Pomona College Museum of Art exhibition catalogue published on the occasion of Kirsten Everberg's Project Series 45 exhibition. "Kirsten Everberg: In A Grove" consists of a new suite of four paintings and four drawings based on her exploration of the Japanese crime drama Rashomon (1950) by filmmaker Akira Kurosawa.
Publisher: Pomona College Museum of Art isbn: 978-0-9818955-3-6
Tecoh is a sprawling series of buildings designed by the artist Jorge Pardo deep in the Yucatán jungle. Taking over six years to fabricate, and engaging existing ruins of a nineteenth-century hacienda, the project is by far the artist's most ambitious work to date. This book offers the only available glimpse of the project, as it was primarily conceived as a private residence. Over 100 color images choreograph the reader around the myriad buildings and landscaping that constitute Tecoh—from subterranean concrete forms peaking out of the wild jungle grasses to quiet details of tiles and furniture to Pardo's iconic bulbous lamps.
Combines critical essays and visual notes compiled in the process of the Canadian-born, Berlin-based artist's collaboration with composer and musician George van Dam and a TV script written by Christine Lang and Christoph Dreher.
Angela Bulloch's works often deal with systems of rules and viewer interaction. Drawings make up the core of this publication, including Drawing Machines, a series begun in the 1990s, which involve observers in the production process.
Kerry Tribe: Speak, Memory is a 65-page critical reader that accompanies and addresses the exhibition of the same name. Contextualizing a new project through a selection of past works, the exhibition Speak, Memory offers insight into Tribe's ongoing interest in memory and the history and apparatus of film. Engaging image, text and sound, Tribe's work considers cognition, typically revealing its content through a kind of structural storytelling. Often working with multiple projections and timed loops, her use of the literal mechanics of the moving image suggests that the medium is capable of mirroring processes of comprehension, memory and doubt.
Publisher: The Power Plant Isbn: 978-1-894212-36-6
The visual and thematic record of the 2012 Biennale of Sydney encapsulates the themes of the exhibition and reproductions of works of over 200 artists through a 160 page split binding device that gives the reader the ability to reconfigure the intended curation to create new relationships and meanings between the works.
Publisher: Biennale of Sydney Ltd ISBN: 978-0-646-57199-7
This important retrospective volume highlights Jack Goldstein's far-reaching influence. During the late 1970s, Jack Goldstein helped initiate an avant-garde art movement informally known as the "Pictures Generation." Along with fellow artists such as Sherrie Levine, Robert Longo, and Troy Brauntuch, Goldstein merged the concerns of Conceptual art with media issues raised by Pop art and helped initiate a paradigm shift in art that focused on the critical examination of images. Goldstein's films of the mid-1970s, among his most recognized achievements, appropriated and restaged imagery that referenced its media sources. This companion volume to a new retrospective of Goldstein's work, organized by the Orange County Museum of Art, includes stills from these films as well as reproductions of sculptures, records, installations, paintings, and text-based works to show the breadth of his artistic production.
Charline von Heyl's painting displays an amalgam of the most diverse effects, which generate vibrating energies and tensions: dynamic forms enfold graphic structures, dazzling colours encounter muted shades, abstract gestures collide with the fleeting memory of something real. She creates pictures that "have the iconic value of signs yet always remain ambivalent and mysterious in their meaning. (…)." "Now or Else" offers an in-depth insight into von Heyl's fascinating oeuvre and shows a focused selection of paintings dating from the mid-1990s as well as some current works on paper. Published on the occasion of an exhibition at the Tate Liverpool and Kunsthalle Nürnberg.
Bringing together the work of 60 artists from in and around Los Angeles--many of them emerging or under-recognized--this collection of paintings, sculpture, installations, and stills from video and performance art offers a snapshot of the current trends and practices coming out of one of the world's most active and energetic art communities.
Publisher: Hammer Museum / DelMonico Books Isbn: 9783791352312
This publication includes work from Uta Barth's series …and to draw a bright white line with light along with images from Compositions of Light on White, and a new series being created for the publication of this book.
The project CHZ, which began with the construction of a black garden in Portugal, is the basis for this volume published by Damiani. The book collects the series of ink drawings of the garden, some frames from the film, a narrative by the artist and an essay written by Nancy Spector, deputy director and Chief Curator of the Guggenheim Museum. Published in conjunction with Parreno's exhibition at Fondation Beyeler, 10 June to 30 September 2012.
The exhibition at SMoCA was Everberg's first major solo exhibition in a U.S. museum. Featuring new and recent painting, the show marked the first cohesive presentation of the full scope of this significant and profound body of work. The catalog presents images of each painting shown in the exhibition and is accompanied with an essay by the curator, Cassandra Coblentz, titled Looking for Edendale, Evanescent Appearances in the Paintings of Kirsten Everberg.
Publisher: The Scottsdale Museum of Contemporary Art ISBN: 978-0-9798936-3-6 Price: $18.00
Periodically, the Department of Prints and Illustrated Books embarks on a seemingly straightforward project: to present an exhibition reflecting on the state of contemporary printmaking. This catalog shows images from the work in the exhibition as well as several interviews, including Rirkrit Tiravanija.
Publisher: The Museum of Modern Art, New York ISBN: 978-0-87070-825-1
IHME is an annual event dedicated to contemporary art. A key element of IHME is the commissioning of a work from an international artist to be carried out in public space. IHME's aim is to enhance the visibility of visual art and to improve the relationship between visual art and the public. This publication documents the IHME Contemporary Art Festival in 2011. It focuses on film and sculpture called Modern Times Forever (Stora Enso Building, Helsinki) by SUPERFLEX and curator and Director of Situations Claire Doherty.
This book is a special edition of a digital publication, print run 200 copies. The digital publication be downloaded at: www.ihmeproductions.fi
This publication gives an insight into SUPERFLEX's concept of FREE SOL LEWITT, discusses some key issues arising out of the project and includes essays by Charles Esche, Christiane Berndes and Daniel McClean.
Free Shop Book documents the project Free Shop in Germany, Japan, Poland, Denmark and Norway. It contains interviews with customers and participating shop owners.
The catalogue, Jessica Stockholder: Grab grassy this moment your I's, accompanied her exhibition this year at the Laumeier Sculpture Park. Laumeier paired the images of Stockholder's assemblies with poems by Mary Jo Bang.
Publisher: Laumeier SculpturePark, St. Louis, 2011
This fully illustrated catalogue accompanied the exhibition Charline von Heyl at the ICA Philadelphia in 2011. It includes an essay by curator Jenelle Porter, Senior Curator, ICA/Boston, and an interview with the artist by Kaja Silverman, the Keith L. and Katherine Sachs Chair of Contemporary Art at the University of Pennsylvania. This catalogue also includes 18 fold-out color plates of works in the exhibition.
Publisher: Institute of Contemporary Art, University of Pennsylvania, Philadelphia, 2011
This fully illustrated monograph focuses on Parreno's extensive work in film from his emergence as a major artist in the 1990s to the present day, and features essays by Michael Fried, Nicolas Bourriaud and Dorothea von Hantelmann touching on themes including cinema, authenticity and the everyday. The book is produced in conjunction with a major exhibition at the Serpentine Gallery (25 November - 13 February) presenting a sequence of Parreno's most recent films, including the premiere of InvisibleBoy, 2010.
First monograph: Charline von Heyl's paintings chronologically presented, each vis-à-vis a detail view manipulated by the artist, with four texts that shed light on the evolution of her work and contextualize her practice regarding the question of the renewal of contemporary painting.
For this book, Charline von Heyl has assembled paintings made on the old and the new continent: in Germany at the beginning of the 1990s and in New York since 1996.
The book of lined up paintings, spread just about chronologically, is the first to really hold forth since it observes the paintings from a dual point of view: the rather objective colour reproduction with margins vis-à-vis the more determining and selective extract (far more than a detail) which is magnified, in black and white, and manipulated by the artist revealing the graphic structure of the paintings.
What happens when colours fall off the next page and a large starkly black and white surface only reveals a perfectly cropped extract? Suddendly the paintings are stripped to the bones, in uncomfortable close-ups, they unveil their structure. This becomes inevitably graphic but as it is followed through systematically throughout the entire body of work, it creates a syntax which highlights the process (without removing the pleasure) of the face to face confrontation with the actual painting.
Edited by Charline von Heyl and Franck Gautherot. Texts by Franck Gautherot, Mark von Schlegell, Diedrich Diederichsen, Allison Katz. Les presses du réel, 2010 English edition 20 x 26 cm (hardcover) 272 (139 color & 84 b/w ill.) ISBN: 978-2-84066-417-8
White's 2010 solo show at The Power Plant, 'Pae White: Material Mutters,' surveys her work from the past five years in a range of media, with a focus on her monumental tapestries. The exhibition and catalogue feature the new work Sea Beast (2010), which was commissioned by The Power Plant as a part of our Annual Commissioning Program begun in 2006. Sea Beast is a large-scale tapestry featuring an image of a found macrame wall hanging, which signals a new visual direction in her work - its source is a three-dimensional scan of a woven form that includes mussel shells, a price tag and tassels. Blown up and transformed, its own weave interpreted within another, the macrame simultaneously escapes and retains the sub-cultural associations that previously defined it.
This eighty-page hardcover catalogue is designed by White and Juliette Bellocq who previously collaborated with the artist on her catalogue, Pae White: Lisa Bright and Dark. The catalogue features an overview of White's exhibition with a specific focus on Sea Beast. Along with high-resolution images of this and past exhibitions, this catalogue includes a visual overview of White's ever-evolving practice, and a cloth cover with a foil treatment that reflects the pattern White produced for her piece, Future Fabric (2010). Alongside the unique cover and stunning images is an insightful essay by German professor, art historian, art critic, and curator Oliver Zybok, as well as an incisive and frenetic take on White's tapestries by writer Susan Emerling.
Jessica Stockholder, ABC TASTE, The Perfect Guest, 2010
Format : 26 x 24cm / 10.2 x 9.4 in., Skinplast wrapped cover, fluorescent green stitch binding, 56 pages, 240g Munken Lynx paper with cut-out motif, printed in six colors. Edition of 1000 of which 20 signed and numbered deluxe editions plus 4 artist's proofs, include an original drawing and collage of Jessica Stockholder's "Sex Poem", Rubber up Behind the Eye Balls. ISBN: 978-2-9533912-2-0
ABC TASTE, The Perfect Guest is a multivalent romp through an adult's ABC primer at speed. Taste is an expansive concept that evokes thoughts on decorum, olfactory sensations, flavor and likability. For the cover, Stockholder prints a photomontage in mauve onto the tactile surface of "Skinplast" - a rubbery substance that invites touch. The armatures that pull Taste together are the alphabet, the inventive repetitive of a cut-out hole, and the attendant artist's word poem, The Perfect Guest.
Taste is built on a pretext of overlapping systems. Poetry, alphabet and word play jockey with the languages of collage, wax crayons, and fluorescent colors. Within the tangle of entry points, there lies a nonchalant precision, the coherence of Stockholder's exacting working process, and a gutsy beauty
Born in Buenos Aires in 1961, contemporary artist Rirkrit
Tiravanija resides in New York, Berlin and Chiang Mai, Thailand. His
installations often take the form of stages or rooms for sharing meals,
cooking, reading or playing music; architecture or structures for living and
socialising are a core element in his work. The Cook Book contains 23 recipes,
previously performed in museums and galleries throughout the world. All were
cooked once more in his Chiang Mai kitchen and documented in the photographs by
Antoinette Aurell. In addition, an essay by Thomas Kellein of the Kunsthalle
Bielefeld and an extended interview between him and the artist shed additional
light on Rirkrit's work. Through this book the reader will understand more of
what moves the artist as well as being able to cook such Thai staples from Pad
Thai to Flaming Morning Glory, as well as new interpretations of Swedish,
German and Spanish classics such as meatballs, Fladlesoup and Paella.
Tribe's rigorously crafted, large-scale projects in film, video and installation form an ongoing investigation into memory, subjectivity, and doubt.Each of the new works which make up Dead Star Light takes shape using different technology - 16mm film, reel-to-reel audio and video - and each considers its material form from a structural standpoint.The works build on one another, and a number of common themes emerge (flight, alienation, erasure) which gain resonance when the projects are taken together as a whole.
Hardcover: 64 pages
Publisher: Arnolfini, Camden Arts Centre, Modern Art Oxford (2010)
Between Science and Magic beautifully weaves together Diana Thater's new film work, the evolution of the classic illusion to "pull a rabbit out of a hat" and cinematic history from George Melies to Hollis Frampton.
Elsa Longhauser's forward sets the stage for Diana Thater and Pernilla Holmes' enlightened discussion in 'These Tricks Are Not Easy'. Thater and Holmes' expansive conversation on the elusion of making art, cinema and magic creates a rich understanding of the artists practice.
Helen Varola's essay 'Rabbit As If In a Hat' examines the origin of "pulling a rabbit out of a hat" and it cultural meaning today.
The color illustrations through out chronicle Diana Thater's making of Between Science and Magic from the original shot with magician Greg Wilson and Josephine to the stunning French rococo movie palace of Los Angeles Theatre and finally the presentation of Between Science and Magic at the Santa Monica Museum of Art and David Zwirner.
"Fiona Banner has long been fascinated by how signs translate experience. She has used the written word like a picture to represent a film; she has made sculptures of punctuation marks to show how an icon functions. Her work reminds us of the true meaning of 'iconic', it takes a sign and reminds us of its power."
"Over the last twenty years, Uta Barth has been steadily producing a body of work that stands apart from the dominate trajectory of photography.That trajectory has always been rooted in making a visual record of things in the world.This descriptive function of photography is so fundamental to our understanding of what the medium is and does that it can be hard even to register alternative approaches.Certainly we can see the traces of the visible world in Barth's photographs.They are not exercises in abstraction.Nonetheless, description of the world is not her primary aim.Instead, Barth is interested in pursuing issues of perception: of how we see as much or more than what we see."
With powerful, confident gestures, Judy Ledgerwood fills her gigantic canvases with rows of large forms, such as circles and loops, which initially recall such male-dominated styles as Abstract Realism or Pop art. But Ledgerwood's formal vocabulary is also full of references to ornamental and crafts traditions and decorative color combinations.
"You would not know where to begin to read the image. It looks simple enough. [...] There are so many routes into the image, so many points of recognition within the composition, and yet you do not know where to begin and, for that matter, where to close off or frame your reading. In Paul Winstanley s work the image is defined according to a frame of perception, where the image exists both to represent a scene witnessed, and to convey a position for the viewer within that. This much is given. Where the witness once was so now you stand in a reconstruction of the scene. This much you think you know."
The catalogue gorillagorillagorillawas published in conjunction with Diana Thater's exhibition at Kunsthaus Graz and includes an introductory text by Peter Pakesch and essays by Adam Budak, Bergit Arends, Frans B. M. de Waal, Laurence A. Rickels, Giorgio Agamben and Jason Smith. The catalogue's image part comprises both installation shots from the Kunsthaus Graz and a photographic essay by Diana Thater with an index "These Are Their Names" and a visual material taken during the filming of gorillagorillagorillain Cameroon.
Published on the occasion of The Drawing Center's exhibition, Rirkrit Tiravanija: Demonstration Drawings presents a selection of nearly 100 works on paper from the artist's ongoing series of commissioned drawings derived from photographs of demonstrations published in the International Herald Tribune. While public protests and mass demonstrations are often associated with the politics of the 1960s, Tiravanija's ongoing project reconsiders their relevance in today's political climate. The Demonstration Drawings provide a perspectival view of collective actions, political protests, and popular sovereignty movements worldwide turning ephemeral images of strife and social conflict into documents of political aspiration. The book, number 79 in the Drawing Papers series, features a newly commissioned essay, Making the News New Again, by author and journalist David Rieff, as well as a text by the exhibition curator, Joao Ribas.
Paperback: 142 pages
Publisher: The Drawing Center; First edition (September 11, 2008)
Catalogue produced in conjunction with Kerry Tribe's 2005-2006 Guna S. Mundheim Fellowship in the Visual Arts at the American Academy in Berlin and the artist's residency at the International Studio Program of the Kunstlerhaus Bethanien, Berlin.
Born in Berlin in 1958 and now based in Los Angeles, Uta Barth is among the most influential artists working with photography to have emerged in the last decade. Her photographs take the complete opposite approach to the famous Dusseldorf school of photographers which include Thomas Struth and Andreas Gursky. While they record their subjects in sharply objective archival detail, Barth's images of interiors, buildings, suburban roads or natural environments are often out of focus, perversely cropped and apparently empty of any foreground subject. Yet what emerges from this reduction and abstraction of subject matter is a body of photographs of extraordinary, haunting beauty, evocative of great moments in the history of painting, from Vermeer to Whistler, or of a cinematic ambience such as the fume-laden neon haze of Martin Scorsese's Taxi Driver.
"General Idea Editions 1967-1995" was published by the Blackwood Gallery to accompany the traveling retrospective exhibition of editioned works by the seminal artists¹ collective General Idea. Containing over 200 full-page b&w and colour reproductions, the 320-page book documents the complete editions produced from 1967 (in the two years prior to the official formation of the group in 1969), through the vast array of works that spanned their historic 25-year collaboration until 1994, the year in which Felix Partz and Jorge Zontal died from AIDS-related causes. The visual documentation concludes with "XXX Voto (for the Spirit of Miss General Idea"), published posthumously by the group¹s sole surviving member AA Bronson in 1995.
Paperback: 321 pages
Publisher: Blackwood Gallery University of Toronto (March 2003)
This is the second artist's book made by Fiona Banner and the first publication from the Vanity Press. Her first book, The Nam, was a sizable 2.338kg volume of 1,000 leaves of text describing shot by shot six Vietnam War buddy movies (AM207). All The World's Fighter Planes, 2004, is very different. The book is also without text, except for the residual and fractured words around the images cut-out from newspapers: on page 74 a Lynx helicopter seems to have a rotary blade made from newsprint.
Rule Book is an extensive collection of guides, instructions, manuals and rules that have been amassed by Angela Bulloch. They are taken from sources as disparate as: parking restrictions, the Ten Commandments, the standing order of the House of Commons, hankie colour codes, Birkenstock care tips and the detoxification diet.
North is West / South is East is organized around a series of drawings collected from strangers I approached at Los Angeles International Airport and asked to make maps of LA. Around half were drawn by people who actually live in Southern California. These tend to trace commutes, diagram neighborhoods, and mark the locations of events and environments significant in the lives of their makers. The rest were made by visitors from all over the world - Australia, Mexico, Hungary, New Jersey. These start to picture the idea of a Los Angeles that precedes it: palm trees and traffic, surfers and freeways, Baywatch, money and grids. Taken together these chance encounters begin to describe a place at once real and imagined. And in drawing from the generosity of strangers at LAX, the project hopes to disturb the instrumental logic of the airport, itself a non-place, where the only reason you visit is to get yourself somewhere else.
Known for his paintings based on photographs of uninhabited interiors and landscapes, British painter Paul Winstanley has been doing basically the same thing for a long time.Winstanley works with a range of subtle effects taken from photographic technologies. Particularly notable are the digital-like shifts in saturation that play out over a number of the works, where it sometimes feels, when walking from one canvas to the next, as though the brightness has been turned up on the world.Drained of colour, the artificial light from fluorescent lamps travels across the steel and glass construction, drawing our eyes along the empty passage.
Hardcover: 120 pages
Publisher: Maureen Paley Interim Art (December 2, 2000)
Catalog of a group exhibition held at the Salzurger Kunstverein, 3 June-18 July, 1999. Consists of artist's pages by Andrea Bowers, Jessica Bronson, Sam Durant, T. Kelly Mason, Joe Mama-Nitzberg and Eric Saks; with an essay by Diana Thater. Printed in blue on pink and fuschia paper; spiral-bound.
Barth's work draws its strength from its blurring of the familiar and strange, bringing the viewer to a liminal space between the two. It is in this space that Barth begins her investigation into the very nature of perception, where the epistemological importance of such formal qualities as lighting and composition becomes astoundingly evident. Uta Barth: In Between Spaces is the first comprehensive book on Barth's oeuvre, presenting a carefully selected survey of her works, and as such is a must-have for viewers, collectors and students attracted to contemporary art and photography. The poetic resonance, radical intelligence and sheer beauty of Barth's pictures are given perfect illustration in this book, designed with the artist herself. Uta Barth's work is represented in numerous public and private collections worldwide, including the Museum of Modern Art, the Metropolitan Museum of Art, the Guggenheim Museum, and the Whitney Museum of American Art in New York; the Tate Gallery, London; the Museum of Contemporary Art, Chicago; and the Museum of Contemporary Art, Los Angeles. She has had solo exhibitions in Los Angeles, New York, London, San Francisco, and Stockholm.
Hardcover: 176 pages
Publisher: Henry Art Gallery; illustrated edition edition (November 15, 2000)
Satellite, a book conceived and constructed by Angela Bulloch, samples texts written by numerous writers, ranging from Ulf Poschard to Mae West. Organized around current interests pursued by the artist, her own work, photographs, and other material in the book are divided into the following sections: " Places," "Behavior," "Vehicles," "Time Passing," "Construction" and "Tools." Included are examples of Bulloch's early videos, collaborative work with Liam Gilick, her interactive drawing machines through to her most recent work "Superstructure with Satellites."
Paperback: 144 pages
Publisher: Black Dog; Bilingual edition edition (September 1, 1998)
The Nam is a 1000 page all text flick book. It is a compilation of total descriptions of well known Vietnam films, Full Metal Jacket, The Deer Hunter, Apocalypse Now!, Born on the Fourth of July, Hamburger Hill and Platoon. The films apparently never begin or end, but are described in their entirety, spliced together to make a gutting 11 hour supermovie.
Published in April 1997 by Frith Street Books and The Vanity Press with assistance from the Arts Council of England. The Nam is a 1000 page, 280,000 word hardback.
