Lars Breuer
The Love of the Gods

Boisterous Compositions

At first glance, Shara Hughes’s (b. Atlanta, GA., 1981; lives and works in Brooklyn) colorful and extravagant landscapes are chock full of everything we love in famous paintings: the palette of Henri Matisse or David Hockney, the stylistic inventiveness of Edvard Munch or Paul Cézanne, the painterly gestures of Philip Guston or Josh Smith, perhaps even van Gogh’s brushwork. She quotes this masculine tradition in landscape painting deliberately and unabashedly. This monograph is the first to present a comprehensive overview of Shara Hughes’s work.

Shara Hughes graduated from the Rhode Island School of Design and later attended the Skowhegan School of Painting & Sculpture in Madison, ME. She has had solo shows at the Arts Club, London, the Metropolitan Opera, New York, and the Museum of Contemporary Art of Georgia, Atlanta. In 2017, she participated in the Whitney Biennial, New York.

A Painter, Draftsman, and Draftsman of Concrete Art

Paul Uwe Dreyer (b. 1939, Osnabrück; d. 2008, Stuttgart) taught painting as a professor at the Staatliche Akademie der Bildenden Künste Stuttgart for more than three decades. His oeuvre shows the hallmarks of geometric constructive art: inspired by subjective experiences of reality, Dreyer’s compositions visualize the dialectics of organizing principles and their potentials for variation, a guiding interest that is already evident in his early work since the 1960s and especially in the pairs and series of pictures he begins creating in the early 1970s. His art unfolds a fascinatingly dynamic yet nonhierarchical dialogue between colors, surfaces, and lines. The chronological catalogue raisonné reveals the consistency with which motifs evolve from his early to his late oeuvre, from architectural, figural, and ornamental tokens through elements resembling symbols and icons to complex penetrations of spaces.

Sabrina Fritsch’s (b. Neunkirchen/Saar, 1979; lives and works in Cologne) paintings explore the potentials of the compositional process and the mechanisms of perception. Many of them feature coarse structures, textile surfaces, and delicate superimpositions. In this publication, Fritsch, who was recently appointed professor at the Düsseldorf Academy of Fine Arts, presents a résumé of the painterly oeuvre she has developed since her graduation from the same school in 2008. It encompasses two related books, each of which undertakes a structured study of a major strand in Fritsch’s art. One offers a chronological survey of a representative selection of works created between 2008 and 2019 that illustrate her playful and experimental engagement with the constituents of the painted picture: the picture-as-object, the organization of pictorial space, and the phenomenology of physical color. In addition to works on canvas boasting a wide variety of applications of materials and paint, it also covers serial variations in prints. The other showcases three exhibitions and bodies of work dating from 2020 and 2021 that are dedicated to the three color systems RGB, black-and-white (BAW), and CMYK.