Essays by Francesco Bonami, Giorgia Bottinelli, Germano Celant, Carolyn Christov-Bakargiev, Corinna Criticos, Judith Kirshner, Robert Lumley, Karen Pinkus. Artists include Giovanni Anselmo, Alighiero e Boetti, Giorgia Bottinelli, Pier Paolo Calzolari, Lu
Hardcover, 8 x 10 in. / 304 pgs / illustrated throughout. | 7/2/2001 | Awaiting stock ISBN 9780935640694 | $50.00
Published by Osmos. Edited by Cay Sophie Rabinowitz. Text by Tom McDonough, Carolyn Christov-Bakargiev, Troy Selvaratnam.
Osmos Magazine is "an art magazine about the use and abuse of photography," explains founder and editor Cay Sophie Rabinowitz (formerly of Parkett and Fantom). Nourishing contemporary perspectives in photography and the visual arts, and delivering a unique view with content divided into recurring thematic sections—some traditional, such as "Portfolio," "Stories" and "Reportage"—and others more idiosyncratic, such as "Eye of the Beholder," where gallerists discuss the talents they showcase; and "Means to an End," about the side effects of nonartistic image production. Contributors to this issue include Michael St. John, Stuart Ringholt, Azadeh Akhlaghi and Sam Samore, with a vintage Bruce Mozert image on the cover.
Published by Damiani. Edited with introduction by Allan Schwarzman. Text by Joshua Mack, Carolyn Christov-Bakargiev, Nicholas Cullinan, Ming Tiampo.
In the decades following World War II, both Japan and Italy were rebuilding after the ravages of war, constructing democratic political systems after a period of fascism. Parallel Views presents a breadth of postwar masters of Italian and Japanese art. The 145 artworks reproduced here include works by the Italian proto-Arte Povera and Arte Povera artists Alighiero Boetti, Alberto Burri, Lucio Fontana, Piero Manzoni, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto and Mimmo Rotella. Central figures in the Gutai movement—Matsutani Takesada, Saburo Murakami, Shimamoto Shozo, Shiraga Kazuo—are represented, as are important Mono-ha artists, including Lee Ufan, Sekine Nobuo, Suga Kishio and Takematsu Jiro, among others. This volume gives readers a unique opportunity to view works that have rarely been shown or considered together but in fact share common themes and concerns. As essayist Joshua Mack states, "modernism was not a process extending a dominant model from Paris or New York to outlying countries, like Japan or Italy, but rather a process of exchange between interlinked nodes. Its dynamic is a process of creative interpretation in which concepts originating in one context were understood differently in another." A panel discussion among three leading scholars of this period in Italian and Japanese art further examines the connections and simultaneities between the art and artists of this period. Parallel Views invites readers to explore a body of artworks that have been overlooked until recently but warrant renewed attention.
Published by Walther König, Köln. Edited with foreword by Brigitte Franzen, James Lingwood. Text by Sara Arrhenius, Katrina M. Brown, Carolyn Christov-Bakargiev, et al.
You Are Not Alone presents ten sound installations by Scottish sculptor Susan Philipsz (born 1965), realized in Münster, Glasgow, Stockholm, Oxford, Berlin, Helsinki, Chicago, London, Edinburgh and Kassel. The publication is accompanied by a web-based audio guide featuring excerpts from each piece.
Published by onestar press. By Lori Waxman. Afterword by Carolyn Christov-Bakargiev.
Are you an artist? Do you need a review? Operating from a small, single-room structure installed at Documenta 13, Chicago-based art historian and "60 wrd/min art critic" Lori Waxman offered free reviews to any artist who wanted one. A sign in the window announced: "Reviews are free of charge, and are written here on Mondays, Wednesdays and Saturdays between the hours of 1 and 6 p.m. Lori Waxman will spend 25 minutes looking at submitted work and writing a 200-word review. Thoughtful responses are guaranteed. Completed reviews will be published in the Hessische/-Niedersächsische-Allgemeine (HNA) weekly, and will remain on view here throughout Documenta 13." This book collects together all 241 reviews written during the performance, and includes an afterword by the exhibition's artistic director, Carolyn Christov-Bakargiev, who praises the project as "insanely democratic."
PUBLISHER ONESTAR PRESS
BOOK FORMAT Paperback, 5.5 x 9 in. / 150 pgs / 253 bw.
PUBLISHING STATUS PUB DATE 5/31/2014 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2014 p. 154
PRODUCT DETAILS ISBN 9782915359442TRADE LIST PRICE: $29.95 CDN $35.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by D.A.P./Distributed Art Publishers, Inc.. Edited and with text by Jens Hoffmann. Conversation with Hans Ulrich Obrist, Massimiliano Gioni, Maria Lind, Jessica Morgan, Carolyn Christov-Bakargiev, Adriano Pedrosa, Mary Jane Jacob.
This monumental new book explores the recent history of exhibition-making, looking at the radical shifts that have taken place in the practice of curating contemporary art over the last 20 years. Tracing a history of curating through its most innovative shows, renowned curator Jens Hoffmann selects the 50 key exhibitions that have most significantly shaped the practice of both artists and curators. Chosen from the plethora of exhibitions, biennials and art events that have sprung up across the world since the 1990s, each exhibition reviewed here has triggered profound changes in curatorial practice, and reanimated the potential of contemporary art. The book includes an international roster of curators, and exhibition venues that span the globe, from the USA, Mexico, Brazil and South Africa to France, Germany, the Netherlands, Turkey and Spain. It is comprised of nine themed sections, including: "New Lands" (on shows such as Magiciens de la Terre, The Short Century and After the Wall); "Biennial Years" (which documents influential biennials such as the Documentas [10, 11, 13] and the Berlin and São Paulo Biennials); "New Forms" (including experiments in exhibition-making such as Do It and NowHere); "Others Everywhere" (on ‘identity politics’ shows such as In a Different Light, Phantom Sightings and the 1993 Whitney Biennial); "Tomorrow’s Talents Today" (on influential group exhibitions of emerging artists such as Helter Skelter and Sensation); and "History" (on historical surveys such as Inside the Visible, Global Conceptualism and WACK!). A bold proposition for the future of exhibition culture as well as a means of making the recent past accessible, Show Time is essential reading for any student of curating or museum studies, for professional curators and for all those interested in one of today’s most dynamic forms of cultural production. Jens Hoffmann is an exhibition maker and writer based in New York. He is Deputy Director and Head of Exhibitions and Public Programs at The Jewish Museum, New York. He has curated and co-curated a number of large-scale exhibitions, including the 2nd San Juan Triennial (2009), the 12th Istanbul Biennial (2011) and the 9th Shanghai Biennial (2012).
Published by Walther König, Köln. Text by Thomas Bayrle, Devrim Bayar, Carolyn Christov-Bakargiev, Jörg Heiser.
All-in-One offers an overview of the multifaceted oeuvre of Thomas Bayrle (born 1937), from his early kinetic machines to the recent engine installations, the serigraphies, sculptures, videos, his early work as a graphic designer and publisher (with an illustrated bibliography of Bayrle’s artists’ books) and samples from his own texts.
Published by Walther König, Köln. Edited by Susanne Pfeffer. Text by Carolyn Christov-Bakargiev, Heike Mertens, Jessica Morgan, Susanne Pfeffer, Sarah Rifky.
Egyptian artist Wael Shawky (born 1971) is a storyteller. This publication records a new, large-scale video installation based on his personal experiences in Upper Egypt, where, with the collaboration of local children, he restaged the epic story of a local shaman.
Published by Walther König, Köln. Foreword by Carolyn Christov-Bakargiev. Text by Defne Ayas. Conversation with Carolyn Christov-Bakargiev, Hans Ulrich Obrist, Füsun Onur.
This spiral-bound, scrapbook-style guide to the half-century career of Turkish sculptor Füsun Onur (born 1938) reproduces more than 200 pages of photo documentation from the artist’s personal albums. Onur’s sculptures range from minimalist abstraction to assemblage incorporating furniture and fabric.
Published by Walther König, Köln. Foreword by Carolyn Christov-Bakargiev, Yolanda Romero. Text by Claire Bishop, Ellen Blumenstein, Eva Fabbris, Chus Martinez, Carmen Roll.
The third in a trilogy of books addressing marginality and outsider art as an artistic position, Mad Marginal Number 3 looks at the work of Spanish artist Dora García (born 1965), who explores the limits of art discourse in her text-based works.
Published by Walther König, Köln. Foreword by Carolyn Christov-Bakargiev, Madeleine Grynsztejn. Text by Michael Darling, Theaster Gates, Matthew Jesse Jackson, John Preus. Conversation with Carolyn Christov-Bakargiev.
12 Ballads for Huguenot House chronicles a project by American installation artist Theaster Gates (born 1973), in which he united two disused buildings--one in Chicago and the other in Kassel, Germany--by dismantling parts of each to reuse in the rebuilding of the other. Huguenot House, in Kassel, was built in the early nineteenth century by migrant workers, as were so many of the houses in Gates’ own neighborhood in Chicago, and today is in a state of disrepair. Gates therefore proposed an architectural exchange, transporting materials from a dilapidated building in Chicago to renovate Huguenot House, while reusing materials from Huguenot House to reconstruct the Chicago building.
Published by Hatje Cantz. Text by Carolyn Christov-Bakargiev, Andreas Huyssen, Livia Monnet.
One of India’s most influential contemporary artists, Nalini Malani (born 1946) creates paintings, wall drawings, theatrical works, video and shadow plays. Inherited iconographies and cherished cultural stereotypes are challenged from a contemporary urban, internationalist point of view. This catalogue accompanies her show at Documenta 13.
The Documenta Logbook volume reveals Artistic Director Carolyn Christov-Bakargiev's working methods for the 2012 Documenta, from the earliest planning stages in 2010 right up to the opening of Documenta in 2012, in writings and photographs. A second section of photographs documents the installation of artist's works in Kassel, plus a schedule of the various public events, from concerts to performances. With its emphasis on the provisional and the processual and the provisional, the Logbook expresses Christov-Bakargiev's guiding strategy and philosophy for Documenta 13: "to exercise imagination as a space of accuracy in which to practice and challenge our definition of the political." Christov-Bakargiev is a curator and writer based in Rome, Kassel and New York. After organizing exhibitions as an independent curator in different countries, from 1999 to 2001 she was senior curator of exhibitions at MoMA P.S.1. She was the chief curator at the Castello di Rivoli Museum of Contemporary Art in Turin from 2002 to 2008 (and interim director of the museum in 2009). She was the co-curator of the first Turin Triennial in 2005 and artistic director for the 16th Biennale of Sydney in 2008.
The Guidebook is entirely devoted to the artists participating in Documenta 13. Each one is introduced in an illustrated essay written by one of the Documenta's agents, in close collaboration with the artists-who also contribute illustrations, which are as diverse as the projects themselves. These essays are individual visual statements, ranging from drawings to notes. Narrative introductions to the various venues combine factual details with Carolyn Christov-Barkargiev's key ideas and concepts, which are connected to each of the venues. Containing a map of the exhibition and brief descriptions of all of the sites and projects, this short guide is an indispensable tool both for those attending Documenta 13 and anyone unable to visit the show in person.
The Book of Books offers an overview of Documenta 13's guiding themes through a compilation of art projects and essays. Documenta 13's Artistic Director Carolyn Christov-Bakargiev has proposed the 2012 festival as a refusal of conceptual unity, instead "choreographing many different kinds of materials, methodologies and forms of knowledge." Responding to the political and economic uncertainty of our times, Christov-Bakargiev declares that "Documenta must aspire, by contrast, to instead exercise imagination as a space of accuracy in which to practice and challenge our definition of the political." The Book of Books reproduces the entire 100 Notes-100 Thoughts series of publications (either as facsimiles or with entirely new layouts), and is supplemented by essays from Carolyn Christov-Bakargiev, Chus Martínez, Franco Berardi and others, plus statements by some of the festival's agents and advisors. Illustrated short biographies of all participating artists are included, along with a catalogue of the works on display.
Carolyn Christov-Bakargiev reflects on the relationship between destruction and art, and on art's converse capacity for healing. Guiding us through a web of etymological, historical, philosophical, personal and art historical references, she takes the reader from Melanie Klein's ideas on the dyadic relationship between mother and child and Walter Benjamin's reflection on Klee's "Angelus Novus," to Man Ray's metronomes and Objects of Destruction, Lee Miller's photographs from the end of World War II, Gustav Metzger's "Manifesto of Auto-Destruction" and the destroyed Bamiyan Buddhas, which are accompanied by Michael Petzet's report of ICOMOS's response to the monuments. Also included are artworks by Michael Rakowitz, drawings and poems by Anna Boghiguian and a postscript by art historian Dario Gamboni on the concept of "world heritage" and its attendant legislation. For Christov-Bakargiev, "the sphere of art is poised on the edge of the private and of history, and becomes the location where one can experiment the possibilities of being on the edge of the anthropocentric, where the rubble lies."
Published by Hatje Cantz. Text by Carolyn Christov-Bakargiev, Iara Boubnova, Christy Lange.
Bulgarian artist Nedko Solakov (born 1957) is a storyteller who roots his themes in melancholic, humorous reflections on everyday life. His ambitious new installation at Ikon Gallery in the U.K. combines drawings, paintings, video and objects, and includes works made prior to 1989 (when Bulgaria was under Communist rule) alongside later pieces for which he is better known.
Published by Hatje Cantz. Text by Carolyn Christov-Bakargiev, Catherine Crowston, Janet Cardiff.
Janet Cardiff and George Bures Miller's “The Murder of Crows” is a surrealistic sound installation inspired in part by Goya's famous etching “The Sleep of Reason Produces Monsters.” This hallucinatory work depicts a man asleep with owls and bats swooping menacingly around his head; Cardiff and Miller's title also refers to the habit among crows of flocking to a dead crow and cawing collectively, often for over a day, in a “crow funeral.” The installation is composed of 98 speakers that visually mimic the flocking crows and issue both ambient and musical sounds, and a desk (mimicing Goya) with a megaphone from which Cardiff's voice relays a series of dreams. This artist's book account of the project--as well as selected earlier projects--includes documents, interviews with the artists, ornithological and literary texts referring to crows, plus a DVD and 3-D reproductions with glasses.
Published by Hatje Cantz. Text by Daniel Birnbaum, Simon Starling, Carolyn Christov-Bakargiev.
Since 2006, Guillermo Faivovich and Nicolás Goldberg have been researching a 4,000 year-old meteorite shower. El Taco, one of the meteorites, was discovered in the 1960s and was divided between the Smithsonian and Buenos Aires' planetarium. Here, the artists reunite the parts.
Published by Walther König, Köln. Text by Clint Burnham, Roman Buxbaum, Carolyn Christov-Bakargiev, Harald Szeemann.
After studying at the Academy of Arts in Prague, Miroslav Tichy, born in 1926 in the former Czechoslovakia, withdrew to a life of isolation in his hometown of Kyjov. In the late 1950s, he stopped painting and, during his daily walks, began to take photographs of women with cameras he made by hand. He mounted his prints on handmade frames and added finishing touches in pencil, shifting from photography to drawing. Disregarding the rules of photography, for four decades Tichy created a large oeuvre of poetic, dreamlike views of female beauty. A former neighbor, Roman Buxbaum, discovered Tichy's hidden work in the 1980s and has been documenting and collecting it ever since. In 2004, the esteemed international curator Harald Szeemann mounted the first solo exhibition of the nearly 80-year-old artist. That same year, Tichy was given the Rencontres d'Arles Photographie Discovery Award and the Kunsthaus Zurich organized a large retrospective. Solo exhibitions at the Centre Pompidou in Paris and the Museum of Modern Art (MMK) Frankfurt followed in 2008. Tichy does not see his exhibitions, for he no longer leaves his house. This beautifully produced, thorough volume collects the work--perfectly.
Published by Hayward Publishing. Text by Ralph Rugoff, Kaja Silverman, Barry Schwabsky, Carolyn Christov-Bakargiev, Martin Herbert.
Andy Warhol’s silk screens, Gerhard Richter’s blurred images, Vija Celmins’ hyperrealism: some of the most influential developments in the history of contemporary art hinge on the use of photographs as source material. Beginning in the early 60s, with seminal works by the aforementioned artists, The Painting of Modern Life charts the 45-year evolution of the translation of photographic images to paint--revealing an extraordinary breadth of stylistic and thematic diversity. This volume features 22 painters whose sources range from snapshots to commercial media, among them Richard Artschwager, Robert Bechtle, Celmins, Peter Doig, Marlene Dumas, Thomas Eggerer, Judith Eisler, Franz Gertsch, Richard Hamilton, Eberhard Havekost, David Hockney, Johannes Kahrs, Johanna Kandl, Martin Kippenberger, Liu Xiaodong, Malcolm Morley, Elizabeth Peyton, Michelangelo Pistoletto, Richter, Wilhelm Sasnal, Luc Tuymans and Warhol. Essays by curator Carolyn Christov-Bakargiev, writer and critic Martin Herbert, Hayward Director Ralph Rugoff and poet and critic, Barry Schwabsky lend insight to issues of translation, context and content.
Published by Fondazione Merz. Essays by Carolyn Christov-Bakargiev, Pier Giovanni Castagnoli, et al.
Mario Merz, the late, great proponent of Arte Povera, envisioned the contemporary artist as a nomad, ever mediating and meditating on the relationship between nature and culture. He began to make work after his arrest in 1945 for anti-fascist activities; confined to jail, he drew incessantly on whatever material he could find. After his release, he painted first in oil on canvas, then began to pierce the canvas--as well as objects such as bottles, umbrellas and raincoats--with neon tubes, symbolically infusing them with energy. In 1968, Merz adopted one of his signature motifs, the igloo, symbol of the transitory artist. At base a metal skeleton, the igloo could be covered with site-specific fragments of clay, wax, mud, glass, burlap, or bundles of branches, and decorated with political or literary phrases in neon tubing. Merz's iconography later came to incorporate the Fibonacci formula of mathematical progression (1, 2, 3, 5, 8, 13, 21, 34...), stacked newspapers, archetypal animals, motorcycles and the table, symbol of the human need for fulfillment and interaction. This posthumous monograph is the most complete publication on the artist. It includes documentation of his entire artistic production, including paintings, sculptures, installations, drawings, neon and Fibonacci series work, plus many previously unpublished materials. With a comprehensive history of Merz's career, a bibliography, a biographic chronology and critical essays, it offers a deep and deserving reflection of the artist and his significant role in twentieth-century art.
PUBLISHER FONDAZIONE MERZ
BOOK FORMAT Hardcover, 9 x 10.5 in. / 500 pgs / 800 color.
PUBLISHING STATUS PUB DATE 1/2/2005 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2004
PRODUCT DETAILS ISBN 9788877571847TRADE LIST PRICE: $65.00 CDN $75.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Onestar Press. Interview by Carolyn Christov-Bakargiev. Afterword by Giuliana Carusi Setari.
To circumvent is to get around the rules, to find loopholes, to initiate idiosyncratic solutions, to employ subtle metaphor to highlight problematic situations. Michael Rakowitz does just that, combining architecture, design, agitational techniques and a poetic sensibility to create installations and performances that touch on issues of power, visibility and memory. His paraSITe shelters are custom-built tents for homeless people that attach to the hot exhaust vents of buildings, creating not only a heated abode but one much more visible than a cardboard box. Rise conducts the smell of Chinese pastries from a Chinatown bakery to the decidedly un-local art exhibition in an adjacent building. And in Minaret, Rakowitz uses an alarm clock bought in Jordan to broadcast the adhan, the Muslim call to prayer, to a city where minarets are otherwise quieted.
PUBLISHER ONESTAR PRESS
BOOK FORMAT Paperback, 5.5 x 8.75 in. / 156 pgs / 80 bw.
PUBLISHING STATUS PUB DATE 3/2/2004 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2004
PRODUCT DETAILS ISBN 9782915359046TRADE LIST PRICE: $19.95 CDN $25.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by P.S.1 Contemporary Art Center. Edited by Klaus Biesenbach. Essays by Carolyn Christov-Bakargiev, Norman Klein, Anthony Huberman, Giannalberto Bendazzi, John Canemaker, Larissa Harris and, Karyn Riegel. Foreword by Alanna Heiss.
The works in Animations endow unlikely objects with unexpected and uncanny life. During its century-plus history, animation has continually absorbed, hybridized, mutated and melded disciplines and techniques, undergoing both commercial exploitation and artistic exploration. The latter is documented here, focusing on the cross-continental exchange of artists from around the world who are dialoguing in the collective languages of animation. 28 artists are featured here, including Haluk Akakce, Francis Alÿs, William Kentridge, Kristen Lucas, Pierre Huyghe, Liam Gillick and Liliana Porter, demonstrating the unique ways in which contemporary visual practitioners address animation as a medium and subject.
Published by P.S.1 Contemporary Art Center. Essay by Carolyn Christov-Bakargiev. Foreword by Alanna Heiss, Glenn Lowry and Marcel Brisebois.
Shifting between fact and fiction, between the experience of the real and our projections, fantasies, and desires, Janet Cardiff's audio-video and multimedia installations explore the complexity and vertiginous nature of subjectivity in a highly technological world. They are interactive pieces where visitors are asked to touch, listen, smell, and often move through an environment shaped both by our perceptions and by the artist's alteration of them. With references to film noir, science fiction, cyber-punk and various other filmic genres, her works, often created in collaboration with husband George Bures Miller, address the constant need to negotiate between presence and loss of self, memory and experience, sensation and imagination.
Published by P.S.1 Contemporary Art Center. Essays by Carolyn Christov-Bakargiev, Alanna Heiss, Brian O'Doherty.
Accompanying a retrospective at P.S. 1 Contemporary Art Center in New York, this new monograph documents the work of painter John Wesley, covering his entire career from 1961 until today. Wesley is known for his consistency of palette--baby blues and cotton pinks--his use of painted "frames" within his pictures, his early emblem paintings, his cartoon Bumstead works--and ultimately for his representations of an inner erotic voyage where the viewer is both voyager and voyeur. Initially considered in alignment with pop artists of the early 60s, Wesley consistently produced works of such a subtle and subversive nature as to put him in a category of his own. He used the early tools of advertising production--like tracing paper and stock photography--and was the subject of a wide range of influences, from Surrealism to Art Nouveau, from ancient Greek poetry to Matisse. The result is an oeuvre that has challenged and rewarded viewers for forty years.
Published by Walker Art Center. Essays by Francesco Bonami, Giorgia Bottinelli, Germano Celant, Carolyn Christov-Bakargiev, Corinna Criticos, Judith Kirshner, Robert Lumley, Karen Pinkus. Artists include Giovanni Anselmo, Alighiero e Boetti, Giorgia Bottinelli, Pier Paolo Calzolari, Lu
Zero to Infinity: Arte Povera, 1962-1972 focuses on one of the most innovative and influential art movements of the postwar era. Arte Povera came of age in the context of the ''Italian miracle'' economic boom and the subsequent student and workers revolts of 1968, motivated by an urge to revolt not only against the primacy of painting in the postwar period, but also against the emerging consumer culture. This exhibition and its accompanying catalogue provide a highly comprehensive retrospective of the Arte Povera movement as a historical and aesthetic phenomenon that crossed a wide range of disciplines, including sculpture, installation, drawing, photography, film and performance. The exhibition traces Arte Povera's genesis within the artistic and political context of Italy to its positioning within the broader international context of postwar artistic practices, a moment marked by the participation of the Arte Povera group in the 1972 Documenta V exhibition in Kassel. This essential new catalogue is designed by the Walker Art Center's award-winning design department, and includes a wide range of essays by international scholars and curators, as well as rare historical documentation, in an unprecedented re-examination of the Arte Povera movement.