Published by Aspen Art Press. Edited and with text by Jacob Proctor. Foreword by Heidi Zuckerman Jacobson. Conversation with Morgan Fisher, et al.
Los Angeles–based artist and filmmaker Morgan Fisher first achieved widespread recognition in the late 1960s and 1970s for a body of experimental films that deconstructed the language of cinema, both as raw material and as a set of production methods and technical procedures. Since the late 1990s, Fisher has focused primarily on painting (and the painting’s environment), and this volume is published in conjunction with the first solo museum exhibition of his paintings in the U.S., at Aspen Art Museum. Containing interviews conducted with Fisher over a span of 25 years--conversations between Fisher and Walead Beshty, Yve-Alain Bois, Stuart Comer, Christophe Gallois and Jean-Philippe Antoine, Melissa Gronlund, William E. Jones, Scott MacDonald, Frances Stark and Christopher Williams--and featuring new work by Fisher conceived especially for the exhibition, this is an invaluable Morgan Fisher sourcebook.
Published by Aspen Art Press, The Modern Institute/Toby Webster Ltd., Andrew Kreps Gallery. Text by Will Bradley. Interviews by Heidi Zuckerman Jacobson, Joe Scotland.
This monograph presents five of Glaswegian artist Hayley Tompkins' (born 1971) major exhibitions from 2011 to 2013, including Scotland + Venice and her show at Aspen Art Museum (both 2013), alongside recent works in her Digital Light Pool series.
Published by Aspen Art Press/D.A.P.. Foreword by Heidi Zuckerman. Text by Claude Bruderlein, Naomi Pollock, Eyal Weizman, Michael Kimmelman, Koh Kitayama, Brad Pitt.
“Architects are not building temporary housing because we are too busy building for the privileged people…. I’m not saying I’m against building monuments, but I’m thinking we can work more for the public.” - Shigeru Ban, Pritzker Prize, 2014
In 1994, after seeing photographs of the plastic sheets given to Rwandan refugees to live under, Shigeru Ban went to the United Nations High Commissioner for Refugees to propose ideas for better shelters. Since then, Ban has been critically heralded for his innovative approaches to environmentally sound architecture and his devotion to humanitarian efforts in the wake of some of the most devastating natural and man-made disasters. His temporary housing has employed everything from plastic beer cartons to paper tubes to create ingeniously flexible spaces. By sourcing unconventional, recycled, inexpensive, local and sustainable materials, he stimulates devastated economies by involving local resources and labor. These works stem from empathy and have restored shelter and gathering places, offering comfort, protection and dignity to stricken communities around the world.
This important volume is the first book-length study to collect, catalogue and examine Shigeru Ban's architectural responses to disaster relief. Essays and discussions of individual projects, drawings in the artist's hand, instruction manuals, diverse photographs and a timeline and map make an essential compendium for the most personal and relevant aspect of Ban's work. The book is a major contribution to the broad subjects of humanitarian relief and sustainable design solutions, and provides an inspiring testament to Ban's ongoing dedication to our planet and its people.
Born in Tokyo in 1957, Shigeru Ban studied at the Southern California Institute of Architecture and went on to Cooper Union's School of Architecture where he studied under John Hejduk. At age 48, Ban won the 2005 Thomas Jefferson Medal in Architecture from the University of Virginia. He was profiled by Time in their projection of twenty-first-century innovators in the field of architecture and design. Ban was awarded the Pritzker Architecture Prize in 2014.
Published by Aspen Art Press. Edited by Michelle Piranio. Foreword by Heidi Zuckerman Jacobson. Text by Klaus Ottmann, Franklin Sirmans, Phillippe Vergne, Heidi Zuckerman Jacobson.
This volume offers a compelling examination of the surprising conceptual and visual correspondences between the works of these two pivotal artists known for their innovative practices. Klein (1928-1962) was a major figure in postwar art who opened up new possibilities for material, conceptual and performative expression, often touching on the metaphysical. Hammons (born 1943) is a conceptual artist whose works in performance, installation, sculpture, printmaking and other media confront contemporary realities with an often hard-hitting wit. This publication aims not to draw out any notion of influence or direct correlation between these bodies of work, but rather to elucidate a resonance between two artists who both engage transformative processes to invest the humblest of everyday materials with deep aesthetic significance.
Published by Aspen Art Press. Foreword by Heidi Zuckerman Jacobson. Text by Barry Schwabsky, Heidi Zuckerman Jacobson.
The paintings and drawings of Los Angeles artist Mark Grotjahn (born 1968) collide abstract and figurative elements into spider-webbed splinters that skew traditional perspective and dazzle the eye. This fully illustrated catalogue constitutes the first survey of his work from the late 1990s to the present and features essays by the art critic Barry Schwabsky and Aspen Art Museum Director Heidi Zuckerman Jacobson. The catalogue chronicles Grotjahn’s series of Butterfly paintings and drawings, in which he combines varying schemes of one-point perspective and a systematic investigation of color to mesmerizing effect; his penetrating flower and face paintings; and a recent series of “mask” sculptures that extend Grotjahn’s idiosyncratic investment in process and ritual in painting into three dimensions.
Published by Aspen Art Press. Foreword by Heidi Zuckerman Jacobson. Text by Lucio Fontana, Paolo Campiglio, Jan van der Marck.
Best known for the slashed and cut canvases--and related spatial environments--of the Concetti spaziali that he created primarily in the 1950s and 60s, Argentine–Italian artist Lucio Fontana (1899–1968) trained as a sculptor at the Academy of Fine Arts of Brera and used ceramics and clay modeling to explore larger problems in sculpture and painting. Lucio Fontana: Sculpture is published in conjunction with the first U.S. museum exhibition dedicated solely to the artist’s groundbreaking ceramic work, and explores the innovative and often contrarian ways in which Fontana made use of the medium. With a foreword by Aspen Art Museum CEO and Director, Chief Curator, Heidi Zuckerman Jacobson, the publication collects landmark text by Jan van der Marck, Paolo Campiglio and Lucio Fontana himself, and features thoughts on Fontana’s influence from contemporary sculptors Kathy Butterly, Charles Long and Katy Schimert.
Published by Aspen Art Press. Text by Maria Gough, Adam Szymczyk, Heidi Zuckerman Jacobson.
This publication offers a definitive, career-spanning exploration of Polish sculptor Monika Sosnowska (born 1972), known for manipulating ordinary forms and spaces into fascinating and often disorienting new configurations. Freed from their original functionality, her architectonic works and environments evoke a moment when, as she puts it, “architectural space begins to take on the characteristics of mental space.” Optical illusions, shifts in scale, mazes, and other such techniques that challenge the intellect of the viewer are motifs throughout her oeuvre. Published for an exhibition at the Aspen Art Museum, this volume documents a decade’s worth of Sosnowska’s objects, installations and exhibitions and features new scholarship by Maria Gough, Adam Szymczyk and Heidi Zuckerman Jacobson. It is the most comprehensive book on the artist in English to date.
Published by Aspen Art Museum. Foreword by Heidi Zuckerman Jacobson. Text by Chrissie Iles, Mark Rappolt. Interview with Slater Bradley, Ed Lachman.
Look Up and Stay in Touch presents the final works in artist Slater Bradley’s decade-long doppelganger project. Bradley (born 1975) has explored the way cultural icons are so imbued with myth that they become a mirror image (doppelgänger) of the self. Earlier works in the series include faked tribute videos in which Bradley’s doppelganger, Ben Brock, performs as late musicians Ian Curtis, Michael Jackson and Kurt Cobain. These final two works in the series focus on another of Bradley’s obsessions: the actor River Phoenix. The installations were produced in collaboration with Academy Award–nominated cinematographer and filmmaker Ed Lachman, director of photography for the film, Dark Blood, an unreleased 1993 film starring Phoenix that was in production at the time of the actor’s death. The video installations Shadow (2010) and Dead Ringer (2011) are based on the film, and the latter features an appearance by Bradley himself.
Published by Gregory R. Miller & Co./Aspen Art Press. Text by Malik Gaines, Ernest Hardy, Philippe Vergne, Heidi Zuckerman Jacobson.
This book gathers for the first time an extensive selection of American artist—or “builder and demolisher,” as he describes himself—Mark Bradford's gorgeous, searing and heavily textured “merchant posters.” The original printed posters, collected by Bradford from around his Central Los Angeles neighborhood, are brightly colored local advertisements that target the area's vulnerable lower-income residents. For Bradford, they serve as both the formal and conceptual underpinnings of his works on paper, décollages/collages that engage with the pressures of the cityscape. “The sheer density of advertising creates a psychic mass, an overlay that can sometimes be very tense or aggressive,” he notes; “If there's a 20-foot wall with one advertisement for a movie about war, then you have the repetition of the same image over and over—war, violence, explosions, things being blown apart. As a citizen, you have to participate in that every day. You have to walk by until it's changed.” Eagerly anticipated, this is the first large-scale publication by a major publisher about the work of this important and increasingly influential artist. Artist and writer Malik Gaines considers Bradford's play with signs in relation to literary and performative theories of African-American forms; writer and cultural critic Ernest Hardy addresses social issues, in Los Angeles and more broadly, raised by Bradford's source material; Heidi Zuckerman Jacobson examines the language in the work as it relates to Concrete poetry; and Dia Art Foundation Director Philippe Vergne looks at the surface of the work and Bradford's processes of mining and excavation.
Published by Aspen Art Press. Text by Heidi Zuckerman Jacobson, Christian Rattemeyer, Matthew Thompson, Hamza Walker.
Restless Empathy examines the complex process of projecting into the interior world of another—whether artist, viewer or object—and seeking to make a connection. For the exhibition, the Aspen Art Museum has invited eight artists—Allora & Calzadilla, Pawel Althamer, Marc Bijl, Lara Favaretto, Geof Oppenheimer, Lars Ramberg, Frances Stark and Mark Wallinger—to propose projects sited throughout the museum and town of Aspen. While diverse in practice, these artists create and explore empathy in unexpected ways. With recent works grouped under Relational Aesthetics, the viewer becomes instrumentalized within the work itself. Rather than use people as a medium, however, the artists in Restless Empathy make generous gestures toward the public, marked by a deep sincerity and moments of intimate surprise. Subverting expectations of permanence and monumentality in art that addresses the public, Restless Empathy broadly explores relationships between aesthetics, space, locality and modes of address.
Published by Aspen Art Museum. Text by Heidi Zuckerman Jacobson.
This lavishly illustrated artist's book is the largest and most ambitious publication yet produced by the Los Angeles-based video artist and photographer Doug Aitken--an artist known for his groundbreaking publications. Featuring a short text by Heidi Zuckerman Jacobson, Director and Chief Curator of the Aspen Art Museum, it focuses on Aitken's still images, more than half of which have never been reproduced before. Known primarily for his multi-screen video installations, Aitken has gained international recognition for his immersive explorations of the experience of time and location. His exhibition at the Aspen Art Museum was the first dedicated solely to his photography. From nighttime cityscapes to deserted gas stations, airports and bus depots, Aitken's dreamlike photographs contain the same spatial and temporal dislocation and narrative suggestion as his installations.
PUBLISHER Aspen Art Museum
BOOK FORMAT Hardback, 11.75 x 9.75 in. / 224 pgs / 216 illustrations.
PUBLISHING STATUS Pub Date 4/1/2008 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 94
PRODUCT DETAILS ISBN 9780934324373TRADE List Price: $75.00 CDN $99.00
AVAILABILITY In stock
in stock $75.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Aspen Art Museum. Text by Heidi Zuckerman Jacobson, Anne Chu, Teresita Fernández, Keith Edimer, Thomas Scheibitz, Tobias Rehberger, Katy Schimert, Ricky Swallow.
Although drawing is often thought of as a preparatory medium for sculptors, oftentimes it is, in fact, a more primary mode of expression and investigation. Featuring works on paper by Matthew Barney, Anne Chu, Keith Edmier, Teresita Fernández, Jorge Pardo, Tobias Rehberger, Thomas Scheibitz, Katy Schimert and Ricky Swallow, this concise volume examines the different ways these sculptors use drawing--both as a compliment to and a divergence from their artistic practice. In addition to a handsome plate section, it features short texts by each of the artists on the function of drawing in his or her work, condensed biographies and an insightful introductory essay by the Aspen Art Museum's Heidi Zuckerman Jacobson.
PUBLISHER Aspen Art Museum
BOOK FORMAT Paperback, 8.75 x 8.75 in. / 48 pgs / 25 color.
PUBLISHING STATUS Pub Date 2/1/2008 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 188
PRODUCT DETAILS ISBN 9780934324410TRADE List Price: $29.95 CDN $35.00
Published by University of California, Berkeley Art Museum/Pacific Film Archive. Essays by Heidi Zuckerman Jacobson and Russell Ferguson. Foreword by Kevin E. Consey.
Jeanne Dunning's unwavering focus over the past two decades has been the terrain of the human body, in particular the ways in which we perceive and conceive norms of gender, sexuality, and reality itself. Her images--including recent widely circulated work that showed subjects sitting in a pink, pudding-like substance that evoked liquid flesh or liquid body fat--interrogate the boundaries between inside and outside, normal and abnormal, the erotic and the abject. They have made significant contributions to contemporary visual culture. Study After Untitled presents a selective survey of the Chicago artist's photographic and video works, including among its essays one from Dunning herself, revealing her work anew in the play of intention and hindsight. As Dunning gains international recognition, Study After Untitled broadens her work's associations and clarifies its well-earned place in the canon and in contemporary art history.
Published by Artimo. Essays by Heidi Zuckerman and Joanna Burton.
Airports, bridges, corridors, architectural models, icebergs--Carla Klein paints non-places. She makes quick work of the border between painting and photography, straddling the worlds of fiction and reality, illusion and transparency, abstraction and representation. Carla Klein documents five years of the artist's work, from 2000 forward.
BOOK FORMAT Hardcover, 12 x 8.5 in. / 180 pgs / 80 color.
PUBLISHING STATUS Pub Date 3/1/2006 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2006 p. 153
PRODUCT DETAILS ISBN 9789085460565TRADE List Price: $55.00 CDN $65.00