| | BOOK FORMAT
Clth, 9.5 x 12 in. / 320 pgs / 400 color. PUBLISHING STATUS
Pub Date 8/30/2022
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D.A.P. Exclusive
Catalog: SPRING 2022 p. 15 PRODUCT DETAILS
ISBN 9781633451117 TRADE
List Price: $75.00 CDN $102.00 AVAILABILITY
In stock | TERRITORY
NA ONLY | EXHIBITION SCHEDULENew York, NY
The Museum of Modern Art, 09/12/22–12/31/22
Toronto, Canada
Art Gallery of Ontario, 04/15/23–09/20/23
San Francisco, CA
San Francisco Museum of Modern Art, 11/23–02/24 | | THE SPRING 2024 ARTBOOK | D.A.P. CATALOG  | | Preview our Spring 2024 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture. |
| | | Wolfgang Tillmans: To look without fearEdited with text by Roxana Marcoci. Text by Quentin Bajac, Yve-Alain Bois, Julia Bryan-Wilson, Clément Chéroux, Durga Chew-Bose, Stuart Comer, Keller Easterling, Paul Flynn, Sophie Hackett, Michelle Kuo, Oluremi C. Onabanjo, Phil Taylor, Wolfgang Tillmans. Chronology by Phil Taylor, Andrew Vielkind.
 Encompassing photography, installation, print media, video and more, this publication is the most comprehensive account of Tillmans’ wide-ranging career to dateA visionary creator and intrepid polymath, Wolfgang Tillmans unites formal inventiveness with an ethical orientation that attends to the most pressing issues of life today. While his work transcends the bounds of any single artistic discipline, he is best known for his wide-ranging photographic output. From trenchant documents of social movements to windowsill still lifes, ecstatic images of nightlife to cameraless abstractions, sensitive portraits to architectural studies, astronomical phenomena to intimate nudes, he has explored seemingly every genre of photography imaginable, continually experimenting with how to make new pictures and deepen the viewer’s experience.
Published in conjunction with a major exhibition of Tillmans’ work at the Museum of Modern Art, this copiously illustrated volume surveys four decades of the artist’s career. An outstanding group of writers offer diverse essays addressing key threads of his multifaceted practice, and a new text by Tillmans himself elucidates the distinctive methodology behind his system of presenting photographs. Wolfgang Tillmans: To look without fear grants readers new insight into the work of an artist who has not only changed the way photography is exhibited but pointed contemporary art in dynamic new directions.
Wolfgang Tillmans (born 1968) is among the most influential contemporary artists, and the impact of his work registers across the arts, intersecting with fashion, music, architecture, the performing arts and activism. Tillmans is the recipient of the Turner Prize (2000) and the Hasselblad Foundation International Award in Photography (2015). His foundation, Between Bridges, supports the advancement of democracy, international understanding, the arts and LGBTQ rights.
"Frank, in the shower" (2015) is reproduced from 'Wolfgang Tillmans: To look without fear'.PRAISE AND REVIEWSNew York Times: Arts Matthew Anderson Whereas his early pictures invited the viewer into his personal world of sexual liberation, borderless travel and joyful togetherness, in more recent works, and in his increasing engagement as a political campaigner, he has argued that those freedoms are fragile, and based on wins that, if not safeguarded, can be lost. New York Times: Arts Jason Farago Candid, unaffected, breezily intelligent; moralistic, too, in the later galleries. It is required viewing for both photography scholars and sportswear fetishists, and a worthy retrospective of one of the most significant artists to emerge at the end of the last century. Aperture Evan Moffitt “To look without fear” perhaps means to look without worrying about what will be reflected back at you. It’s a form of viewership whose root desire is to engage. This democratic vision of photography can be seen equally in the ways Tillmans gathers text and images together and the ways that bodies commune within them. His work has room enough for us all. L'Officiel Jennifer Sauer These select moments tell stories beyond what we see, they are moments that touch the human spirit. In tender and vulnerable images, the artist speaks to beauty, awareness, and the collective human experience itself. New York Magazine: Vulture Jerry Saltz Over the course of his 36-year career, the photographer Wolfgang Tillmans has created what I think of as a new sublime. His work conveys that the bigness of it all is no longer in God, the ceilings of the Renaissance, the grandeur of nature, or the allover fields of the Abstract Expressionists. Tillmans intuited that the sublime had shifted, had alighted on us. Wall Street Journal Richard B. Woodward Mr. Tillmans has expanded the possibilities of documentary photography with a flair, and without a big budget, in ways that others are already imitating. Anyone curious to see where he has led us needs to visit “To Look Without Fear,” and probably more than once. Guardian Amelia Abraham The result across the show is a kind of Tillmans–esque spiritualism; interconnectivity, bodies arm in arm, astrological images that might prompt us to question the verge of earthly visibility, how small we are in the face of it all. i-D Nicholas Gamso What he is trying to communicate is the play of appearance in our lives: the bounty of visions that sustains us, yet also gets in the way. The whole field of visual media becomes, in this interpretation, a space for reconstruction and critical resistance. Washington Post Sebastian Smee Full of humor, compassion and surprise...His sense of beauty, fragility and singularity remains intact. New Yorker Emily Witt His career is a lifelong inquiry into what gives an image meaning, including formalist experiments made without a camera. Amid a cultural outpouring of trolling, bad-faith posturing, disinformation, and edgelord provocation, Tillmans’s sincerity has not wavered. Artforum Alex Kitnick Tillmans has been able to thread the needle through an increasingly vast network of image production, and its sites of display, in order to create a new kind of image—a moving image not simply in the affective sense, but in the circulatory one, too. His images get around, change shape. They are promiscuous. We can call them images in motion. |
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| | FROM THE ARTBOOK BLOG ARTBOOK | D.A.P. | DATE 1/1/2022 We’re excited to share our Spring 2022 catalog, featuring a Wolfgang Tillmans photo on the cover. The subject of a major upcoming MoMA retrospective bravely titled To look without fear, Tillmans’ work is characterized by a kind of exalted everydayness; his voracious lens uncovers a subversive beauty in everything. Right now, we’re holding onto the transformative power of beauty: the tulip as the quintessential image of spring, evocative—hopefully—of the ground thawing and cases dropping.
continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 4/9/2023 An image that fills us with longing and some strange sense of mortality—or immortality—“Clipped Tulip” (2020) is reproduced from Wolfgang Tillmans: To look without fear—published to accompany the exhibition on view now at Art Gallery of Ontario en route from MoMA. This is the image we most want to look at right now, as we contemplate the various emotionally-charged overlapping holidays of renewal this week. “For Tillmans, life’s holy mess of ordinary pleasures is not merely catalogued but equalized,” Durga Chew-Bose writes. “The surreal complacency, for instance, of rotting fruit, is given prominence. But so is fresh parsley or half a grapefruit, sucked dry. A single white rose lying on a bed of cherries is funereal. A red pear—its stem erect—seems shy. If his practice shows a preference for what is, an allegiance to parity is essential to how Tillmans documents his worlds. There is no justifying the maple leaf next to the ashtray, next to the kiwi. Tillmans’ still life photography eludes any hierarchic portrayals of the quotidian, harmonizing matter-of-fact materials (like bubble wrap) with romance (like dried flowers). The margins and the middle collide, but more than that, they are in concert. But more than that, they are unsolvable. And isn’t that the point? As the poet and essayist Mary Ruefle notes: ‘It is not what a poem says with its mouth, it’s what a poem does with its eyes.’” continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 9/10/2022 Published to accompany the four-decade survey opening this week at MoMA (en route to the Art Gallery of Ontario and SFMOMA through February 2024), To look without fear collects 400 color reproductions of Wolfgang Tillmans' game-changing photography, installation, print media and video works, alongside essays by an outstanding list of curators and writers. Oluremi C. Onabanjo, for example, calls Tillmans' portrait-making process encounters "laden with vulnerability on both sides." She quotes Tillmans: “My whole concept of photography confused people in the 1990s, because I did not accept the traditional borders between staged and un-staged. … I think that the moment when there is a camera present is already staging. A camera in the room is never neutral. And my role as a photographer is to be aware of that and to deal with it." continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 4/9/2023An image that fills us with longing and some strange sense of mortality—or immortality—“Clipped Tulip” (2020) is reproduced from Wolfgang Tillmans: To look without fear—published to accompany the exhibition on view now at Art Gallery of Ontario en route from MoMA. This is the image we most want to look at right now, as we contemplate the various emotionally-charged overlapping holidays of renewal this week. “For Tillmans, life’s holy mess of ordinary pleasures is not merely catalogued but equalized,” Durga Chew-Bose writes. “The surreal complacency, for instance, of rotting fruit, is given prominence. But so is fresh parsley or half a grapefruit, sucked dry. A single white rose lying on a bed of cherries is funereal. A red pear—its stem erect—seems shy. If his practice shows a preference for what is, an allegiance to parity is essential to how Tillmans documents his worlds. There is no justifying the maple leaf next to the ashtray, next to the kiwi. Tillmans’ still life photography eludes any hierarchic portrayals of the quotidian, harmonizing matter-of-fact materials (like bubble wrap) with romance (like dried flowers). The margins and the middle collide, but more than that, they are in concert. But more than that, they are unsolvable. And isn’t that the point? As the poet and essayist Mary Ruefle notes: ‘It is not what a poem says with its mouth, it’s what a poem does with its eyes.’” continue to blog | |  | The Museum of Modern Art, New YorkISBN: 9781633451117
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