CONTEMPORARY ART MOVEMENTS

PUBLISHER
David Zwirner Books

BOOK FORMAT
Hardcover, 9 x 11.25 in. / 276 pgs / 151 color / 88 bw.

PUBLISHING STATUS
Pub Date
Active

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D.A.P. Exclusive
Catalog: SPRING 2015 p. 85   

PRODUCT DETAILS
ISBN 9781941701027 TRADE
List Price: $65.00 CDN $87.00

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In stock

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DAVID ZWIRNER BOOKS

No Problem: Cologne/New York 1984-1989

Foreword by David Zwirner. Text by Diedrich Diederichsen, Bob Nickas. Illustrated chronology by Kara Carmack.

Martin Kippenberger's "The person who can’t dance says the band can’t play" (1984) is reproduced from <I>No Problem: Cologne/New York 1984–1989</I>.In the words of Peter Schjeldahl, writing recently in The New Yorker about the exhibition No Problem: Cologne/New York 1984–1989 at David Zwirner in New York, "the show's cast of artists amounts to a retrospective shopping list of what would matter and endure in art of the era." Canonizing that moment, this seminal publication examines the latter half of the 1980s through the lens of the art scenes in Cologne—arguably the European center of the contemporary art world at that time—and New York. While a number of established Cologne-based gallerists, including Karsten Greve, Paul Maenz, Rolf Ricke, Michael Werner and Rudolf Zwirner, had already begun shaping the European reception of American art in the previous decade, the 1980s marked a period during which art being produced in and around Cologne gained international attention. A burgeoning gallery scene supported the emerging work of artists based in the region, with gallerists such as Gisela Capitain, Rafael Jablonka, Max Hetzler and Monika Sprüth showing artists such as Walter Dahn, Martin Kippenberger, Albert Oehlen, Rosemarie Trockel and others. These German artists were exhibited alongside artists such as Robert Gober, Jeff Koons, Richard Prince, Cindy Sherman and Christopher Wool. Conversely, the work of German artists was presented in New York, with breakout exhibitions at galleries such as Barbara Gladstone, Metro Pictures, Luhring Augustine and other significant venues. Important museum exhibitions that explored work on both sides of the Atlantic also set the tone for this dialogue, among them Europa/Amerika (Museum Ludwig, 1986) and A Distanced View (New Museum, 1986). Big, bold and vibrant, this Pentagram-designed publication revives the conversation, reproducing in full color every one of the over 100 artworks by 22 international artists included in this massive exhibition—one of the largest in David Zwirner's history. The book also features new scholarship by Diedrich Diederichsen and Bob Nickas, an illustrated timeline for both cities and compelling archival material—from documentary photographs from the period and reproductions of Cologne's historic Spex Magazine to reviews of exhibitions from the period. This catalogue encapsulates the energy, heart and "dissonance of styles"—in the words of Schjeldahl—embodied by this fecund moment in global art history.

Martin Kippenberger's "The person who can’t dance says the band can’t play" (1984) is reproduced from No Problem: Cologne/New York 1984–1989.

PRAISE AND REVIEWS

Bookforum

Howard Hampton

Beneath the curated relics and cultivated dust bunnies loiters a vibrant, unwholesome, and hazardous synergy, crawling with devil-may-care specters.

No Problem: Cologne/New York 1984-1989

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FROM THE ARTBOOK BLOG

JESSE PEARSON | DATE 7/29/2015

Kissing Cousins: 'No Problem: Cologne/New York 1984-1989'

Kissing Cousins: 'No Problem: Cologne/New York 1984-1989'

We’re all pretty much walking through a fine but pervasive mist of cultural nostalgia every day now. It’s exhausting living in the past, the present, and—depending on how tech-reliant you are—the future all at once, so I’m grateful when a small, digestible chunk of high-quality “remember when” comes well-packaged with a laser-focused agenda. Such is the case with No Problem: Cologne/New York 1984-1989, the book companion to an ambitious group show that ran at David Zwirner Gallery from May 1 - June 14, 2014. David Zwirner, son of the adventurous Cologne art dealer Rudolf Zwirner, whose gallery occupied the ground floor of the Zwirner family home during David's childhood, has run his New York operation since 1993. Now in his early fifties, he's since become one of the most powerful people in the global art juggernaut. But that’s okay, because Zwirner is one of the good ones, with great taste, intelligence, and a subtle sense of humor.

continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 6/29/2015

No Problem

No Problem

"The '80s, as they flowed into the '90s, appear from our vantage as perhaps the last period in which artists, critics, and curators, the exhibitions and the writing around art, led the way and were of consequence," Bob Nickas writes in No Problem: Cologne/New York, David Zwirner Books' fresh examination of art from the polar epicenters of the late-8os art world. "Art was driven by what was gained and what was lost. There were heroes and villains. People chose sides and art served its cause, addressing the larger culture within which it coexisted, at times uneasily. Artists saw themselves implicated within an image world that was fast transforming into an industry, and art would once again have a self-critical function. You were aware that you were present in the moment, that you were part of it or wanted to be, that there was a collectively driven force. Everyone was offering each other a set of possibilities and challenges, and direction. And so those works and those shows, the writing and debate, they were guideposts that pointed to where you were heading and where you had come from." When God Created Rock, He Must Have Been Horny (Rock Music III) (1984), is by Albert Oehlen, whose work is currently on view at the New Museum. continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 6/22/2015

No Problem: Cologne/New York 1984-1989

No Problem: Cologne/New York 1984-1989

Peter Fischli and David Weiss' "Grater with Carrot and Zucchini" (1984-1985) is reproduced from David Zwirner Books' superb examination of the late-80s art scenes of Cologne and New York—the centers, at the time, of the biggest developments in the international art world. Bob Nickas writes, "The significance of the art of the 80s resides not only in an image of its own making, but in an immediately recognizable identity, rather than one that formed by official consensus over time. Many works achieved an iconicity with their initial appearance. Images were, in a very potent sense, self-aware, and art in this period would encounter and engage its 'double,' images echoing others, from both art history and popular culture, invoking the presence of the past and an ever-present now, at times uneasily. In their intent, the engagements could be facile or complex, either retrograde or willfully meant to reorient and disorient art's axis, and one quickly learned to differentiate between advance and retreat. In that moment, as may no longer be true for our own, the future still had a future." continue to blog


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