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Jane Dickson
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Jane Dickson

Book Details

Format Hardback or Cased Book
ISBN-10 1961883155
ISBN-13 9781961883154
Publisher Karma
Imprint Karma
Country of Manufacture GB
Country of Publication GB
Publication Date Jan 9th, 2025
Print length 416 Pages
Weight 2,410 grams
Dimensions 26.60 x 29.50 x 4.00 cms
Ksh 10,300.00
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Carnivalesque scenes of American nightlife from a painter who called Times Square her homeChicago–born, New York–based artist Jane Dickson (born 1952), makes paintings and drawings that explore the psychogeography of American culture, focusing primarily on New York’s Times Square, where she lived for nearly 30 years. She participated in legendary artist collectives such as Fashion Moda, Collaborative Projects Inc. and Group Material. Working figuratively from her own photographic snapshots, Dickson portrays strip clubs, diners, motels and sex workers and their seemingly straight-laced foils: suburban homes, driveways and businessmen. Using oils and acrylic on canvas and linen alongside a range of atypical surfaces such as vinyl, felt, astroturf and sandpaper, she achieves impressionistic textures that often blur her subjects in hazes of neon and darkness. This first comprehensive monograph of her work includes a 1996 essay-cum-manifesto by Dickson, and new essays by Shannon Mattern, Daniel S. Palmer, Lucy Sante and Yasmin Ramirez.

Carnivalesque scenes of American nightlife from a painter who called Times Square her home

Chicago–born, New York–based artist Jane Dickson (born 1952), makes paintings and drawings that explore the psychogeography of American culture, focusing primarily on New York’s Times Square, where she lived for nearly 30 years. She participated in legendary artist collectives such as Fashion Moda, Collaborative Projects Inc. and Group Material. Working figuratively from her own photographic snapshots, Dickson portrays strip clubs, diners, motels and sex workers and their seemingly straight-laced foils: suburban homes, driveways and businessmen. Using oils and acrylic on canvas and linen alongside a range of atypical surfaces such as vinyl, felt, astroturf and sandpaper, she achieves impressionistic textures that often blur her subjects in hazes of neon and darkness. This first comprehensive monograph of her work includes a 1996 essay-cum-manifesto by Dickson, and new essays by Shannon Mattern, Daniel S. Palmer, Lucy Sante and Yasmin Ramirez.


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