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Vitamin P: New Perspectives in Painting
Vitamin P is an image-filled book that provides an international overview of the state of painting today. Documenting the most recent concerns, ideas and trends, Vitamin P explores the work of a vibrant new generation that is revitalizing this traditional, but continually updated, medium. Included are 114 of painting's leading practitioners, who were nominated by esteemed critics, curators and other experts from around the world. Each artist is represented by numerous examples of his or her work, accompanied by an explanatory text and short biography. Vitamin P illustrates the richness, eclecticism and dynamism of painting today. It is a critical sourcebook and reference work for seasoned art world veterans as well as newcomers to contemporary art. The 114 included artists are Tomma Abts, Franz Ackermann, Nader Ahriman, Haluk Akake, Brian Alfred, Laylah Ali, Kai Althoff, Francis Als, Ghada Amer, Carole Benzaken, Simone Berti, Peter Bonde, Cecily Brown, Glenn Brown, Jane Callister, Merlin Carpenter, Denis Castellas, Angela de la Cruz, John Currin, Stéphane Dafflon, Ian Davenport, Verne Dawson, Gabriele Di Matteo, Ding Yi, Markus Dbeli, Atul Dodiya, Peter Doig, Vladimir Dubossarsky Alexander Vinogradov, Marlene Dumas, Cecilia Edefalk, Gia Edzgveradze, Inka Essenhigh, Pia Fries, Bernard Frize, Ellen Gallagher, Tim Gardner, Andrew Grassie, Joanne Greenbaum, Katharina Grosse, Eberhard Havekost, Dan Hays, Arturo Herrera, Federico Herrero, Hong Seung-Hye, Gary Hume, IRWIN, Sergej Jensen, Yishai Jusidman, Johannes Kahrs, iga Kari, Bhupen Khakhar, Toba Khedoori, Karen Kilimnik, Carla Klein, Michael Krebber, Udomsak Krisanamis, Jim Lambie, Sean Landers, Michael Lin, Tor-Magnus Lundeby, Michel Majerus, Margherita Manzelli, Fabian Marcaccio, Mona Marzouk, Suzanne McClelland, Lucy McKenzie, Julie Mehretu, Beatriz Milhazes, Yan Pei-Ming, Miquel Mont, Sarah Morris, Muntean/Rosenblum, Takashi Murakami, Yoshitomo Nara, Caro Niederer, Manuel Ocampo, Chris Ofili, Laura Owens, Elizabeth Peyton, Richard Phillips, Bernard Piffaretti, Avery Preesman, Monique Prieto, Rob Pruitt, Mantalina Psoma, Chatchai Puipia, Tal R, Michael Raedecker, Neo Rauch, Daniel Richter, Matthew Ritchie, Peter Rostovsky, Murat 350ahinler, Wilhelm Sasnal, Thomas Scheibitz, Adrian Schiess, Daniel Schlier, George Shaw, Gulammohammed Sheikh, Kate Shepherd, James Siena, Dirk Skreber, Miha trukelj, Hiroshi Sugito, Djamel Tatah, Jos Toirac, Fred Tomaselli, John Tremblay, Luc Tuymans, Adriana Varejo, Richard Wright, Yek, Lisa Yuskavage, Zhou Tiehai
352 pages, Hardcover
First published January 1, 2002
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Displaying 1 - 23 of 23 reviews
February 26, 2008
More of a reference than a sit-down-and-read, Phaidon has created yet another incredible art book, that shoudl be considered indispensible for the contemporary painter, and invaluable for an enthusiaist of contemporary painting.
THAT SAID--
There's a lot of work in here that's not going to knock your socks off. The collection of artists assembled here are somewhat inconsistent in quality--but from an editor's point of view, an incredibly large range of work is represented--you might be surprised at what strikes a chord with you. Particular faves of mine in Vitamin P-- Peter Doig, Jane Callister, Karen Kilimnick, Laylah Ali, Fred Tomaselli, Elizabeth Peyton, Matthew Ritchie.... and a bunch of other good ones I can't recall right now. Really informative, and far-reaching. A great book.
I found Vitamin D was a lot more consistent in quality, but maybe that's just me.
THAT SAID--
There's a lot of work in here that's not going to knock your socks off. The collection of artists assembled here are somewhat inconsistent in quality--but from an editor's point of view, an incredibly large range of work is represented--you might be surprised at what strikes a chord with you. Particular faves of mine in Vitamin P-- Peter Doig, Jane Callister, Karen Kilimnick, Laylah Ali, Fred Tomaselli, Elizabeth Peyton, Matthew Ritchie.... and a bunch of other good ones I can't recall right now. Really informative, and far-reaching. A great book.
I found Vitamin D was a lot more consistent in quality, but maybe that's just me.
September 12, 2011
As others have noted, this isn't a "sit down and read" type of book but rather a coffee-table art book full of some of the best contemporary painting from the late 1990s to the early 2000s (it was published in 2004). So reviewing it is different from reviewing a novel or biography, yet it has Phaidon Press' award-winning, jaw-dropping, amazing graphic design and is of the highest of quality all the way around. A stellar selection of artists, true diversity and quality, and the best design and printing standards you could ask for, too. Phaidon could print a napkin and it would look amazing, you have to understand, these people know printing and graphic design like no one else! I would highly highly recommend this book to art students, artists, and anyone who loves contemporary art.
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September 12, 2021adding my coffee table books here only out of desperation to hit my gr goal🙁
July 20, 2008
This may be an odd book about which to write a review, since 90% of its page space goes to pictures. But I take my art books as seriously as the rest of my collection, and took the time to go through this one cover-to-cover, so I figured I might as well write down my thoughts. As a collection of contemporary painters, this book is fantastic – the breadth of forms and techniques present is truly astounding, and even the most up-to-date art lover is bound to encounter the work of a painter they’d never heard of before (in my case, the disturbingly empty suburban landscapes of British painter George Shaw). Of course, any survey of art, especially contemporary art, is bound to be uneven – there’s plenty of awful art flooding the market right now. The overall high quality and diversity of works on display, however, make this a minor shortcoming.
What is harder to forgive, however, is the defensiveness of the accompanying text. Each artist’s work is shown with a two-three paragraph explication of their work, and more than 50% of these feel the need to assert, either subtly or overtly, that this particular artist is an example that “painting isn’t dead.” Besides being repetitive, this insistence on the resurrection of painting is unnecessary – no one, at least no one of any consequence, has claimed that painting was dead since the late 1970s. The very existence of this book should support that fact – the need for these curators to pound the table and scream about the importance of painting ends up weakening their case, not strengthening it.
What is harder to forgive, however, is the defensiveness of the accompanying text. Each artist’s work is shown with a two-three paragraph explication of their work, and more than 50% of these feel the need to assert, either subtly or overtly, that this particular artist is an example that “painting isn’t dead.” Besides being repetitive, this insistence on the resurrection of painting is unnecessary – no one, at least no one of any consequence, has claimed that painting was dead since the late 1970s. The very existence of this book should support that fact – the need for these curators to pound the table and scream about the importance of painting ends up weakening their case, not strengthening it.
November 2, 2008
Schwabsky, Barry, ed. Vitamin P: New Perspectives in Painting. London: Phaidon, 2002. 352ps. ISBN: 0714844462. $39.95.
Reviewed by Chris Pusateri
Among the most venerated of visual media, painting occupies a position that is both enviable and dubious. The same ubiquity that makes it identifiable to any schoolchild also makes it an easy target for detractors. But one thing is certain: not since Marcel Duchamp famously abandoned painting has there been any question of its use as a proving ground—as the genre against which all other forms, old and new, are judged.
In this hybrid age, when the very utility of genres is frequently questioned, we might ask, as editor Barry Schwabsky does, if such designations have lost their descriptive capacity. What is a painting? And if we can’t answer that question, then why have genres at all? In my experience, labels are about judgment, and judgment in art is about the formation of taste. When we look at a painting, we can see certain formal elements at work—color, brushstroke, gesture, and so forth—and we use those things to judge the quality of a piece. The reason that formally innovative work is so often dismissed absent any real critical scrutiny is because the old rules of judgment do not apply. That is, the typical museumgoer looks at the conceptual work of Robert Smithson, let’s say, and does not know by what characteristics he should judge it. His inability to fashion any evaluative criteria lead to a glib dismissal. He says that’s not art because he can’t explain what makes it good or bad.
But maybe the true measure of a genre’s durability depends on its ability to encourage innovation and still remain discrete as an area of practice. In this book, Schwabsky convenes 114 painters, ranging in age from early twenties to early fifties, whose styles constitute an astonishingly broad survey of current techniques and procedures. From the shivering water pointillism of Johannes Kahrs to the architectural sparseness of Toba Khedoori, the artists of this book demand room and board within the genre of painting.
By casting his net so broadly, Schwabsky argues for the elasticity of painting. Vitamin P places Fabian Marcaccio’s fabric-infused abstraction alongside Michael Lin’s floral interiors and argues for the work of both with equal vigor. This book serves as proof that the continued health of painting depends on its willingness to acknowledge those artists who inhabit its margins, and whose work makes us question where the boundaries of painting reside.
-Originally published in the October 2008 issue of Chicago Artists' News.
Reviewed by Chris Pusateri
Among the most venerated of visual media, painting occupies a position that is both enviable and dubious. The same ubiquity that makes it identifiable to any schoolchild also makes it an easy target for detractors. But one thing is certain: not since Marcel Duchamp famously abandoned painting has there been any question of its use as a proving ground—as the genre against which all other forms, old and new, are judged.
In this hybrid age, when the very utility of genres is frequently questioned, we might ask, as editor Barry Schwabsky does, if such designations have lost their descriptive capacity. What is a painting? And if we can’t answer that question, then why have genres at all? In my experience, labels are about judgment, and judgment in art is about the formation of taste. When we look at a painting, we can see certain formal elements at work—color, brushstroke, gesture, and so forth—and we use those things to judge the quality of a piece. The reason that formally innovative work is so often dismissed absent any real critical scrutiny is because the old rules of judgment do not apply. That is, the typical museumgoer looks at the conceptual work of Robert Smithson, let’s say, and does not know by what characteristics he should judge it. His inability to fashion any evaluative criteria lead to a glib dismissal. He says that’s not art because he can’t explain what makes it good or bad.
But maybe the true measure of a genre’s durability depends on its ability to encourage innovation and still remain discrete as an area of practice. In this book, Schwabsky convenes 114 painters, ranging in age from early twenties to early fifties, whose styles constitute an astonishingly broad survey of current techniques and procedures. From the shivering water pointillism of Johannes Kahrs to the architectural sparseness of Toba Khedoori, the artists of this book demand room and board within the genre of painting.
By casting his net so broadly, Schwabsky argues for the elasticity of painting. Vitamin P places Fabian Marcaccio’s fabric-infused abstraction alongside Michael Lin’s floral interiors and argues for the work of both with equal vigor. This book serves as proof that the continued health of painting depends on its willingness to acknowledge those artists who inhabit its margins, and whose work makes us question where the boundaries of painting reside.
-Originally published in the October 2008 issue of Chicago Artists' News.
March 14, 2008
This book is a "must have" for anyone interested in painting. My only hope is that they release new editions as the landscape of contemporary painting changes.
December 1, 2023
The art in the book is terrific. Beautiful/challenging/terrifying pieces that are not often anthologized.
So what's the problem? The worst font I have ever seen in a book--legible only with great effort. The small font size doesn't help either. It's a shame.
So what's the problem? The worst font I have ever seen in a book--legible only with great effort. The small font size doesn't help either. It's a shame.
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August 27, 2023Book for watching pictures
Text following the images is printed in small letters!
It is point 8 or so. It is a big downside of the book. Very difficult to read. There is enough space for bigger letters, the book is huge!
Furthermore, if the author was consistent in following the medical concept, the text should have been like the one you get with the pills: nice and readable!
Text following the images is printed in small letters!
It is point 8 or so. It is a big downside of the book. Very difficult to read. There is enough space for bigger letters, the book is huge!
Furthermore, if the author was consistent in following the medical concept, the text should have been like the one you get with the pills: nice and readable!
July 7, 2012
some nice artwork, difficult typography. I did not read this book, because it was unpleasant to look at. I feel the graphic designer made stylistic choices that gave importance to design and used the text and images to that end, rather than the other way around. Therefore, the book was nice to look at on the shelf, on the coffee table, and flipping through the pages. Too bad I was actually interested in the artwork and text.
April 3, 2008
Another excellent art survey from Phaidon, Vitamin P includes a surprisingly broad assortment of contemporary artists working in paint. It's a useful reference for the artist, and an accessible introduction for anyone new to the world of late 20th - current painting. Also check out Vitamin D, their book of drawing.
February 28, 2008
Definitely one of my favorite reference books. This book is indispensible and time and time again I thumb through it for inspiration when I come up to that road block of creativity. A must have! Well done, Phaidon, well done.
July 2, 2007
This is a must have for all currently working artists. Great selection of contemporaries.
October 5, 2008
Barry Schwabsky writes the best critical essay on painting over the past ten years found anywhere!
October 17, 2009
Pretty terrible overall
April 15, 2012
would like to own all the vitamin books
May 18, 2015
its a reference book really , good variable collection of modern artists
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July 13, 2012start to read it.
January 6, 2013
I own this great and pretty heavy book that´s ideal for artists or just people who want to know the current ´trends´ in art. Definately good to find out some new and unkown names in the area! :)
May 15, 2015
this book is super fantastic
This entire review has been hidden because of spoilers.
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May 13, 2016759.06 V837 2002
Want to read
November 16, 2008i pick this book up from time to time; some paintings are good, some not but interesting
December 9, 2008
This is an interesting collection of contemporary art, not really something you read, per say.
June 27, 2014
This book was a great read!
Displaying 1 - 23 of 23 reviews