Edited by Joan Rothfuss and Elizabeth Carpenter. Essays by Elizabeth Alexander, A.S. Byatt, Dave Eggers, Arthur C. Danto, Wayne Koestenbaum, James Lingwood, Linda Nochlin, Annie Proulx, David Shapiro, Charles Simic, Howard Singerman, Hamza Walker et al.
Clothbound, 7.5 x 10.5 in. / 616 pgs / 680 color / 150 duotone. | 4/15/2005 | In stock ISBN 9780935640786 | $45.00
Published by The Studio Museum in Harlem. Edited by Naima J. Keith. Foreword by Thelma Golden. Text by Courtney J. Martin, Anne Ellegood, Howard Singerman, Ellen Tani, Malik Gaines, Bennett Simpson, Abbe Schriber, Jamillah James.
Widely regarded as one of the leading exponents of postminimalist art in the late 1970s, Charles Gaines (born 1944) is known primarily for his photographs, drawings and works on paper that investigate systems, cognition and language. Considered against the backdrop of the Black Arts Movement of the 1970s and the rise of multiculturalism in the 1980s, the works in Charles Gaines: Gridwork 1974-1989 are radical gestures. Eschewing overt discussions of race, they take a detached approach to identity that exemplifies Gaines' determination to transcend the conversations of his time and create new paths. Charles Gaines: Gridwork 1974-1989 gathers significant examples from several of the artist's most important series, including 75 key works from the mid-1970s through the late 1980s. It features drawings and photographs from public and private collections--some of which were previously considered lost--and essays by leading scholars and curators.
PUBLISHER The Studio Museum in Harlem
BOOK FORMAT Hardcover, 8.75 x 10.25 in. / 168 pgs / 100 color / 70 duotone.
PUBLISHING STATUS Pub Date 8/31/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 137
PRODUCT DETAILS ISBN 9780942949407TRADE List Price: $50.00 CDN $60.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Hatje Cantz. Edited by Martin Hentschel. Text by Howard Singerman.
American Conceptualist Sherrie Levine (born 1947) took one of the central tenets of modernism--artistic originality--and systematically dismantled it. In 1979, she photographed pictures by master photographer Walker Evans directly out of catalogues and then exhibited them as her own; similar outright appropriations were made of works by Van Gogh, Léger and Duchamp. Again and again, Levine's works pose questions of aura, authoriality and, perhaps most importantly, value. Pairs and Posses is the first monograph to focus exclusively on the sculptural duos and trios that the artist has been making since 1992. Here, objects found on eBay and in junk or antique shops might be cast in black glass, crystal or bronze. The transposition of these objects into worthier material automatically renders kitsch objects works of "high" art. Where Levine's early work debunked modernism's aura of irrefutability, the pieces in Pairs and Posses perform an opposite inversion of cultural worth.
Published by JRP|Ringier. Edited by Anne Pontégnie. Text by Mike Kelley, Anne Pontégnie, Diedrich Diederichsen, Howard Singerman.
In 1995, Mike Kelley devised the Educational Complex, an amalgam of every school he attended and of the house he grew up in, "with all the parts I couldn't remember left out"--a total environment, "sort of like the model of a Modernist community college." The blind spots in this model represent forgotten ("repressed") zones, and so are reconceived by Kelley as sites of institutional abuse, for which specific traumas were devised (each having their own video and sculptural component). For Kelley, this work marks the beginning of a series of projects in which pseudo-autobiography, repressed-memory syndrome and the reinterpretation of previous pieces become the tools for a poetic deconstruction of such complexes and the way we interact with and narrate them. Educational Complex Onwards, 1995-2008 is the first book to collect these works. Each project within the series is extensively documented by artist's texts and reference material, while essays by Diedrich Diederichsen, Howard Singerman and Anne Pontégnie examine the place of this body of work within Kelley's oeuvre.
Published by Walker Art Center. Edited by Joan Rothfuss and Elizabeth Carpenter. Essays by Elizabeth Alexander, A.S. Byatt, Dave Eggers, Arthur C. Danto, Wayne Koestenbaum, James Lingwood, Linda Nochlin, Annie Proulx, David Shapiro, Charles Simic, Howard Singerman, Hamza Walker et al.
One of the premier institutions of contemporary art in the country, the Walker Art Center also holds an important collection of over 11,000 objects from the early twentieth century to the present. These holdings reflect the Center's renowned multidisciplinary program, and include paintings, sculpture, prints, photography, film, video, installations and digital arts that range in date from classic early Modernist to cutting edge contemporary.