Essays by Max Ritvo and Vincent Desiderio
7.5 x 9.25 in. Hardcover
120 pages, 80 illustrations
Daniel Maidman is one of the foremost masters of figure drawing in America. Based in Brooklyn, New York, Maidman has spent several decades grappling with the challenges and opportunities of life drawing. The resulting body of work – deft, ripe depictions of the human body in all its shapes and actions – has developed an avid following amongst artists and admirers alike. Griffith Moon Publishing’s “Daniel Maidman: Nudes” celebrates Maidman’s drawing oeuvre, selecting 80 recent pieces to provide an in-depth look at his powerful vision of the beauty and pathos of the human condition.
“For me, there is something close to the meaning of existence itself bound up in the spectacular field of light interacting with flesh. Flesh makes light visible, and light redeems the futility of matter. What is more important than making an image of this?” – Daniel Maidman
Daniel Maidman (born Toronto, Canada, 1975) is an artist whose imagery occupies a spectrum from high rendering to almost total abstraction. He has produced paintings in collaboration with best-selling novelist China Miéville, award-winning poet Kathleen Rooney, and independent film icon Martin Donovan. Maidman’s art has been shown in solo and group shows in Manhattan and nationwide. Maidman’s drawings and paintings are included in the permanent collections of the Library of Congress, the New Britain Museum of American Art, and the Long Beach Museum of Art. His art and writing on art have been featured in ARTnews, Forbes, W, Juxtapoz, Hyperallergic, American Art Collector, International Artist, PoetsArtists, and Manifest. He blogs for The Huffington Post.
“These are studies in the best sense of the word, offering a keen insight into Maidman’s thought process while clarifying a system of formal articulation that has been at the core of visual thought for centuries. … In their simplicity and economy of means they speak to an audience of young artists unfamiliar with the discourse of form as an analogue of reason. They demonstrate an unflinching belief in the potential for clarity in a world all too familiar with the sloppy threshold upon which it is perched.”
– Vincent Desiderio, from the foreward