Published by The Museum of Modern Art, New York. By Eva Respini. Text by Johanna Burton. Interview by John Waters.
Published to accompany the first major survey of Cindy Sherman’s work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist’s 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman’s sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal Untitled Film Stills (1977–80); centerfolds (1981); history portraits (1989–90); head shots (2000–2002); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An essay by curator Eva Respini provides an overview of Sherman’s career, weaving together art historical analysis and discussions of the artist’s working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman’s work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provides an enlightening view into the creative process. Cindy Sherman (born 1954) is widely recognized as one of the most important and influential artists in contemporary art. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser and stylist. With an arsenal of wigs, costumes, makeup, prosthetics and props, the artist has altered her physique and surroundings to create myriad tableaux, from screen siren to clown to aging socialite. Over the past 35 years, Sherman has sustained a provocative investigation into the nature of identity, drawn from movies, television, magazines, the Internet and art history. Sherman lives and works in New York City.
Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.
Eva Respini is a former Curator in the Department of Photography at The Museum of Modern Art, New York where she contributed to numerous publications including Robert Heinecken: Object Matter (2014); Cindy Sherman (2012); and Into the Sunset: Photography’s Image of the American West (2009); Fashioning Fiction in Photography since 1990 (2004).
John Waters is an American filmmaker, actor, writer, and visual artist best known for his cult films, including "Hairspray", "Pink Flamingos", and "Cecil B. DeMented". He lives in Baltimore, Maryland.
Johanna Burton has served as the director of the graduate program at the Center for Curatorial Studies at Bard College.
Published by Aperture. Edited by Marvin Israel, Doon Arbus.
When Diane Arbus died in 1971 at the age of 48, she was already a significant influence--even something of a legend--for serious photographers, although only a relatively small number of her most important pictures were widely known at the time. The publication of Diane Arbus: An Aperture Monograph in 1972--along with a posthumous retrospective at The Museum of Modern Art--offered the general public its first encounter with the breadth and power of her achievements. The response was unprecedented. The monograph, composed of 80 photographs, was edited and designed by the painter Marvin Israel, Diane Arbus' friend and colleague, and by her daughter Doon Arbus. Their goal in producing the book was to remain as faithful as possible to the standards by which Arbus judged her own work and to the ways in which she hoped it would be seen. Universally acknowledged as a photobook classic, Diane Arbus: An Aperture Monograph is a timeless masterpiece with editions in five languages, and remains the foundation of her international reputation. Nearly half a century has done nothing to diminish the riveting impact of these pictures or the controversy they inspire. This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessy using prints by Neil Selkirk.
Working with ordinary people who answered ads in local papers, posing them in their nondescript homes or unexceptional landscapes and using relatively simple equipment, Katy Grannan alchemizes these factors into extraordinary photographs. Disarming for their directness and for the provocative but casual nudity on display, her pictures capture the spirit of her subjects in the manner of Diane Arbus, but they also draw upon the artificial, posed tableaux of Gregory Crewdson and, indeed, art history. The posture of the tattooed and tanned (and nude) figure in “Mike,” a 2003 portrait which appeared in the 2004 Whitney Biennial, resembles nothing so much as the awkward repose of the desert nomad in Henri Rousseau's “Sleeping Gypsy.” In this first monograph, over half of the photographs are previously unpublished, providing a fresh depth to our understanding of this already widely known and accomplished young artist. Sitting on a dirt road in a knit bikini, standing defiantly in a corner of a cheaply paneled living room, leaning languidly against a chain-link fence, Grannan's photoraphs convey the dark side that we all have as well as the need to be recognized as unique individuals.
Published by Gregory R. Miller & Co.. Text by Johanna Burton, Matthew Higgs, Mary Heilmann, Sonia Campagnola.
This expanded edition of Gregory R. Miller's hugely successful first-ever monograph on Marilyn Minter from 2007 brings her public up to speed with the inclusion of works created over the past three years, including images from Minter's 2009 video “Green Pink Caviar,” shown in New York's Times Square and featured in Madonna's recent Sticky and Sweet concert tour. Minter's ever-expanding reputation was established during the 1980s, when her work engaged formal aspects of painting as well as subject matter that remain central to her practice today. This publication features work from every period of a career that now spans over 40 years, and reproduces in full color nearly every painting Minter has made, along with a wide selection of her painterly photographs of the last several years. It also includes the seminal and haunting Coral Ridge Towers series of black-and-white photos that Minter took of her mother in 1969. Art historian Johanna Burton contributes a substantial essay that analyzes and elucidates all aspects of Minter's work; her text is complemented by a lengthy conversation between Minter and her friend, painter Mary Heilmann, as well as by “Twenty Questions,” a project assembled by Matthew Higgs to which a wide range of artists, curators, friends and others with a unique connection to Minter have contributed. The design and production of this expanded edition have been superbly realized by the award-winning New York- and Amsterdam-based design studio, COMA. This monograph firmly establishes Minter's important and central position in contemporary art.
Published by Guggenheim Museum Publications. Text by Jennifer Blessing, Sandra S. Phillips. Interview by Jan van Adrichem.
This volume is the first comprehensive monograph on Rineke Dijkstra to be published in the United States. The catalogue accompanies the first U.S. mid-career survey of this important Dutch artist’s work in photography and video; it features the Beach Portraits and other early works such as the photographs of new mothers and bullfighters, together with selections from Dijkstra’s later work including her most recent video installations. Also included are series that she has been working on continuously for years, such as Almerisa (1994–present), which documents a young immigrant girl as she grows up and adapts to her new environment. The catalogue features essays by exhibition curators Jennifer Blessing (Senior Curator of Photography at the Guggenheim) and Sandra S. Phillips (Senior Curator of Photography at the San Francisco Museum of Modern Art); an interview with the artist by Jan van Adrichem; interviews with the artist’s subjects by Sophie Derkzer; short texts on the artist’s series by Chelsea Spengemann; and the most comprehensive exhibition history and bibliography to date. Rineke Dijkstra came to prominence in the 1990s with her celebrated Beach Portraits, large-scale color photographs of children on the verge of adolescence posed on beaches around the world, from South Carolina to the Ukraine. From that point on, her sensitive and visually riveting portraits have documented individuals caught in transitional states, sometimes due to physical exertion, for example after giving birth or dancing, or charted over time through series. Along with other Western European photographers such as Thomas Struth and Thomas Ruff, Dijkstra has been a leading innovator in the production of large-scale color images, which came to define contemporary photography in the 1990s and have transformed it ever since.
Published by D.A.P./Tate. Edited by Frances Morris. Text by Jo Applin, Juliet Mitchell, Mignon Nixon, Midori Yamamura.
Accompanying the first major American retrospective exhibition of Yayoi Kusama's work, and an exhibition at Tate Modern in London, this volume offers a definitive monograph on Japan's most famous living artist. It features a wealth of works from all periods in Kusama's career, as well as essays by various international curators and critics, discussing Kusama's years in New York, her career after her return to Japan, her installation works and the psychoanalytic import of her art. Kusama's originality, innovation and sheer drive to make art have propelled her through a career that has spanned six decades, encompassing painting, sculpture, printmaking, photography, collage, film and video, performance, installation and even product design. From the late 1950s to the early 1970s Kusama lived in New York, and was at the forefront of many artistic innovations in the city, becoming close with artists such as Donald Judd, Andy Warhol, Joseph Cornell and Claes Oldenburg, and influencing many others along the way. It was in these years that Kusama was dubbed "the Polka Dot Princess," for her obsessive use of polka dots in installations and happenings. Returning to Japan in her forties, she rebuilt her career, waiting years for the international recognition that she has recently achieved. Now in her ninth decade, Kusama's imagination remains fertile and productive, as she continues to devise dazzling installations and relentlessly hand-paints her ongoing series of minutely detailed figurative fantasy paintings. Yayoi Kusama was born in Matsumoto, Japan, in 1929. She left Japan for New York at the age of 28, following a correspondence with Georgia O'Keeffe, and was soon participating in the city's 1960s wave of happenings and avant-garde activities. In 1973, Kusama returned to Japan and began writing surrealistic novels and poetry. On November 12, 2008, Christie's New York sold a work by her for $5.1 million, a record for a living female artist.
Published by Damiani. Text by Sally Singer, Jack Halberstam.
Over the past ten years, Cass Bird (born 1974) has established herself as one of the foremost portraitists of contemporary America. Her photographs of young women and men casually draw attention to the fluid expression of gender roles and androgyny in today’s youth culture, and to what she has described as “the convergence of alternative lifestyles with accepted conceptions of motherhood, nurturing and family.” In the summers of 2009 and 2010, Bird traveled to Sassafrass, Tennessee, with a group of young women, a wardrobe of diaphanous dresses and a camera. These women--studio assistants, friends, or women cast from the streets of New York--had been selected by Bird for their ease with their sexual identities, but also for their relative awkwardness in front of the lens. The result was Rewilding, a joyous portrait of modern femininity and a frolicking celebration of women’s camaraderie.
Published by The Museum of Modern Art, New York. Edited by Klaus Biesenbach. Text by Arthur C. Danto, Chrissie Iles, Nancy Spector, Jovana Stokic.
Since the beginning of her career, in Belgrade in the late 1960s, Marina Abramovic has been a pioneer of performance art, creating some of the most important works in the field. Marina Abramovic: The Artist Is Present accompanies an exhibition at The Museum of Modern Art that documents approximately 50 of the artist's ephemeral time- and media-based works from throughout her career. The book also discusses a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by Abramovic herself; and re-creations of the artist's works by other performers—the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Essays by Klaus Biesenbach, Chief Curator of Media and performance art at MoMA, and four distinguished scholars examine Abramovic's ideas of time, duration and the reperformance of performance art as a way to extend it into posterity. The Artist Is Present also includes a CD with audio commentary by the artist that guides the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.Born in Belgrade just after the end of the Second World War, Marina Abramovic was raised in the Serbian Orthodox Church (her great uncle was a Patriarch and a canonized saint in the Church) and left Yugoslavia in 1976, having already established herself as a performance artist, living in Amsterdam and eventually New York, where she presently lives.
Published by D.A.P./San Francisco Museum of Modern Art. Edited by Corey Keller. Text by Julia Bryan-Wilson, Jennifer Blessing.
Artists who arrive fully formed at a young age always dazzle, and Francesca Woodman was one of the most gifted and dazzling artist prodigies in recent history. In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own. In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph. Francesca Woodman (1958-1981) was born in Denver, Colorado, to the well-known artists George and Betty Woodman. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York, to attempt to build a career in photography. In 1981, at the age of 22, she committed suicide.
Published by Hatje Cantz. Edited by Helen Molesworth. Text by Jill Medvedow, Anna Stothart.
Catherine Opie (born 1961) has forged new idioms in both portrait and landscape photography, frequently combining the two genres to explore how people occupy different landscapes--from high school football players on the field to ice fishermen on frozen lakes, to surfers waiting for the next wave. In doing so she has come to stand as one of America's foremost documentarians. Recently, Opie has returned to the genre of street photography, elaborating on the relationship between people and place, particularly the energies and desires created when masses of people convene around a shared interest or value. Freedom of assembly is one of the rights Americans take for granted; Opie is interested in the way that sites, such as the National Mall in Washington, D.C., come to be defined by the groups of people who assemble there and how their gathering shapes the identity of the place. This catalogue presents Opie's photographs of recent political demonstrations and gatherings, ranging from the inauguration of President Obama to Tea Party rallies. Drawing on a long and august tradition of American landscape painting and documentary photography, Opie gives us a view of democracy in action. Her photographs offer a dynamic, complicated and loving portrait of the United States at the dawn of the twenty-first century. This fully illustrated catalogue features a discussion between the artist and ICA Boston Chief Curator Helen Molesworth.