"A fresh look at the multidimensional career of the Dutch avant-garde artist Jacqueline de Jong (b. 1939) is best known for her involvement in the Situationist International and for her lively, monumental paintings. Her varied, six-decade-long career has encompassed drawing, graphic design, sculpture, jewelry, printmaking, and books, as well as the magazine The Situationist Times, which she edited from 1962-1967. This volume features large-scale reproductions of her works, much of it newly photographed, allowing the reader to appreciate de Jongs keen attention to color and the values of opacity and transparency of paint. An international team of writers and curators offer a panoply of perspectives on the artists remarkable work and long career."--"The Ultimate Kiss is the most comprehensive international publication dedicated to the art of Jacqueline de Jong (The Netherlands, 1939). Actively involved in the European avant-garde networks of the 1960s, and well-known as a former member of the Situationalist International and publisher of The Situationalist Times, De Jong has always maintained a dedicated studio practice at the core of her manifold activities for over six decades. This book presents the full scope of De Jongs artistic production: from the artists earliest expressionist abstractions to her recent painterly reflections on migration and the refugee crisis; from her graphic and print work to her experiments with potatoes as sculptural material.

The Ultimate Kiss offers a thorough re-evaluation of an artistic oeuvre that has long remained under the radar and aims to posit De Jong as one of the most resourceful artists of our time. The artistic, cultural and intellectual importance of De Jongs art is traced in five essays and a conversation with the artist. Devrim Bayar discusses the artists formative years amidst the dynamic developments of the post-war European avant-garde, with a focus on the post-Cobra and post-Surrealist Belgian context. Julette Desorgues situates the oeuvre of the artist within the space of theatricality, performativity and the stage. In an interview with Alison Gingeras, the artist discusses her practice in relation to current political and cultural developments. De Jongs playfully provocative embrace of violence and sexuality is the subject of an essay by Xander Karskens, while Annabelle Ténèze takes the notion of the rebound to look at the restless multidirectionality that lies at the heart of De Jongs artisthood. In her personal account of three encounters with the artist, Niña Weijers portrays De Jong and her daily working practice."--.