Published by Walker Art Center. Edited and with text by Doryun Chong. Text by Mike Kelley, Hiroko Kudo.
Tetsumi Kudo: Garden of Metamorphosis accompanies the first solo museum presentation of this highly original but under-studied artist's work in the United States. Organized by the Walker Art Center in close collaboration with Hiroko Kudo, the artist's widow, it features approximately 70 works covering the full trajectory of his amazingly productive career, which spanned from the late 1950s through the 80s. Born in Japan, Kudo first gained notoriety in the Tokyo art scene of the late 50s. He immigrated to Paris in 1962, working in a range of media--objects, sculpture, installation, drawing and painting--and presenting numerous Happenings and performances. Kudo's work and activities intersect with many important postwar artistic trends--including French Nouveau Réalisme, Fluxus, Pop art, 60s anti-art tendencies and 80s Postmodernism. Throughout his life and career, Kudo remained particularly Japanese while his art and vision were consistently and uniquely transcultural, internationalist and cosmopolitan. This beautifully designed exhibition catalogue includes an essay examining Kudo's philosophy, the evolution of his artistic vocabulary and his place in art history by curator Doryun Chong; a reflection by artist Mike Kelley; a selection of Kudo's writings, interviews with the artist and other historical criticism; and an illustrated chronology by Hiroko Kudo.
Published by Hatje Cantz. Edited by Moritz Kueng. Text by Hubertus Adam, Hans Frei, Marcel Andino.
Using projects by Swiss architect Christian Kerez as examples, this volume presents plans, sketches, correspondence, reviews and film stills to demonstrate how architecture can be recontextualized, interpreted and presented.
Visionary Architecture and Urban Planning of the 1960s Reflected by Contemporary Artists
Published by Hatje Cantz. Edited by Sabrina van der Ley, Markus Richter.
Fueled by a dissatisfaction with existing architectural solutions and an infusion of pop culture, art and rebellion, utopian urban proposals from the 1960s, such as Archigram's Plug-in City, Yona Friedman's La Ville Spatiale and New Babylon by former CoBrA painter, Constant, constitute a template for the concept of the megastructure-a city encased in one large structure or series of structures. Megastructure Reloaded posits the megastructure as a fix for contemporary urban architectural problems. The key figures of this resurgence--a group of architects and artists including Jose Davila, Simon Dybbroe Møller, Ryan Gander, Erik Goengrich, Franka Hörnschemeyer, Victor Nieuwenhuijs & Maartje Seyferth, Tobias Putrih, Tomas Saraceno, Katrin Sigurdardottir and Tilman Wendland--are detailed in this volume through texts and images. Soviet peripheral cities are discussed for their historical precedent and contextualized through ironic responses to them by radical architecture collectives such as Superstudio and Archizoom. The volume is rounded out with texts on Le Corbusier, Oscar Niemeyer, Lucio Costa and the planned cities of Chandigarh and Brasilia, as well as a theoretical section on megastructures and megacities. This volume is published in concert with an extensive European traveling exhibition and a series of symposia and workshops.
Published by Rochester Art Center. Edited by Kris Douglas. Foreword by Denise Sorom. Text by Kris Douglas, Claire Barliant, Yasmil Raymond.
The Chicago-based artist Iñigo Manglano-Ovalle is immersed in an ongoing critical investigation of the diverse conditions, systems and histories that define and describe our existence. He digs deep, often collaborating with specialists in such fields as engineering, architecture, genomics and climatology to produce engaging art objects, videos and installations that take on subjects like identity, ethics, aesthetics, climate and other social and political systems. This concise clothbound catalogue contains blue and red acetate inserts to recall the tinted windows at his recent Rochester Art Center exhibition, as well as an in-depth interview with Yasmil Raymond of the Walker Art Center, Minneapolis. Iñigo Manglano-Ovalle has had solo exhibitions at The Art Institute of Chicago and the Museum of Contemporary Art, Chicago, and has participated in such important group exhibitions as the 2000 Whitney Biennial, the Guggenheim Museum's 2002 Moving Pictures and 2007's Documenta 12 in Kassel, Germany. He was featured on the PBS series Art 21 in the fall of 2007.
PUBLISHER ROCHESTER ART CENTER
BOOK FORMAT Clothbound, 5.75 x 8.25 in. / 65 pgs / 39 color.
PUBLISHING STATUS PUB DATE 2/1/2008 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2008 p. 150
PRODUCT DETAILS ISBN 9780979236402TRADE LIST PRICE: $29.95 CDN $35.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by MIT List Visual Arts Center. Edited by Catherine Morris. Essays by Clarisse Bardiot and Michelle Kuo. Texts by Lucy Lippard and Brian O'Doherty. Introduction by Jane Farver.
In 1966, a Bell Laboratories physicist brought a group of avant-garde artists together with 10 open-minded members of the science and technology fields for 9 Evenings: Theatre and Engineering, a series of investigatory Happenings which took place at the 69th Regiment Armory and were duly noted by critics Lucy Lippard and Brian O'Doherty. The resulting seminal performances included John Cage's Variations VII, in which 30 photocells were mounted around the performance space, activating a variety of sound sources--including a blender, 20 radio channels and two Geiger counters--as the performers moved around. Other contributors included Lucinda Childs, Alex Hay, Deborah Hay, Oyvind Fahlstrom, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor and Robert Whitman. The events were photographed by Peter Moore, whose pictures, many never before been published, are featured here. Also included are Lippard and O'Doherty's original reviews; new scholarship by Clarisse Bardiot, Michelle Kuo and Catherine Morris; and an interview with one of the engineers.
Yuichi Yokoyama makes comics in a unique language situated somewhere between the primal drives of William Blake and the elegant geometries of Sol Lewitt--they are works of philosophical complexity and stunning visual power, of which he has said, "I'm not trying to write stories that are set in the future, but rather to write stories which are delivered from references to any given epoch or time. If the history of the world had turned out differently from what we know today, men would live according to different sets of values and different aesthetics…It would be a civilization completely alien to ours." This first U.S. book on Yokoyama's work combines two of the artist's central themes: fighting and building. One set of graphic stories, Public Works, details massive structures being erected across a landscape. Plot is pushed aside in favor of sheer formal verve as we watch buildings, about which we know nothing, come into being. The other set of stories, Combats, is one sequence after another of elegantly choreographed battles. Manga comics have never seen a talent that combines this level of formal ambition with such exquisitely drawn depictions of fashion, art and architecture.
Published by Hatje Cantz. Edited by Moritz Kueng. Text by Enrique Walker.
The Brussels-based architectural firm of OFFICE Kersten Geers David Van Severen was set up in 2002 by Kersten Geers (born 1975) and David Van Severen (born 1978). This book provides the first survey of their most significant architectural projects to date, including the widely acclaimed Belgian Pavilion, for the 2008 Architectural Biennial in Venice.
Published by The Drawing Center/ Independent Curators International. Text by João Ribas.
Though the technology for transmitting information long-distance dates from the nineteenth century, it was the fax machine, made commercially available in the 1970s, that turned facsimiles into a primary form of communication. Artists readily exploited the fax machine for its graphic and interactive possibilities, positing the medium as a precursor to the then-nascent field of new media art and within the legacy of mail art. Fax presents works by a multigenerational group of nearly 100 artists, architects, designers, scientists and filmmakers--Mel Bochner, Liam Gillick, Wade Guyton, Glenn Ligon, Jan De Cock, Cerith Wyn Evans, Morgan Fisher and Aurélien Froment, among others--that use the fax machine as a tool for thinking and drawing. Published to accompany an exhibition at New York's Drawing Center, FAX includes the drawings, texts, examples of early telecommunications art (with inevitable transmission errors), junk faxes and fax lore that were all transmitted via the gallery's fax line.
Published by Valiz. Edited by Jeroen Boomgaard. Text by Jeroen Boomgaard, BAVO, Chantal Mouffe, Roemer Van Toorn, Gerard Drosterij, Stan Majoor, Marina De Vries, Henk De Vroom, Joost Zonneveld.
The Zuidas area of Amsterdam is currently being developed as a vibrant new urban center, which will house office space, residential properties, restaurants and shops, among other facilities. The development has lofty ambitions, in which public artworks play a prominent role. A Zuidas Virtual Museum has thus been established in order to allow for "co-construction" of public artworks within the development, so that they will feel integrated and provocative when all is done, instead tacked-on or isolated. High-Rise and Common Ground reflects critically on the Zuidas proposals. How do the ambitions of the urban planners develop in conjunction with the artistic approach? How do the art projects influence the experience and use of the public space? The book also features various practical and theoretical contributions from artists including Orgacom, Barbara Visser, Renée Kool, Paul Toornend and Daniël van der Velden/Logo Parc.
Published by Hatje Cantz. Edited by Günther Holler-Schuster. Text by Hans Ulrich Obrist, Robert Fleck, Annelie Pohlen.
Alois Mosbacher (born 1954) is a representative of Austria's Neue Malerei (New Painting) movement of the 1980s. This publication shows the progression of Mosbacher's career with plates of early as well as recent works, illustrating his early personal mythology and his more recent use of photography and mass media.