Published by D.A.P./Distributed Art Publishers, Inc.. Artwork by Alex Katz, Martin Kippenberger. Edited by Uwe Koch, Roberto Ohrt. Text by Diedrich Diederichsen.
Roberta Smith called him the “madcap bad boy of contemporary German art” and also “one of the three or four best German artists of the postwar period.” Martin Kippenberger disrupted the status quo throughout his brief, excessive life, not just by making art of every variety and medium but also by conducting an extended performance in the vicinity of art that involved running galleries, organizing exhibitions, collecting the work of his contemporaries and overseeing assistants. He published books and catalogues, played in a rock-and-roll band and cut records, ran a performance-art space during his early years in Berlin, became part owner of a restaurant in Los Angeles during six months he spent there preparing for an exhibition, and collaborated extensively with other artists. This particular volume considers his output of artist's books, as well as his exhibition catalogues and all the publications whose content he either created or edited. More than just documentation, this publication makes accessible for a wider public the multiple aspects of Kippenberger's books, with all the complexity and consequence of his oeuvre intact.
Published by Edizioni Corraini. Text by Giorgio Maffei, Emanuele De Donno, Didi Bozzini, Cecilia Metelli, Marilena Bonomo.
“Books are the best medium for many artists working today,” Sol LeWitt (1928–2007) once declared. A pioneer of artist's books, and co-founder of New York's Printed Matter bookstore in 1976, LeWitt is closely identified with the book as an art form. Starting with 1967's Serial Project No. 1 (from Aspen magazine), and closing with Chicago (Morning Star Publications, 2002), this book reproduces covers and spreads from Sol LeWitt's massive oeuvre of artist's books, almost all of which are now rarities. As artist's book historian Clive Phillpot notes, “the principle attribute of LeWitt's books is one common to all books: a dependence upon sequence, whether of families of marks or objects, or of single or permuted series which have clear beginnings and endings.” Critical observations from LeWitt himself and a variety of scholars make this volume the most sustained treatment of LeWitt's prolific activity in this area to date.
Published by Deitch Projects. Text by Tauba Auerbach.
How arbitrary are the marks, analog and digital, used to express language, and where do they begin to muck it all up? This first book from Tauba Auerbach, Yes and Not Yes features over 20 new paintings and drawings that spring from those questions. They offer an excellent if roundabout answer: while letters are largely arbitrary, they are rich with abstract beauty and conceptual depth. In razor-sharp execution--which reveals her training as a sign painter--Auerbach's works on panel and paper update the abstract conceptual tradition, while retaining its intellectual rigor. Uppercase Insides and Numeral Insides recall Russian Suprematism, and, upon further contemplation, turn out to be just what their titles call them. Works based on signal flags and the Ugaritic Alphabet--an extinct language from Syria, 1300 B.C.--confirm that puzzlement is part of the desired effect here. Where direct exchange between sign and meaning is impossible, the beauty of the symbol comes to the fore.
Vancouver Conceptualist Rodney Graham defies categorization by employing multiple styles and working in diverse media including photography, film, performance, music and text. One of the most gratifying artist's books ever to grace D.A.P.'s list, Wet on Wet: My Late Early Styles presents a new body of work reflecting on the practice of painting. For Wet on Wet Graham adopts the eccentric persona of the "gifted amateur," a recurrent figure in his recent work. He presents 22 oils and one acrylic work in a variety of styles, placing painting in the context of a post-medium practice. Graham credits music with informing much of his work. A musician himself, he views his role as an artist as an extension of the idea of performance. His work examines social and philosophical systems of thought, in particular those derived from the transition of the Enlightenment into Modernism.
Published by Primary Information. Text by Cary Loren, Mike Kelley, Niagara, Jim Shaw.
Formed in 1973, the Detroit band Destroy All Monsters was a wild and reckless synthesis of psychedelia, proto-punk, heavy metal, noise and performance art. The collective hailed from Ann Arbor, Michigan, and consisted of Cary Loren, Mike Kelley, Niagara and Jim Shaw (with later members including Ron Asheton of the Stooges and Michael Davis of the MC5). Later emerging as extremely distinctive individual artists, collectively the group forged new terrain in art, music, performance, theater and video. Destroy All Monsters released very little recorded music until Thurston Moore issued a three-CD compilation in 1994, but they published six issues of a now legendary and much sought-after zine, also titled Destroy All Monsters. This publication collects those six zines, released between 1976 and 1979, and also includes parts of a lost seventh issue that never saw publication. The Destroy All Monsters zines comprise a vibrant array of collage, writing, photography and other miscellanea by Kelley, Loren, Niagara and Shaw, and together provide insight into the collective's kaleidoscopic vision of the dystopian values of their time.
Published by The Museum of Modern Art, New York. Text by Wendy Weitman.
Well-known as a sculptor, Kiki Smith has also worked extensively as a printmaker--in fact her printed works and other editioned art, including books and multiples, are arguably as important as her sculpture. Smith emerged in the early 1980s as one of a generation of artists who returned to figurative imagery after a period in which American art had leaned to the abstract and conceptual. In Smith's case the interest in the figure was literal: She is fascinated by the anatomy of the human body, which is an immediate and emotionally powerful presence in much of her work. She is equally concerned with the natural world, and animals have become increasingly important in her recent imagery. The heart of printmaking is the ability to create more than one example of an artwork, and this appeals to Smith's interest in the public dissemination of imagery and information. Her work is politically sensitized but she is also fascinated by craft and is constantly exploring and experimenting with her materials. Her prolific body of printed art incorporates techniques extending from elaborate etchings to crude rubber stamps and images ranging from wall-sized lithographs and deluxe artist's books to screen-printed giveaway posters and removable tattoos. Kiki Smith: Prints, Books and Other Things accompanies an exhibition devoted to this underacknowledged but crucial dimension of her art.
Catalogue Raisonné of the Books Take Your Time, Volume 2
Published by Walther König, Köln. Foreword by Luca Cerizza. Text by Olafur Eliasson.
With its exposed spine stitching and variety of paper stocks, this survey of Olafur Eliasson's very rarely seen artist's books elevates his work in bookmaking to the status of his better-known projects, such as his New York waterfalls, and is indeed an artist's book in itself. Printed Matter closely examines 25 of Eliasson's books dating back to 1997, and reveals a whole oeuvre of artist's books—57 titles in all—that will come as a revelation to those who may not closely identify the artist with this medium. Eliasson's exhibition catalogues are always designed with pronounced care, and many are already long out of print or hard to find. Here, in spreads and thorough annotations, we encounter his considered musings on book form and design, and the complex process of book collaboration. Printed Matter also supplies a bibliography of all of Eliasson's books to date, alongside an interview with the artist.
Published by Granary Books. Edited and with text by Nancy Kuhl.
Erica Van Horn's books offer miniaturist celebrations of small rituals and everyday civic and household matter, from shop signs, cook books and French lessons to napkins and envelope interiors. “I use the portability of the printed sheet, mostly in book form,” Van Horn writes, “to construct a narrative around the incidental parts of my life.” The artist weaves together her methods and preoccupations into a common fabric of artistic practice and subject. Her interest in exploring the daily aspects of her life though her art, for instance, is informed and/or determined by her frequent use and reuse of ordinary materials as the raw materials of her work. Many of her books have been collaborations with poets, artists and bookmakers such as Laurie Clark, Simon Cutts and Harry Gilonis. Van Horn’s work insists that the book is to be valued as a record—of an event, a landscape, a creative vision, an obsession, or the most quotidian activities—even if the book revises or re-imagines that which it documents. The books recorded in this volume remember everything—they discover, explore, and sometimes enact their specific content, but each also tells the story of its making, its reason for being, and its creator’s process. The Book Remembers Everything is published on the occasion of an exhibition of Erica Van Horn's work curated by Nancy Kuhl at the Beinecke Library at Yale University January 13 through March 27, 2010.
Published by Corraini Edizioni. Edited by Giorgio Maffei, Bruno Tonini. Introduction by Barbara Radice. Text by Andrea Branzi, Michele De Lucchi, Nathalie Du Pasquier, Elio Fiorucci, Christoph Radl, Franco Raggi, Lea Vergine.
Throughout his illustrious career in product design and architecture, Ettore Sottsass (1917-2007) maintained a close relationship with printed matter, designing, authoring, illustrating and editing a great many avant-garde literary and design/architectural books and periodicals from 1947 right up until the year before his death. Books by Ettore Sottsass organizes this vast body of work into eight phases: the 1962 Beat magazine Room East 128.Chronicle; books by poets Gregory Corso, Michael McClure, Philip Whalen and Sottsass himself, published under the Editions East 128 imprint; the psychedelic magazine Pianeta Fresco, which printed Beats alongside emerging comic artists; work for architecture and design magazines; Sottsass' own theoretical writings; catalogues produced for the Memphis Group; the magazine Terrazzo (1988-1995), which synthesized Sottsass' love of design, literature and architecture; and publications for his own Studio Sottsass Associati.
Published by Granary Books. By Johanna Drucker. Introduction by Holland Cotter.
Now Back in Print! Johanna Drucker's The Century of Artists' Books is the seminal full-length study of the development of artists' books as a twentieth-century art form. By situating artists' books within the context of mainstream developments in the visual arts, Drucker raises critical and theoretical issues as well as providing a historical overview of the medium. Within its pages, she explores more than two hundred individual books in relation to their structure, form, and conceptualization. This latest edition of the book features a new preface by Drucker and includes an introduction by New York Times senior art critic Holland Cotter. Prior praise for Johanna Drucker's The Century of Artists' Books: “[Drucker] locates the artists' book, in all of its multitudinous aspects, within every significant modern movement and draws on an extensive bibliography of scholarly references to reveal the philosophical and artistic connections among the several emerging avant-garde movements of the early twentieth century.... The book vastly expands our understanding of the interdependence of structure and meaning in artists' books.”--Buzz Spector, Art Journal “A folded fan, a set of blocks, words embedded in lucite: artists' books are a singular form of imaginative expression. With the insight of the artist and the discernment of the art historian, Drucker details over 200 of these works, relating them to the variety of art movements of the last century and tracing their development in form and concept. This work, one of the first full-length studies available of artists' books, provides both a critical analysis of the structures themselves and a basis for further reflection on the philosophical and conceptual roles they play. From codex to document, from performance to self-image, the world of artists' books is made available to student and teacher, collector and connoisseur. A useful work for all art collections, both public and academic.” Paula Frosch, Metropolitan Museum of Art Library, Library Journal