Published by JRP|Ringier. Edited by Christoph Büchel and Giovanni Carmine.
In the spirit of Taliban, this artist's book on military "psychological operations" collects over 120 propaganda leaflets that have been dropped by the U.S. Army on Afghanistan and Iraq, as well as other similar material. It offers unique insight into the intense and varied strategies in play in a chaotic Middle East.
Published by MoMA PS1. Edited by Peter Eleey. Introduction by Peter Eleey. Foreword by Klaus Biesenbach. Text by W.H. Auden, Alexander Dumbadze, Peter Eleey, Robert Hullot-Kentor, Alexander Kluge, W.J.T. Mitchell.
The attacks of September 11, 2001 were among the most pictured disasters in history, yet they remain, a decade later, underrepresented in cultural discourse--particularly within the realm of contemporary art. Responding to these conditions, MoMA PS1 curator Peter Eleey brings together more than 70 works by 41 artists--many made prior to 9/11--to explore the attacks’ enduring resonance. Eschewing both images of the event itself and art made directly in response, the exhibition and its accompanying catalogue provide a subjective framework within which to reflect upon the attacks and their aftermath, and explore the ways that they have altered how we see and experience the world in their wake. Opening on the tenth anniversary of the attacks, September 11 includes works by Diane Arbus, John Chamberlain, Bruce Conner, Christo, Ellsworth Kelly, Mary Lucier, Stephen Vitiello and others.
Published by JRP|Ringier. Edited by Caroline Bourgeois. Text by Philippe-Alain Michaud, Larys Frogier, Elisabeth Lebovici.
Adel Abdessemed was born in 1971 in Constantine, Algeria. He left North Africa in the 1990s as a political migrant, and eventually his travels brought him to the P.S.1 International Studio Program, where he showed in Uniforms: Order and Disorder in 2001. Then September 11 came along. In its aftermath, Abdessemed found he couldn't make a home in the U.S. He was the subject of suspicion; it was "unlivable." He has since settled in Paris, but he hasn't left September 11 behind: his Fire Space includes a baggage cart full of burnt wood, and Habibi is a gigantic human skeleton, flying, Superman-style, arms outstretched--a cinematic, larger-than-life angel of the apocalypse. Beyond P.S.1, Abdessemed's work has been seen at the 2003 Venice Biennale and at the Palais de Tokyo, Paris. This is his first monograph.
Published by Charta. Text by Gary Tinterow, David A. Ross.
In the Spring of 2006, Cai Guo-Qiang, the Chinese-born, New York-based artist known for his ambitious explosion works and large, theatrical sculptures and installations--his most notorious work, commissioned by The Museum of Modern Art soon after 9/11, was a barrage of exploding fireworks that hovered over the city, showing that 'something used for destruction and terror can also be constructive, beautiful, and healing'--was invited by The Metropolitan Museum of Art to create a site-specific exhibition in the museum's roof garden. Those four works are featured in-depth here, including a tall glass sculpture surrounded by replicas of dead birds; a stone relief depicting post-9/11 vignettes; a pair of life-sized cast-resin crocodiles pierced with thousands of sharp objects confiscated at airport-security checkpoints; and "Clear Sky Black Cloud," an ephemeral work consisting of an actual black cloud that would hover over the roof garden and then burst into the sky at regular intervals, bleeding afterwards into nothingness.
BOOK FORMAT Paperback, 9.5 x 11 in. / 96 pgs / 115 color.
PUBLISHING STATUS PUB DATE 11/1/2006 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2007 p. 135
PRODUCT DETAILS ISBN 9788881586172TRADE LIST PRICE: $34.95 CDN $40.00
Published by The Museum of Modern Art, New York. Edited by Sarah Hermanson Meister.
The vitality of New York City--its energy, ambition and beauty--has long inspired great photographers, from Berenice Abbott to Garry Winogrand, from Lisette Model to Lee Friedlander. Composed of works selected from the collection of The Museum of Modern Art, Life of the City celebrates the great and continuing tradition of photography about New York. Featuring work by Harry Callahan, Henri Cartier-Bresson, Irving Penn, Alfred Stieglitz, Weegee and many others, and including a chapter of writings by notable observers of the city, the book explores the drama of New York's architecture, ranging from cavernous brick canyons and towering stone pinnacles to humble storefronts and tenements. It captures the city's glittering lights--outdoors on the skyline and in the flash of speeding cars, indoors at a string of the urban venues where people come together, from nightclubs and jazz rooms to society galas and parties. Most of all there are New Yorkers themselves--the city's bakers and builders, its politicians and policemen, its solitary nighttime strollers, its morning crowds of pedestrians hurrying to work, its children so beautifully memorialized by Helen Levitt, its in-turned individuals who, in the photographs of Cindy Sherman, seem to be living out some cultural myth of what it means to belong in and to one of America's greatest urban centers.
Published by Richter Verlag. Text by Lynne Cooke, Anne Rorimer, Pia Gottschaller, Jaleh Mansoor.
Shortly before his death in 1977, German painter Blinky Palermo created his most significant cycle of paintings, dedicating it "to the people of nyc." The work consists of 15 parts, composed from 40 painted aluminum panels arranged in combinations of cadmium red, cadmium yellow and black. Recalling Piet Mondrian's late series New York City (1941-42), and works by such American artists as Robert Ryman and Brice Marden, To the People of New York City (1976) is distinguished by its prescribed hanging and pacing, and its rhythmically changing formats, which also bring to mind the Jazz performances that Palermo sought out during his time in New York, where he had maintained a studio from 1973 to 1975. This handsome editiondiscusses To the People of New York City--today in the collection of New York's Dia Art Foundation--within this context and alongside works by his former teacher Joseph Beuys, and his long-time friends and colleagues Imi Knoebel and Gerhard Richter, among others.
Published by nai010 publishers. Text by Lieven de Cauter.
Particularly since September 11, the War on Terrorism and the war in Iraq, it has been almost impossible to dissociate architecture from its social context. Add to this the massive influence of capitalism on architecture, disturbing demographic developments and associated political, social, and ecological catastrophes, and the result is a robotic snapshot of a society dominated by fear, exclusion and simulation. Lieven De Cauter, a leading theoretician on the subject of capsularisation, has worked over the past six years on the essays and articles contained in this book, and has documented and analyzed our changing societies before and after 9/11. For the first time, the link between the global economy, demographic changes, world terror and the role played by the United States under the Bush admisinstration, are examined in detail in a single publication. De Cauter sketches a realistic and alarming account of the new world order that is an everyday concern for the architects and planners of the contemporary city as well as for its inhabitants and users.
Immediately following the attacks of 9/11, nearly 100 trained search dogs and their handlers were deployed by FEMA to assist in the rescue efforts at the World Trade Center in New York and the Pentagon in Washington, D.C. Enlisted from a network of 26 task forces in 18 states around the U.S., the dogs worked around the clock to locate survivors in the rubble, alongside firemen and other teams sorting through the debris. One decade later, Dutch photographer Charlotte Dumas succeeded in tracking down 15 of the surviving dogs that took part in these rescue operations, visiting and photographing the dogs at their homes throughout the U.S., where they all still lived with their handlers. Composed at close range in natural light, Dumas' powerful portraits--reproduced here in a thoughtfully designed paperback volume with Japanese binding--offer an intimate view into the everyday lives of these highly specialized working animals, now sharing the vulnerability of old age as they once pursued a common heroic goal.
Published by The Andy Warhol Museum. Artwork by Patti Smith. Edited by John Smith. Text by David Greenberg.
Impossible to categorize, moving easily between the literary, art and musical worlds, always unpredictable and impassioned, idiosyncratic musician and artist Patti Smith here presents an impressive body of visual art, mostly works on paper. Bringing together approximately 60 works spanning the past 30 years, Strange Messenger collects early pieces as well as new ones inspired by the September 11, 2001, bombing of the World Trade Center, in which Smith expresses her views about violence, religion, war and intolerance. This book marks the first occasion that Smith's drawings have been brought together in a single volume, as well as the first publication of most of the included works.
PUBLISHER THE ANDY WARHOL MUSEUM
BOOK FORMAT Paperback, 6.5 x 9 in. / 80 pgs / 50 color / 6 bw.
PUBLISHING STATUS PUB DATE 4/2/2003 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2003
PRODUCT DETAILS ISBN 9780971568822TRADE LIST PRICE: $19.95 CDN $25.00
New York's public-relations campaign is not likely to add “crazy city” to its already famous heart-icon declaration of love, but few would dispute the truth of noted German sculptor Isa Genzken's extension of it. Only a mind as oriented toward heterogeneity as hers could capture New York in all its insane glory. These three slipcased artist's books from the time Genzken spent in New York a decade ago are published here for the first time. The collection both illuminates the working methods she uses in her sculptures and stands alone as a work of art itself. The books contain, as do her other works, thoughtful if sundry conglomerations of the items that shape our everyday existence from design, advertising and the media. Particularly important to her are the relationships in the urban environment between public and private space, artistic autonomy and collective experience. These explorations, as a window into the mind of this important artist or a window looking out onto the city, will bring repeated enjoyment and insight.