Luc Tuymans: Catalogue Raisonné of Paintings Volume I: 1978–1994

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All information is provisional and subject to change Dr. Eva Meyer-Hermann , art historian, has worked for international museums and major private collections for over 25 years. She was formerly a curator at the Krefelder Kunstmu – seen and was later director of the Kunsthalle Nürnberg. Afterwards, she was both director and curator of two private art collections in Switzerland, before becoming senior curator at the Van Abbemuseum in Eindhoven. Since 2006, she has been a freelance curator and writer, opening her Berlin office cakesmeyer in 2011, where she collaborates with artists and art institutions in Germany and abroad. David Zwirner Books / Yale University Press November 2017 Harcover with slipcase 9.25 x 12 in | 23.5 x 30.5 cm 448 pages, 245 color ISBN 978-1-941701-61-4 $200 | £165 The first volume of a comprehensive record of paintings by the prolific Belgian artist, Luc Tuymans highlights his generative early work. Credited with a key role in the revival of painting in the 1990s, Belgian artist Luc Tuymans (b. 1958) continues to produce subtle, and at times unsettling, works that engage with history, technology, and everyday life. This first volume in a catalogue raisonné of Tuymans’s paintings surveys nearly 200 works that were vital to his artistic development. The years 1978 to 1994 witnessed the maturation of his signature method of painting from preexisting imagery-such as magazine images, Polaroids, and television footage-as well as his first solo exhibition. Also dating from this period are many of his seminal canvases, along with ten poignant portraits of the ailing human body and Gaskamer and Schwarzheide (both 1986), which were part of the artist’s first solo exhibition in 1988, to Die Zeit (1988), a four-part work shown in his critically acclaimed Documenta presentation in 1992. The catalogue features an introductory essay by Eva Meyer-Hermann and an illustrated chronology with archival images and installation shots of the works in this volume. It also includes brilliant new photography of each of the paintings. This publication is a testament to Tuymans’s persistent assertion of the relevance and importance of painting-a conviction that he maintains even in today’s digital world, when his work continues to be a touchstone for artists and scholars.