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STAFF PICKS | FROM THE SHELVES

JONATHAN SCHNEIDER | DATE 3/6/2010

(in)appropriation

Dada: Zurich, Berlin, Hannover, Cologne, New York, ParisNational Gallery of Art, Washington/D.A.P.
Thomas Ruff: JpegsAperture
RES: The Useless TruthLa Marca
Cut/Film As Found Object In Contemporary VideoMilwaukee Art Museum
Aleksandra Mir: TriumphWalther König
John Baldessari: A Print Retrospective from the Collections of Jordan D. Schnitzer and his Family FoundationFine Arts Museums of San Francisco-Legion of Honor/Jordan Schnitzer Family
Gerhard Richter: Overpainted PhotographsHatje Cantz
The Autobiography and Sex Life of Andy WarholTrela Media
Crisis of the RealAperture
Paul McCarthy's Low Life Slow LifeHatje Cantz

Dada: Zurich, Berlin, Hannover, Cologne, New York, ParisDada: Zurich, Berlin, Hannover, Cologne, New York, Paris

Published by National Gallery of Art, Washington/D.A.P..
Edited by Leah Dickerman. Preface by Earl A. Powell. Text by Leah Dickerman, Dorothea Dietrich, Brigid Doherty, Sabine T. Kriebel, Janine Mileaf, Michael R. Taylor, Matthew S. Witkovsky.

Now available in paperback, this lavishly illustrated and astonishingly comprehensive volume stands as the definitive study of the influential but deliberately elusive international Dada movement of the early twentieth century. Organized according to the primary city centers where this shifting, quintessentially avant garde movement emerged, Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris features the work of 40 key artists, both infamous and lesser-known, including Louis Aragon, Hans Arp, Hugo Ball, André Breton, Otto Dix, Marcel Duchamp, Hannah Höch, Man Ray, Tristan Tzara and Kurt Schwitters, to name just a few, in media spanning painting, sculpture, photography, collage, photomontage, prints and graphic work. Dynamically designed with an uncommon intelligence suited to the complexity of the movement itself, it contains hundreds of reproductions of works which, until the major traveling exhibition of 2005 and 2006 for which this book was originally produced, had for the most part never been seen in one place together. Documentary images, topical essays and an invaluable illustrated chronology of the movement make this volume uniquely essential, along with witty chronicles of events in each city center, a selected bibliography and biographies of each artist, accompanied by Dada-era photographs.

PUBLISHER
NATIONAL GALLERY OF ART, WASHINGTON/D.A.P.

BOOK FORMAT
Paperback, 8.5 x 12 in. / 536 pgs / 403 color / 217 bw

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CATALOG: SPRING 2008 p. 171   

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ISBN 9780894683138 TRADE
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Thomas Ruff: JpegsThomas Ruff: Jpegs

Published by Aperture.
Text by Bennett Simpson.

How much visual information is needed for image recognition? A pretty small quantity of data will go a long way for the brain and the computer, both of which take shortcuts for the sake of speedy comprehension. In the Jpegs series, German photographer Thomas Ruff exploits this imprecision in digital technology, locating online jpegs and enlarging them until the pixels emerge in a chessboard pattern of near abstraction. A closer look at these images reveals that, in addition to the degeneration of the image into a digital grid, the color and brightness generated by the algorithms of the compression also become visible. Many of Ruff's works in this series focus on idyllic, seemingly untouched landscapes, or conversely, on scenes of war and nature disturbed by human manipulation--subjects ill suited to disruptive pixelation, and therefore perfect for Ruff's purposes. Taken together, these images constitute an encyclopedic compendium of contemporary visual culture that also engages the history of landscape painting. A fittingly deluxe and oversize volume, Jpegs is the first monograph dedicated exclusively to this monumental series.

PUBLISHER
APERTURE

BOOK FORMAT
Clth, 11.25 x 15 in. / 132 pgs / 65 color.

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CATALOG: SPRING 2009 p. 28   

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ISBN 9781597110938 TRADE
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RES: The Useless TruthRES: The Useless Truth

Published by La Marca.
Edited by Guido Indij. Text by Valeria Gonz·lez.

The artist known as RES, born Ral Stolkiner in Argentina in 1957, studied both photography and economics, which influences his work through the idea of an economics of ideas. This first critical anthology of his career gathers nine series of photographs--Where Are They & Magnets, Pardiez! (By God!), Pretty Little Plastic Thingy, DNSCTTH, On Jorge L. Borges, Me-Cactus, Between is Nothing, Hern·n CortÈs' Route, and his latest, Conatus. That most recent and perhaps most intense entry recreates--in detailed costume, makeup, lighting and composition--iconic pieces of western art, widely acknowledged masterpieces by painters such as Velazquez, da Vinci and Picasso. Each portfolio is introduced by a short text key to its interpretation. And how to interpret the title? The Useless Truth refers to art's ability to highlight the irrelevance of information, a truth RES points out is just as useless as any other while it remains locked away in the autonomous field of art.

PUBLISHER
LA MARCA

BOOK FORMAT
Paperback, 9 x 12 in. / 228 pgs / 150 color.

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CATALOG: SPRING 2007 p. 125   

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ISBN 9789508891150 TRADE
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Cut/Film As Found Object In Contemporary VideoCut/Film As Found Object In Contemporary Video

Published by Milwaukee Art Museum.
Edited by Stefano Basilico. Essays by Stefano Basilico, Lawrence Lessig and Rob Yeo. Introduction by David Gordon.

The moving picture, film, and television have exerted an unmatched influence throughout the twentieth century, equally documenting and constructing our reality. It is the peculiar power of the moving image that while it may be depicting a fiction, our viewing of it is real and therefore the experience and memory we take away from it is filed away with all the other events and memories that have actually happened to us. The artists in Cut have taken the material of their reality--the movie and the news program--and manipulated it to reveal its power to communicate and shape reality. Clearly indebted to the appropriation strategies of the 1980s and sampling in hip hop and rap music of the 1990s, these artists are united by their gestural use of editing. Whether through looping, repetition, erasure, or compression, their active manipulation of their medium recalls the importance that action was given by Richard Serra in 1968, when he published “Verb List,” a list of actions that a sculptor could use to create sculpture: to roll, to crease, to fold, to cut, etc. Cut explores the actions through which artists create videos. Through the physical manipulation of the most familiar of media, they restructure reality, making the familiar unfamiliar and instilling in the viewer the opportunity to comprehend and distinguish a new reality. Included are works by Candice Breitz, Omar Fast, Douglas Gordon, Michael Joaquin Grey, Pierre Huyghe, Christian Marclay, Jennifer & Kevin McCoy and Paul Pfeiffer.

PUBLISHER
MILWAUKEE ART MUSEUM

BOOK FORMAT
Flexi, 9 x 9 in. / 128 pgs / 60 color.

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CATALOG: FALL 2004

PRODUCT DETAILS
ISBN 9780944110652 TRADE
LIST PRICE: $24.95 CDN $27.50

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Awaiting stock

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Aleksandra Mir: TriumphAleksandra Mir: Triumph

Published by Walther König.
Edited by Matthias Ulrich. Text by Max Hollein, Gabi Langen.

Born in Poland, Aleksandra Mir has resided in Palermo for the past several years. For her 2008 project "Triumph," Mir collected, cleaned and archived more than 2,500 trophies, which are catalogued here. Each has been individualized with an engraving telling its specific story.

PUBLISHER
WALTHER KöNIG

BOOK FORMAT
Paperback, 8.25 x 10.5 in. / 64 pgs / 30 color / 15 bw.

PUBLISHING STATUS
PUB DATE
Out of print

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CATALOG: FALL 2009 p. 132   

PRODUCT DETAILS
ISBN 9783865605764 TRADE
LIST PRICE: $28.00 CDN $32.50

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STATUS: Out of print | 00/00/00

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John Baldessari: A Print Retrospective from the Collections of Jordan D. Schnitzer and his Family FoundationJohn Baldessari: A Print Retrospective from the Collections of Jordan D. Schnitzer and his Family Foundation

Published by Fine Arts Museums of San Francisco-Legion of Honor/Jordan Schnitzer Family.
Text by Hunter Drohojowska-Philip.

Conceptual art veteran John Baldessari (born 1931) began making prints in the mid-1970s, and has placed printmaking at the center of his appropriative practice, in which found photographs of people are amended with colorful dots that blot out the heads of the subjects, redirecting the viewer's attention towards marginal detail. “In my work,” he says, “I found that I could be the master of my own universe and control what people see and pay attention to.” For Baldessari, keen as he is to minimize or erase his own manual presence, printmaking also helps to flatten out these collaged additions and interventions, heightening their sense of estrangement and beguiling anonymity. Many of Baldessari's prints series have been extremely influential, such as the 1970s Raw Prints series, for which he amended photos of Santa Monica mallgoers with abstracted shapes printed above the images that replicate details from them; this series was pivotal in democratizing photo-based prints in the art world. Since then, Baldessari has gone on to collaborate with some of the world's great printmakers, such as Brooke Alexander, Gemini G.E.L., Cirrus Editions, Edition Jacob Samuel, Mixographia and Crown Point Press. An essential volume in any contemporary art library, this first full survey of Baldessari's four-decade printmaking career is the definitive volume on the prints, and boasts 140 color plates alongside testimonies from his printmaking collaborators.

PUBLISHER
FINE ARTS MUSEUMS OF SAN FRANCISCO-LEGION OF HONOR/JORDAN SCHNITZER FAMILY

BOOK FORMAT
Clth, 10 x 12 in. / 160 pgs / 140 color.

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CATALOG: SPRING 2010 p. 91   

PRODUCT DETAILS
ISBN 9781935202103 TRADE
LIST PRICE: $59.95 CDN $70.00

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Gerhard Richter: Overpainted PhotographsGerhard Richter: Overpainted Photographs

Published by Hatje Cantz.
Edited by Markus Heinzelmann. Text by Botho Strauss, Siri Hustvedt, Uwe M. Schneede.

Gerhard Richter is justly famed for the photorealism of his early canvases, but it is less well known that he has also painted directly onto photographic prints. These (mostly small-format) pieces were reproduced in books as early as the first Atlas, but practically all of the works themselves are housed in private collections and rarely exhibited in public. Overpainted Photographs gathers this body of work, which unites the labor of the hand with the work of mechanical reproduction to produce a kind of art as conceptually rich as Richter's better-known paintings, neutralizing the expressive powers of each medium to reach an indifference to their potency. In an overture to Duchamp's "degree zero" found objects, the original photographs are frequently bland in content--an empty office, a ball, a beach scene or tourist snapshot--and Richter's painterly gestures bounce off that content in peculiar ways, sometimes interacting with it, sometimes overlaying it and sometimes threatening to eclipse it altogether. The final effect is to cause both photography and painting to seem like incredibly bizarre activities, disparate in texture but often complicit in aspiration. This monograph offers a unique opportunity to savor what had previously been a neglected but copious aspect of Richter's work.

PUBLISHER
HATJE CANTZ

BOOK FORMAT
Clth, 9 x 10.5 in. / 392 pgs / 495 color.

PUBLISHING STATUS
PUB DATE
Out of print

DISTRIBUTION
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CATALOG: SPRING 2009 p. 7   

PRODUCT DETAILS
ISBN 9783775722438 TRADE
LIST PRICE: $60.00 CDN $70.00

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STATUS: Out of print | 12/1/2010

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The Autobiography and Sex Life of Andy WarholThe Autobiography and Sex Life of Andy Warhol

Published by Trela Media.
By John Wilcock. Edited by Christopher Trela. Photographs by Shunk-Kender.

Village Voice and Interview cofounder John Wilcock was first drawn into the milieu of Andy Warhol through filmmaker Jonas Mekas, assisting on some of Warhol's early films, hanging out at his parties and quickly becoming a regular at the Factory. “About six months after I started hanging out at the old, silvery Factory on West 47th Street,” he recalls, “[Gerard] Malanga came up to me and asked, ‘When are you going to write something about us?'” Already fascinated by Warhol's persona, Wilcock went to work, interviewing the artist's closest associates, supporters and superstars. Among these were Malanga, Naomi Levine, Taylor Mead and Ultra Violet, all of whom had been in the earliest films; scriptwriter Ronnie Tavel, and photographer Gretchen Berg; art dealers Sam Green, Ivan Karp, Eleanor Ward and Leo Castelli, and the Metropolitan Museum of Art's Henry Geldzahler; the poets Charles Henri Ford and Taylor Mead, and the artist Marisol; and the musicians Lou Reed and Nico. Paul Morrissey supplied the title: The Autobiography and Sex Life of Andy Warhol is the first oral biography of the artist. First published in 1971, and pitched against the colorful backdrop of the 1960s, it assembles a prismatic portrait of one of modern art's least knowable artists during the early years of his fame. The Autobiography and Sex Life is likely the most revealing portrait of Warhol, being composite instead of singular; each of its interviewees offers a piece of the puzzle that was Andy Warhol. This new edition corrects the many errors of the first, and is beautifully designed in a bright, Warholian palette with numerous illustrations.The British-born writer John Wilcock cofounded The Village Voice in 1955, and went on to edit seminal publications such as The East Village Other, Los Angeles Free Press, Other Scenes and (in 1970) Interview, with Andy Warhol.

PUBLISHER
TRELA MEDIA

BOOK FORMAT
Hardcover, 9.75 x 9.75 in. / 256 pgs / 22 color / 84 duotone.

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CATALOG: SPRING 2010 p. 171   

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ISBN 9780970612618 TRADE
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Crisis of the RealCrisis of the Real

Writings on Photography

Published by Aperture.
By Andy Grundberg.

We are pleased to announce Aperture's reissue of Crisis of the Real, Andy Grundberg's classic collection of writings on photography—an essential work for anyone seeking clarity and insight into photography's place in today's world. Known internationally for his articles in The New York Times and other publications, Andy Grundberg has been one of the most respected and widely read voices in photography and the visual arts for nearly 30 years. His interpretations and critical opinions have helped shape the broad understanding of photography's complex roles in art and the media. Over the course of the 50 essays and articles in this authoritative collection, Grundberg questions the nature of photography and how we perceive it, reevaluates some of the great photographers of our time and brings into focus the major debates in photography at the end of the twentieth century. Although some essays were originally written more than 30 years ago, the issues and concerns addressed by Grundberg remain relevant today.

PUBLISHER
APERTURE

BOOK FORMAT
Paperback, 6.5 x 9 in. / 292 pgs / 44 bw.

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CATALOG: SPRING 2010 p. 40   

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ISBN 9781597111409 TRADE
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Paul McCarthy's Low Life Slow LifePaul McCarthy's Low Life Slow Life

Published by Hatje Cantz.
Text by Jens Hoffmann.

Low Life Slow Life—a hefty, 640-page tome covering a two-part exhibition at San Francisco's CCA Wattis Institute curated by Los Angeles-based artist Paul McCarthy—is packaged as an instantly recognizable recreation of a Tide box, circa 1973. A fine work of book art in its own right, it showcases a vast range of works that have influenced McCarthy's career, presenting a personal map of his individual take on art history alongside his unique creative philosophy. This personal map includes works by John Altoon, Günter Brus, Howard Fried, Dan Graham, Allan Kaprow, Rachel Khedoori, Yves Klein, Tetsumi Kudo, Yayoi Kusama, Maria Lassnig, Robert Mallary, Gustav Metzger, Yoko Ono, Lil Picard, Jason Rhoades, Dieter Roth, Barbara Smith, Stan VanDerBeek and Andy Warhol. The catalogue, which is designed by McCarthy with Jon Sueda, also includes an interview with McCarthy and an essay on his work by Wattis Institute curator Jens Hoffmann.

PUBLISHER
HATJE CANTZ

BOOK FORMAT
Paperback, 6.5 x 9.25 in. / 640 pgs / 700 color.

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CATALOG: SPRING 2010 p. 63   

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ISBN 9783775725736 TRADE
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