http://www.harpersbooks.com/exhibitions/22/stuart-sutcliffe/yea-yea-yea#sthash.o4fjZYOB.dpuf
Although his legacy is most often overshadowed by his brief membership in an early lineup of The Beatles, Sutcliffe was recognized during his lifetime as a fount of incipient artistic potential, exhibiting at The Walker Art Gallery in Liverpool and participating in the John Moores Biennial while still a teenager. He was accepted into The Liverpool Regional College of Art at the age of sixteen and later attended Hamburg’s Hochschule für Bildende Künste under the tutelage of Pop artist Eduardo Paolozzi, who recognized his unbridled creative talent and exceptional promise early on.
In the years between 1957 and 1960, Sutcliffe met and befriended fellow art school student John Lennon, bought a bass guitar at John's urging with proceeds from the sale of one of his paintings to John Moores, and joined The Beatles, playing a formative role in the emerging band’s style and artistic direction. After a series of exhaustive all-night stints during the group’s notorious Hamburg tour, Sutcliffe abandoned his nascent musical career to pursue art full time. Moving in with his fiancée, the photographer Astrid Kirchherr, he immersed himself in the arts, working unremittingly on his canvases until his sudden and unexpected death at the age of twenty-one.
Whereas Sutcliffe’s brief life and career have been documented extensively in films, plays, books, and cultural lore, this exhibition seeks to recontextualize his oeuvre within the paradigm of the contemporary art world, highlighting the enduring significance of his work for both late Modernist art history and present-day artistic practices. Rather than consider what could have happened had he lived beyond his early twenties, Stuart Sutcliffe: Yea Yea Yea focuses on the impressive body of work he left behind, while examining its continued import and influence.
Informed by the context of postwar England and Germany, Sutcliffe's paintings, lithographs, and collages grapple with issues of representation while bringing, as critic Donald Kuspit notes, a renewed freshness to European permutations of Abstract Expressionism. Half a century after his death, his raw energy and nuanced approach to multimedia composition continue to resonate with audiences, cementing his place as a seminal figure within the broader spectrum of late twentieth century art. Richard Prince’s curation and accompanying text further evince the timelessly visceral impact of Sutcliffe’s aesthetic and its abiding relevance for artists working today. - See more at: http://www.harpersbooks.com/exhibitions/22/stuart-sutcliffe/yea-yea-yea#sthash.o4fjZYOB.dpuf
Harper’s
Books is pleased to present an exhibition of twenty-one paintings and
works on paper by British artist Stuart Sutcliffe (1940–1962). Curated
by Richard Prince, Stuart Sutcliffe: Yea Yea Yea marks the
artist’s first U.S. retrospective since 2001. The subject of numerous
international shows and much critical acclaim, these pieces signal the
apotheosis of Sutcliffe’s late style, emphasizing his movement away from
figuration into the collaged geometricism of his works on paper and the
dense gestural abstraction of his paintings.
Although his legacy is most often overshadowed by his brief membership in an early lineup of The Beatles, Sutcliffe was recognized during his lifetime as a fount of incipient artistic potential, exhibiting at The Walker Art Gallery in Liverpool and participating in the John Moores Biennial while still a teenager. He was accepted into The Liverpool Regional College of Art at the age of sixteen and later attended Hamburg’s Hochschule für Bildende Künste under the tutelage of Pop artist Eduardo Paolozzi, who recognized his unbridled creative talent and exceptional promise early on.
In the years between 1957 and 1960, Sutcliffe met and befriended fellow art school student John Lennon, bought a bass guitar at John's urging with proceeds from the sale of one of his paintings to John Moores, and joined The Beatles, playing a formative role in the emerging band’s style and artistic direction. After a series of exhaustive all-night stints during the group’s notorious Hamburg tour, Sutcliffe abandoned his nascent musical career to pursue art full time. Moving in with his fiancée, the photographer Astrid Kirchherr, he immersed himself in the arts, working unremittingly on his canvases until his sudden and unexpected death at the age of twenty-one.
Whereas Sutcliffe’s brief life and career have been documented extensively in films, plays, books, and cultural lore, this exhibition seeks to recontextualize his oeuvre within the paradigm of the contemporary art world, highlighting the enduring significance of his work for both late Modernist art history and present-day artistic practices. Rather than consider what could have happened had he lived beyond his early twenties, Stuart Sutcliffe: Yea Yea Yea focuses on the impressive body of work he left behind, while examining its continued import and influence.
Informed by the context of postwar England and Germany, Sutcliffe's paintings, lithographs, and collages grapple with issues of representation while bringing, as critic Donald Kuspit notes, a renewed freshness to European permutations of Abstract Expressionism. Half a century after his death, his raw energy and nuanced approach to multimedia composition continue to resonate with audiences, cementing his place as a seminal figure within the broader spectrum of late twentieth century art. Richard Prince’s curation and accompanying text further evince the timelessly visceral impact of Sutcliffe’s aesthetic and its abiding relevance for artists working today. - See more at: http://www.harpersbooks.com/exhibitions/22/stuart-sutcliffe/yea-yea-yea#sthash.o4fjZYOB.dpuf
Although his legacy is most often overshadowed by his brief membership in an early lineup of The Beatles, Sutcliffe was recognized during his lifetime as a fount of incipient artistic potential, exhibiting at The Walker Art Gallery in Liverpool and participating in the John Moores Biennial while still a teenager. He was accepted into The Liverpool Regional College of Art at the age of sixteen and later attended Hamburg’s Hochschule für Bildende Künste under the tutelage of Pop artist Eduardo Paolozzi, who recognized his unbridled creative talent and exceptional promise early on.
In the years between 1957 and 1960, Sutcliffe met and befriended fellow art school student John Lennon, bought a bass guitar at John's urging with proceeds from the sale of one of his paintings to John Moores, and joined The Beatles, playing a formative role in the emerging band’s style and artistic direction. After a series of exhaustive all-night stints during the group’s notorious Hamburg tour, Sutcliffe abandoned his nascent musical career to pursue art full time. Moving in with his fiancée, the photographer Astrid Kirchherr, he immersed himself in the arts, working unremittingly on his canvases until his sudden and unexpected death at the age of twenty-one.
Whereas Sutcliffe’s brief life and career have been documented extensively in films, plays, books, and cultural lore, this exhibition seeks to recontextualize his oeuvre within the paradigm of the contemporary art world, highlighting the enduring significance of his work for both late Modernist art history and present-day artistic practices. Rather than consider what could have happened had he lived beyond his early twenties, Stuart Sutcliffe: Yea Yea Yea focuses on the impressive body of work he left behind, while examining its continued import and influence.
Informed by the context of postwar England and Germany, Sutcliffe's paintings, lithographs, and collages grapple with issues of representation while bringing, as critic Donald Kuspit notes, a renewed freshness to European permutations of Abstract Expressionism. Half a century after his death, his raw energy and nuanced approach to multimedia composition continue to resonate with audiences, cementing his place as a seminal figure within the broader spectrum of late twentieth century art. Richard Prince’s curation and accompanying text further evince the timelessly visceral impact of Sutcliffe’s aesthetic and its abiding relevance for artists working today. - See more at: http://www.harpersbooks.com/exhibitions/22/stuart-sutcliffe/yea-yea-yea#sthash.o4fjZYOB.dpuf
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