This veritable visual encyclopedia collects 132 images of our most dexterous body part, gathered by Dutch-French artist Serge Onnen from across the annals of art history--from meticulous sixteenth-century renderings (Hendrick Goltzius) to contemporary punk-influenced depictions (Raymond Pettibon), from instructional handshake diagrams to political cartoons. Other contributors include Kinke Kooi, Robert Filliou, William Kentridge, Shakers, Michael Kirkham, Balthus, Daragh Reeves, Mrzyk & Moriceau, Serge Onnen, Marcel van Eden, Andrej Roiter and Olav Westphalen. Drawings on Hands's packaging, with a folded cardboard cover and elastic cord, is as pleasing to the eye as to the hand.
George Wittenborn's Guestbook, with 21st Century Additions
Published by Ludion. Edited by Ronny Van de Velde. Text by Henri Focillon, Jan Ceuleers.
George Wittenborn (1905-1974), legendary émigré bookseller, publisher, dealer and friend to artists ranging from Léger, Arp, Ernst, Picasso and Braque to Calder, Beuys, Warhol, Johns, Ono, Richter, Baldessari and Nauman, kept a guestbook over the many decades of his passionate career in connoisseurship. On March 16, 1944, the Mexican painter and writer Miguel Covarrubias drew a hand in Wittenborn's guestbook in lieu of his signature--and with that a tradition was born. This monumental volume, designed with cut-out alphabetical letter tabs like an old fashioned encyclopedia, contains renderings of hands by roughly 300 of the twentieth century's finest and most challenging artists. Essays include Henri Focillon's 1939 "In Praise of Hands" and Jan Ceuleers' engaging narrative biography. Ceuleers writes, "Wittenborn's guestbook is a book of friends, a book of handshakes that stands for 'greeting, good-bye, friendship, solidarity, unity and agreement, and the doubling of power achieved through partnership.'"
Published by The Museum of Modern Art, New York. Edited by Cornelia Butler, Alexandra Schwartz. Introductions by Cornelia Butler, Griselda Pollock, Aruna D'Souza.
This landmark survey represents the first effort by a major North American museum to examine its collection by highlighting the production of modern and contemporary women artists. Featuring essays by nearly 50 writers, including both MoMA curators and outside scholars, among them many of the strongest voices in current research on art and gender, this groundbreaking publication presents a variety of generational and cultural perspectives. Modern Women focuses on a diverse range of artists active from the late nineteenth century to the present whose works span the spectrum of mediums and genres in the Museum's collection. Organized chronologically into three sections—“Early Modernism,” “Mid-Century” and “Contemporary”—the book comprises both long and short essays emphasizing new research on women artists within these historical time periods. Subjects include women at the Bauhaus, design collaborations, photographers between the wars, the legacy of Maya Deren, Latin American artists, performance art, architecture, land art, “Riot Grrrls,” African American artists, collage and assemblage in contemporary portraiture as well as essays on individual artists such as Lillian Gish, Sybil Andrews, Diane Arbus, Ida Lupino, Hanne Darboven, Bridget Riley, Ana Mendieta, Louise Bourgeois, Adrian Piper, Nan Goldin, Zaha Hadid, Janet Cardiff and Lin Tianmiao. Heavily illustrated with works from the collection, Modern Women constructs a conversation between past considerations of MoMA's collection and current feminist narratives of art history, putting these varied modes of exploration in productive dialogue.
Published by MFA Publications. Essays by George T.M. Shackelford, Claire FrŔches-Thory, et al.
The life of Paul Gauguin is one of the richest and most mythic in the history of Western art. A banker and “Sunday painter,” he left behind family and homeland and sailed to the South Seas, seeking a life “in ecstasy, in peace, and for art.” Gauguin Tahiti, the first major retrospective of the artist's work in fifteen years, offers an in-depth study of the fabled Polynesian years that have so defined our image of the painter. Alongside essays by leading American and French critics on every aspect of Gauguin's art, from the legendary canvases to his sculptures, ceramics and innovative graphic works, are discussions of the Polynesian society, culture and religion that helped shape them; an in-depth biographical narrative of the artist's life, with the many epiphanies, frustrations and discoveries that make his time in the South Seas one of the most mythologically potent episodes in the history of Western art; and a chronicle of his changing fortunes in the century since his death. At the center of it all is Gauguin's 1897 masterpiece, Where Do We Come From? What Are We? Where Are We Going?, the summation and crowning glory of his mature career, presented with unprecedented depth and authority. Over one hundred years later, Gauguin remains one of the most enigmatic and attractive figures of 19th-century art, the very pivot of modernism, and Gauguin Tahiti finally portrays this crucial period of his life in all its color and drama.
Published by JRP|Ringier. Essays by Philip Hoare, Morrissey, Jon Savage, Andrew Renton and Lynne Tillman.
Linder Sterling's work had its first exposure in the punk fanzine The Secret Public and as art for the sleeve of the Buzzcocks' first single, "Orgasm Addict." Soon she had her own band, Ludus, founded with Ian Divine. Her visuals and her performances have remained legendary in the musical world--for example, a costume consisting of raw meat and a black vibrator, worn for a special evening at the Hacienda--but these formative contributions to the aesthetics of punk and its offshoots have only recently received wider recognition. With no clear academic career path, without institutional or curatorial support, Linder has continued to make multidisciplinary work, work that has led observers to call her the missing link between Yoko Ono and Tracey Emin. This first book, a rediscovery and a debut at once, includes contributions from writers and cultural figures including Philip Hoare, Jon Savage, Andrew Renton, Lynne Tillman, Paul Bailey and Morrissey.
Contemporary Art from the Edward R. Broida Collection
Published by The Museum of Modern Art, New York. Essay by John Elderfield. Interview by Ann Temkin.
This catalogue of outstanding paintings, sculptures, drawings and prints from Edward R. Broida's recent gift of 175 contemporary works from his collection to The Museum of Modern Art reflects a wide range of artistic approaches. Most pieces were created after 1960; several artists, such as Vija Celmins, Philip Guston, Ken Price and Christopher Wilmarth, are represented in depth. The Broida collection also includes works by Richard Artschwager, Jake Berthot, Martin Puryear, Susan Rothenberg, Joel Shapiro, Mark di Suvero and John Walker, among others, and significant works by Jennifer Bartlett, Bruce Nauman and Richard Serra that provided important additions to the Museum's holdings. This book includes an introduction to the collection by John Elderfield, the Marie-Josee and Henry Kravis Chief Curator of Painting and Sculpture, and an interview with Broida conducted by Ann Temkin, Curator of Painting and Sculpture. The plate section reproduces at least one work by each of the 38 artists included in the gift, and in many cases numerous works by one artist.
Published by The Museum of Modern Art, New York. Artwork by Ethan Cohen, Joel Cohen, Sarah Lucas, Vik Muniz, Pipilotti Rist, Kiki Smith.
In this updated, expanded, and superbly produced handbook, The Museum of Modern Art presents its own selection of the most significant artworks in its collection. Few institutions approach the richness of The Museum of Modern Art's holdings in painting, sculpture, drawing, prints, illustrated books, architectural models and drawings, graphic and industrial design, photography, film, video and multimedia installations. In this volume, some 350 highlights--23 of which are new to this edition--from the Museum's six curatorial departments, are interwoven to present a sumptuous and broadly chronological overview that takes readers from Post-Impressionism to contemporary art. Every work that was executed in color is reproduced in MoMA Highlights in vibrant hues, and each is accompanied by a brief commentary. Updated and revised, this book is the definitive guide to the broad scope of MoMA's collection. Also updated and expanded, The Museum of Modern Art recently reopened on November 20, 2004 in its newly designed building by architect Yoshio Taniguchi. Founded in 1929 as an educational institution, MoMA is dedicated to being the foremost museum of modern art in the world. The ultimate purpose of the Museum declared at its founding, is to acquire the best modern works of art in all visual mediums.
Berlin gallerist Rolf Ricke has been unleashing influential American artists like Richard Artschwager, Jo Baer, Donald Judd, Lee Lozano, Steven Parrino, Richard Serra, Jessica Stockholder and Barry Le Va on Europe since the 1960s. A 1965 trip to New York opened his eyes to the creative ferment happening there, and inspired him to import the artists themselves, to create new work for his Berlin-based gallery, rather than simply borrowing existing pieces. It was a savvy move. Through the decades, he formed relationships with these artists and acquired a stellar collection of works. The Rolf Ricke Collection, which is being exhibited at three major European museums in 2008, represents four decades of work by predominantly American artists. This accompanying publication is a trove, showcasing Ricke’s 150-piece collection and putting it in context with an illustrated timeline of 40 of the richest years of art history.
For the past 20 years, Chinese artist Sheng Qi has been creating remarkable works of art in diverse media, approximately 100 of which are showcased here in full color. A prevalent theme in his work has been the study of the body: of body language and its culture. (When he left Beijing in 1989, he cut the little finger off of his left hand and buried it in a flower pot.) Since returning to China after completing his artistic studies in London, he has been selected to participate in the Nippon International Performance Festival, and the recent International Center of Photography exhibition, Between Past and Future, where his photographic work was selected for the cover of the exhibition catalogue. He is also one of the few artists in China to concern himself with AIDS and to become involved in local awareness campaigns.
Published by Hatje Cantz. Edited by Hattula Moholy-Nagy, Renate Heyne, Floris M. Neusüss. Text by Herbert Molderings.
László Moholy-Nagy was one of the Bauhaus' most influential teachers; his photographic skills, as well as his writing on the subject, helped to secure the medium's integral place in modern art. One of Moholy-Nagy's most notable contributions was his extensive exploration--from 1922 through 1943--of the aesthetic possibilities of the photogram (he coined the term). These ghostly traces of objects placed on photographic paper during exposure are part of a prolific legacy that included painting, sculpture and stage design. Moholy-Nagy's photograms have become emblematic of the medium, though they have yet to be fully critically explored. This well-illustrated catalogue raisonné is the first to feature all of his known photograms--nearly 450--in chronological order. This exhaustive volume examines the artistic, technical and biographical circumstances under which the works were created, places them in relation to other parts of Moholy-Nagy's practice and analyzes selected pieces at length. László Moholy-Nagy (1895-1946) taught at the Bauhaus for five years, founding The School of Design in Chicago, which became the Illinois Institute of Technology, in 1939.