Jenny Saville

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The book also features Saville in an extensive conversation with acclaimed American photographer Sally Mann. Collecting material from pathology textbooks, plastic surgery manuals, chronicles of injuries and burns and similar publications, Saville often adds an observational perspective to her work by attending surgery demonstrations and visiting butcheries. Her work was shown alongside that of Damien Hirst, Tracey Emin and others in the acclaimed and seminal survey of new British art Sensation at the Royal Academy (London, 1997) and the Brooklyn Museum of Art (New York, 2000). The pair will discuss Saville’s practice and her interest in the human body and imperfections of the flesh.

Until then at least we have a large book that congregates the bulk of her work and for that we should be grateful!You could never describe this book as great literature, but it allows you to get close to the artist and what he wanted to achieve. Despite the dangers of absolutes, I have to say that Jenny Saville is the best thing that has ever happened to painting. This book was published on the occasion of Jenny Saville: Elpis, an exhibition of new portraits by the artist at Gagosian, 980 Madison Avenue, New York. on the occasion of the exhibition "Egon Schiele - Jenny Saville", Kunsthaus Zürich, 10 October 2014 - 25 January 2015. Her work also outlines a strong correlation with the masters of the Italian Renaissance, in particular with some of Michelangelo's great masterpieces.

The way the paintings are portrayed here is very different from how I experience them online (the only way I know them so far.One of the really cool things about this book (other than the great photo quality of the paintings) is the images of the source material and reference studies. Taking Saville’s momentous encounter with Francis Bacon’s work in his 1985 Tate retrospective in London as a starting point, the pair will discuss the revelatory influence the artists in the exhibition have had on Saville’s own practice, as well as how her continued exploration of the human form relates to how these masters of portraiture have approached the subject. This book was published on the occasion of Jenny Saville: Oxyrhynchus at Gagosian, Britannia Street, London, the first-ever solo exhibition of Saville’s paintings in London. He is coauthor, along with Annalyn Swan, of the 2005 Pulitzer Prize-winning de Kooning: An American Master.