Published by Walther König, Köln. Edited by Helmut Friedel. Text by Matthias Mühling.
Berlin-based Angela Bulloch's installations are inspired by well-known films like Michelangelo Antonioni's Zabriskie Point (1970). This volume focuses on Bulloch's subversion of spatial and temporal expectations, as in her Night Skies series of projections and light installations that show sections of the sky as if from a vantage far from earth.
Published by Richter Verlag. Text by by Hubert Beck, Bernhart Schwenk, Anuschka Koos.
In his Cosmos series, German painter Bernd Zimmer employs drizzles, blobs and streaks of paint to recall illuminated landscapes, the starry sky at night or vast panoramas of outer space. At the same time, the paintings seem refer to the innermost images of man's soul.
Published by Kerber. Text by Beate Reifenscheid, Dieter Honisch, Heinz Mack.
German artist Heinz Mack (born 1931) is one of the founders of the early 1960s avant-garde group Zero, whose other members included Otto Piene, Lucio Fontana and Hans Haacke. Mack's experiments in light--his luminous reliefs, steles and rotors--fabricated at the height of his affiliation with Zero, are the focus of this volume.
Published by Hatje Cantz. Introduction by Steven B. Johnson. Text by Sara Hart, JoAnne Northrup, Michael Rush.
American artist Leo Villareal (born 1967) is the most prominent light sculptor among a younger generation of light artists. In 1997, having abandoned his work with interactive television, Villareal began to pursue a more systems-based approach, devising complex light sculptures in which he combined strobe lights, neon, and most recently, LED bulbs activated by the artist's own extraordinary custom-made software. The effect of these bulbs, and the software that steers their flickering patterns, is cumulative and magical: thousands of tiny white LEDs may resemble a starry night as seen in a planetarium (Villareal installed this work in the windows of the Peter Jay Sharp Building at the Brooklyn Academy of Music), while tubes of colored LEDs masked by a diffuser give a softer effect that resembles something like a Monet painting of water lilies set in motion. This volume accompanies the first museum survey of Villareal's hypnotic and exhilarating light sculptures at the San Jose Museum of Art.
The greater Los Angeles area covers 4,850 square miles--the size of a small country--and holds almost 18 million people. Perhaps America’s largest human creation, it has been vilified and celebrated in equal measure since its inception. Is L.A. the face of the apocalypse, or an ultimate paradise at continent’s edge--or both? With LA Day/LA Night, photographer Michael Light continues his aerial examination of the arid American West by bringing together two opposing views of the city in a double-volume set. LA Day stares directly into the sun, which blasts the metropolis in a relentless and specific light. LA Night drifts over the city as it grows darker, and begins to resemble the starry sky vaulted above. Referencing Ed Ruscha, Peter Alexander, Julius Schulman and writers from Philip K. Dick to Raymond Chandler, LA Day/LA Night continues Los Angeles’s rich cultural legacy of examining its favorite schizophrenic subject--itself.
Published by Edizioni Corraini. Artwork by Bruno Munari.
In Drawing the Sun, Bruno Munari suggests: “When drawing the sun, try to have on hand colored paper, chalk, felt-tip markers, crayons, pencils, ballpoint pens—you can draw a sun with any one of them. Also remember that sunset and dawn are the back and front of the same phenomenon: when we are looking at the sunset, the people over there are looking at the dawn.”
Published by JRP|Ringier. Edited by Christoph Keller.
12 Sun Songs is a yellow vinyl album composed of covers of pop songs about the sun. Aping the 1970s concept-album model, Vancouver artist/musician duo Cranfield and Slade wittily arrange their cover versions—which include “Here Comes the Sun,” “Waterloo Sunset” and “The Sun Ain't Gonna Shine Anymore”—to represent the arc of a full day. The album combines field recordings with electronic sound and acoustic instruments.
Published by Los Angeles County Museum of Art. Edited by Carol S. Eliel. Texts by Carol S. Eliel, Lari Pittman and Amy Gerstler.
Lee Mullican's paintings and drawings map the inner space of the mind and the outer space of the cosmos. Over a 50-year career, in works bursting with color, he sought a window onto the unconscious, without relinquishing the control of a skilled draftsman or references to the world around him. Influenced by Native American art and Surrealism, as well as Eastern religions like Buddhism and Hinduism, in 2005 Mullican's formidable oeuvre gets an overdue retrospective, organized by the Los Angeles County Museum of Art. This exhibition catalogue is the most comprehensive collection of his work and includes an essay by organizing curator Carol S. Eliel and an homage to Mullican as a teacher and mentor by fellow Los Angeles painter Lari Pittman. Like another Lee (Bontecou) whose quiet career of working and teaching recently got a deserving retrospective, Mullican will emerge here as an American original.
Photographs by Christopher Bucklow, Susan Derges,Garry Fabian Miller, and Adam Fuss
Published by Fraenkel Gallery. Photographs by Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.
“There is something the air,” writes Jeffrey Fraenkel in his introduction to this exquisite catalogue. “Over the last decade a remarkable body of photographic work has emerged out of England, the look of which seems unaligned to most photography of the past 150 years… what most distinguishes the work of this “Gang of Four”--Christopher Bucklow, Susan Derges, Gary Fabian Miller and Adam Fuss--is their conscious and deliberate engagement with the metaphysical possibilities of the medium.” This beautifully designed volume contains biographical information about these four talented photographers, and selections from Bucklow's writing about his own work and that of his colleagues.
Published by D.A.P./Distributed Art Publishers. By Carolee Thea. Edited by Thomas Micchelli. Foreword by Hans Ulrich Obrist.
On Curating, Carolee Thea's second volume of interviews with ten of today's leading curators, explores the intellectual convictions and personal visions that lay the groundwork for the most prestigious and influential exhibitions in the world today. Among the aesthetic and theoretical issues raised are the relationship between artist and curator, globalism, post-colonialism, capitalism, the future of cultural tourism and the biennial as spectacle or utopian ideal. As Thea notes in her introduction, "the biennial or mega-exhibition--a laboratory for experimentation, investigation and aesthetic liberation--is where the curators' experience and knowledge are tested. As they negotiate venues for artistic expression, intellectual critiques and humanistic concerns in their own societies and others, they are challenged by the certainties and uncertainties of a constantly evolving future." Thea's interviewees are Joseph Backstein, Carolyn Christov-Bakargiev, Okwui Enwezor, Charles Esche, Massimiliano Gioni, RoseLee Goldberg, Mary Jane Jacob, Pi Li, Virginia Perez-Ratton and Rirkrit Tiravanija. On Curating also includes 50 color illustrations of relevant works by (among others) Kutlug Ataman, Tamy Ben-Tor, John Bock, Cao Fei, Olafur Eliasson, Isaac Julien, Francois & Philippe Parreno, Yvonne Rainer, Michael Rakowitz, Doris Salcedo, Allan Sekula, Yinka Shonibare and Francesca Woodman. Carolee Thea is a curator, critic, art historian and independent scholar. Her first book, Foci: Interviews with Ten International Curators was published in 2001. She is contributing editor at ArtAsiaPacific and Sculpture magazine and was the English editor of Atlántica 45. Her articles, reviews and interviews have been published in many arts journals, among them Parkett, Artforum.com, The New Art Examiner, Modern Painters, Artnet.com, ZSijue 21 Beijing, Heresies, Tema Celeste, Parachute and ArtNews.