Chrissie Iles

FORTHCOMING & NEW RELEASES

YOKO ONO: TO THE LIGHT
WALTHER KöNIG, KöLN
ISBN: 9783863352219 | US $40.00
Pub Date: 10/31/2012
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ACTIVE BACKLIST

MARCO ANELLI: PORTRAITS IN THE PRESENCE OF MARINA ABRAMOVIC
Text by Marina Abramovic, Klaus Biesenbach, Chrissie Iles.
DAMIANI
ISBN: 9788862082495 | US $40.00
Pub Date: 9/30/2012
Active | In stock

SLATER BRADLEY & ED LACHMAN: LOOK UP AND STAY IN TOUCH
ASPEN ART MUSEUM
ISBN: 9780934324533 | US $45.00
Pub Date: 2/29/2012
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PIPILOTTI RIST: EYEBALL MASSAGE
Edited by Stephanie Rosenthal. Text by Elizabeth Bronfen, Chrissie Iles, Stefanie Müller.
HAYWARD PUBLISHING
ISBN: 9781853322952 | US $40.00
Pub Date: 12/31/2011
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THE X INITIATIVE YEARBOOK
MOUSSE PUBLISHING
ISBN: 9788896501290 | US $25.00
Pub Date: 3/31/2011
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MARINA ABRAMOVIC: THE ARTIST IS PRESENT
Edited by Klaus Biesenbach. Text by Arthur C. Danto, Chrissie Iles, Nancy Spector, Jovana Stokic.
THE MUSEUM OF MODERN ART, NEW YORK
ISBN: 9780870707476 | US $50.00
Pub Date: 4/30/2010
Active | Awaiting stock

SIGMAR POLKE: AXIAL AGE PAINTINGS
Text by Chrissie Iles.
WALTHER KöNIG
ISBN: 9783865604767 | US $215.00
Pub Date: 2/1/2009
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THEANYSPACEWHATEVER
GUGGENHEIM MUSEUM
ISBN: 9780892073771 | US $49.95
Pub Date: 10/1/2008
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DEREK JARMAN: BRUTAL BEAUTY
Text by Julia Peyton-Jones, Tilda Swinton, Chrissie Iles, Hans Ulrich Obrist.
WALTHER KöNIG, KöLN
ISBN: 9783865603975 | US $52.00
Pub Date: 7/1/2008
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MARCEL DUCHAMP/MAN RAY: 50 YEARS OF ALCHEMY
Essay by Chrissie Iles. Introduction by Sean Kelly.
SEAN KELLY GALLERY, NEW YORK
ISBN: 9780966215823 | US $45.00
Pub Date: 2/15/2005
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MARINA ABRAMOVIC: THE HOUSE WITH THE OCEAN VIEW
Essays by Chrissie Iles, Thomas McEvilley, Sean Kelly, C. Carr, Roselee Goldberg, and Peggy Phelan.
CHARTA
ISBN: 9788881584369 | US $45.00
Pub Date: 3/2/2004
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DREAMING RED
ARTPACE, A FOUNDATION FOR CONTEMPORARY ART, SAN ANTONIO
ISBN: 9781888302004 | US $29.98
Pub Date: 3/2/2003
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JULIãO SARMENTO
POLIGRAFA
ISBN: 9788434309913 | US $60.00
Pub Date: 2/2/2004
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POSTMODERNISM: A VIRTUAL DISCUSSION
THE CENTER FOR ART, DESIGN AND VISUAL CULTURE/GEORGIA O'KEEFFE MUSEUM
ISBN: 9781890761059 | US $14.95
Pub Date: 7/2/2003
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OUT OF PRINT LISTING

JACK GOLDSTEIN
WALTHER KöNIG, KöLN
ISBN: 9783865606969 | US $64.00
Pub Date: 3/31/2010
Out of Print | Not available

ANA MENDIETA: EARTH BODY
Essays by Olga M. Viso, Guy Brett, Julia P. Herzberg, Chrissie Iles and Laura Roulet.
HATJE CANTZ PUBLISHERS
ISBN: 9783775713955 | US $49.95
Pub Date: 7/2/2004
Out of print | Not available

GARY HILL: SELECTED WORKS & CATALOGUE RAISONNé
DUMONT
ISBN: 9783832171452 | US $75.00
Pub Date: 7/2/2002
Out of Print | Not available

MARIJKE VAN WARMERDAM
Edited by Ellen Seifermann. Essays by Chrissie Iles and Marijke van Warmerdam.
OKTAGON
ISBN: 9783896110930 | US $35.00
Pub Date: 6/2/2001
Out of print | Not available

Chrissie Iles

Yoko Ono: To the Light

Foreword by Yoko Ono. Text by Alexandra Munroe. Chrissie Iles. Interview by Julia Peyton-Jones, Hans Ulrich Obrist.
Published by Walther König, Köln

As a pioneering conceptual artist, performance artist, film-maker, poet, musician, writer and peace activist for over five decades, Yoko Ono (born 1933) has influenced several generations of artists, musicians and cultural workers across the globe. Throughout her career, Ono has explored an incredible range of media, coining new kinds of artistic genres--most notably with her instruction pieces, which she began making in the 1950s and continues to devise today. Yoko Ono: To the Light accompanies the artist’s major 2012 overview at the Serpentine Gallery in London (a city to which she has longstanding ties). In her introduction, Ono explains the book and show’s title: “We are now at the 13th hour, facing the future together in which we may destroy ourselves or go on to create our heaven on earth. For the Serpentine Gallery, I selected pieces which had the strongest vibration to take us to the light.” In accord with this utopian emphasis, Ono is also presenting #smilesfilm, a worldwide participatory project, as part of her exhibition. Conceived as a way of connecting people across the world, users are invited to upload images of their smiles via Twitter and Instagram, creating a global string of smiles. Included in this volume are reproductions of installations, films and performances, plus archival material relating to several key early works. Yoko Ono: To the Light is a concise introduction to the vast scope of this era-defining artist’s many endeavors.

Marco Anelli: Portraits in the Presence of Marina Abramovic

Text by Marina Abramovic, Klaus Biesenbach, Chrissie Iles.
Published by Damiani

After becoming an internet sensation, Marco Anelli’s powerful portraits of sitters in the historic 2010 Marina Abramovic performance at The Museum of Modern Art, New York are now collected and available in their entirety in this volume. The centerpiece of the landmark retrospective Marina Abramovic: The Artist Is Present was Abramovic herself, who sat silently in the museum’s atrium, inviting visitors to take a seat across from her for as long as they chose. She sat every day for the run of the show--716 hours and 30 minutes--and faced more than 1,500 people, whose participation completed the work. Marco Anelli’s photographic project captured every interaction, taking a portrait of each participant and noting the time they spent in the chair. Just as Abramovic’s piece concerned duration, the photographs give the viewer a chance to experience the performance from Abramovic’s perspective. They reveal both dramatic and mundane moments, and speak to the humanity of such interactions, just as the performance itself did. The resultant photographs are mesmerizing and intense, putting a face to the world of art lovers while capturing what they shared during their contact with the artist.

Slater Bradley & Ed Lachman: Look Up and Stay in Touch

Foreword by Heidi Zuckerman Jacobson. Text by Chrissie Iles, Mark Rappolt. Interview with Slater Bradley, Ed Lachman.
Published by Aspen Art Museum

Look Up and Stay in Touch presents the final works in artist Slater Bradley’s decade-long doppelganger project. Bradley (born 1975) has explored the way cultural icons are so imbued with myth that they become a mirror image (doppelgänger) of the self. Earlier works in the series include faked tribute videos in which Bradley’s doppelganger, Ben Brock, performs as late musicians Ian Curtis, Michael Jackson and Kurt Cobain. These final two works in the series focus on another of Bradley’s obsessions: the actor River Phoenix. The installations were produced in collaboration with Academy Award–nominated cinematographer and filmmaker Ed Lachman, director of photography for the film, Dark Blood, an unreleased 1993 film starring Phoenix that was in production at the time of the actor’s death. The video installations Shadow (2010) and Dead Ringer (2011) are based on the film, and the latter features an appearance by Bradley himself.

Pipilotti Rist: Eyeball Massage

Edited by Stephanie Rosenthal. Text by Elizabeth Bronfen, Chrissie Iles, Stefanie Müller.
Published by Hayward Publishing

Pipilotti Rist (born 1962) burst onto the international art scene in the late 1980s with visually lush video and multimedia works that explore sexuality and media culture through playful and provocative remixes of fantasy and the everyday. Highly accomplished technically, Rist's practice fuses sensual images, dazzling color, music and text to create mesmerizing installations. Published to accompany a major survey exhibition at London's Hayward Gallery (as well as a European tour), this comprehensive volume is thoroughly illustrated and conceived in close collaboration with the artist. Essays by Stephanie Rosenthal, Elizabeth Bronfen, Chrissie Iles and Stefanie Müller explore the many facets of Rist's art, including her treatment of the relationship between the body and the camera, and her use of two- and three-dimensional sculptural forms, while a visual essay by the artist provides a rare insight into her working methods.

The X Initiative Yearbook

Foreword by Elizabeth Dee. Introduction by Cecilia Alemani. Text by Philip Aarons, Carlos Basualdo, Alexander Dumbadze, Hal Foster, Massimiliano Gioni, Roselee Goldberg, Ed Halter, Fritz Haeg, Laura Hoptman, Chrissie Iles, David Joselit, Sylvère Lotringer, et al.
Published by Mousse Publishing

X was a one-year, experimental non-profit initiative, whose goal was to inspire new ideas for producing and experiencing contemporary art. It ran the gamut from solo shows by international stars like Hans Haacke to a 24-hour Bring Your Own Art (BYOA) marathon event. This sourcebook surveys one dense year of art at 548 West 22nd Street.

Marina Abramovic: The Artist is Present

Edited by Klaus Biesenbach. Text by Arthur C. Danto, Chrissie Iles, Nancy Spector, Jovana Stokic.
Published by The Museum of Modern Art, New York

Since the beginning of her career, in Belgrade in the late 1960s, Marina Abramovic has been a pioneer of performance art, creating some of the most important works in the field. Marina Abramovic: The Artist Is Present accompanies an exhibition at The Museum of Modern Art that documents approximately 50 of the artist's ephemeral time- and media-based works from throughout her career. The book also discusses a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by Abramovic herself; and re-creations of the artist's works by other performers—the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Essays by Klaus Biesenbach, Chief Curator of Media and performance art at MoMA, and four distinguished scholars examine Abramovic's ideas of time, duration and the reperformance of performance art as a way to extend it into posterity. The Artist Is Present also includes a CD with audio commentary by the artist that guides the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.Born in Belgrade just after the end of the Second World War, Marina Abramovic was raised in the Serbian Orthodox Church (her great uncle was a Patriarch and a canonized saint in the Church) and left Yugoslavia in 1976, having already established herself as a performance artist, living in Amsterdam and eventually New York, where she presently lives.

Jack Goldstein

Foreword by Susanne Gaensheimer. Text by Klaus Görner, Chrissie Iles, Shepherd Steiner. Interview by Chris Dercon.
Published by Walther König, Köln

A leading protagonist of the “Pictures Generation,” Jack Goldstein (1945–2003) has long been prized by his colleagues and a specialist audience around the world for his heroic independence of spirit, but his actual work has typically remained inaccessible and unidentifiable to the wider public until now. His oeuvre is in fact characterized by its diversity, encompassing as it does performances, films, albums, paintings, aphorisms, the critique of text and image production by direct appropriation, in the vein of his colleagues Richard Prince and Sherrie Levine. “Media is sensational” was a famous aphorism of Goldstein's—meaning that “technology does everything for us so that we no longer have to function in terms of experience. We function in terms of aesthetics.” This first thorough catalogue on Goldstein at last does justice to his work and its influence. It contains a wide selection of illustrations, an interview with Goldstein from 1985 by Chris Dercon and essays by Klaus Görner, Chrissie Iles and Shepherd Steiner.

Sigmar Polke: Axial Age Paintings

Text by Chrissie Iles.
Published by Walther König

Axial Age is the title of a series of seven paintings completed by the influential German artist Sigmar Polke between 2005 and 2007. With his camera, Polke created a fascinating photo documentary of the painting process, including 187 images specially selected by the artist to be featured in this book. Each image is reproduced as a high-quality, full-page color plate. By revealing the materiality and structural complexity of the works from a variety of perspectives and under different lighting conditions, Polke provides the reader with analogies to his oeuvre that are as explicit as they are unique. The title Axial Age is a reference to the term coined by Karl Jaspers to describe the period between 800 BC and 200 BC, during which the world was reinvented based on the principle of transcendence--a concept that finds full expression in this series of paintings. Polke makes use of a broad range of materials in his work, including varnishes and pigments, photographic chemicals, gold and silver, lapis lazuli and malachite--all references to alchemistic processes of transformation. Indeed, with these extensions of painterly techniques, the artist undermines the picture itself, for any shift in perspective or lighting is accompanied by a change in the painting's appearance.

Theanyspacewhatever

Essays by Michael Archer, Jan Avgikos, Daniel Birnbaum, Ina Blom, Stefano Boeri, Francesco Bonami, Nicolas Bourriaud, Xavier Douroux, Patricia Falguieres, Heike Föll, Hal Foster, Massimiliano Gioni, Michael Govan, Dorothea von Hantelmann, Jens Hoffman, Chrissie Iles, Branden Joseph, Emily King, Christy Lange, Maria Lind, Tom Morton, Molly Nesbit, Hans Ulrich Obrist, Beatrix Ruf, Stephan Schmidt-Wulffen, Barbara Steiner, Rachael Thomas, Eric Troncy, Giorgio Verzotti, Thomas Wulffen, Olivier Zahm
Published by Guggenheim Museum

During the 1990s a number of artists claimed the exhibition as their medium. Working independently or in various collaborative constellations, they eschewed the individual object in favor of the exhibition environment as a dynamic arena, ever expanding its physical and temporal parameters. For these artists an exhibition can comprise a film, a novel, a shared meal, a social space, a performance or a journey. Their work engages directly with the vicissitudes of everyday life, offering subtle moments of transformation. This catalogue, which accompanies a major exhibition at the Solomon R. Guggenheim Museum, New York, is the first in the U.S. to examine the dynamic interchange among a core group of these artists--Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno and Rirkrit Tiravanija--a many-sided conversation that helped shape the cultural landscape of the 1990s and beyond.

Derek Jarman: Brutal Beauty

Text by Julia Peyton-Jones, Tilda Swinton, Chrissie Iles, Hans Ulrich Obrist.
Published by Walther König, Köln

Brutal Beauty presents Isaac Julien's refreshing vision of Derek Jarman as a true Renaissance man--a painter, director, activist, diarist and gardener--whose infectiously prolific range of enterprises belies a consistent preoccupation with liberated sexual politics and the defiance of inherited mores.

Marcel Duchamp/Man Ray: 50 Years Of Alchemy

Essay by Chrissie Iles. Introduction by Sean Kelly.
Published by Sean Kelly Gallery, New York

Drawn from several sources, this catalogue includes works by Marcel Duchamp and Man Ray that address the enduring friendship and shared interests of these two artists. The works included explore five decades of the shared milieus and aesthetics of these artist-peers, both of whom so significantly altered the making and understanding of art in the twentieth century. Loosely grouped around thematic concerns, it includes works that exemplify the artists' fascination with the game of chess, the study of optics, and the influence of such diverse sources as African sculpture, as well as the photographic recording of their mutual friends, including portraits of artists, poets and literary figures pivotal to the Dadaist and Surrealist movements. Ingeniously designed, this small volume is both a documentary of the artists' friendship and a study of art in the early 1920s.

Ana Mendieta: Earth Body

Sculpture and Performance 1972 -1985

Essays by Olga M. Viso, Guy Brett, Julia P. Herzberg, Chrissie Iles and Laura Roulet.
Published by Hatje Cantz Publishers

This major monograph, a comprehensive reconsideration of the brief life and career of Ana Mendieta, contextualizes the artist's work within its time and acknowledges her legacy on subsequent generations of artists. The Cuban-born American sculptor is celebrated for her earth-body works of the 1970s, sculptural interventions in the landscape that placed her body--or its haunting silhouette--in symbiotic relationship with nature. Using extracts from her films, original slide documentation, photography, and other archival material, this catalogue illustrates early performances from Mendieta's student days, as well as her more well-known Silueta Series made in Iowa and Mexico from 1973 to 1980. Earth-body works executed in Canada, Cuba and the United States in the early 1980s, and select sculptures, drawings and installations dating to the mid-80s will also be illustrated. This publication promises to be the definitive study of the artist's work.

Marina Abramovic: The House With The Ocean View

Essays by Chrissie Iles, Thomas McEvilley, Sean Kelly, C. Carr, Roselee Goldberg, and Peggy Phelan.
Published by Charta

For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. She had no escape: the ladders leaning against bedroom, sitting room and bathroom had rungs made of large butcher knives. Throughout her 30-year career, Abramovic has used her body as her primary material, pushing it to extremes of altered consciousness, often putting herself in great physical peril. Her concern with creating works that ritualize the simple actions of everyday life like lying, sitting, dreaming and thinking focuses, in effect, on the manifestation of a unique mental state. In one early solo performances, the artist announced that she would be a passive object for six hours and laid out 72 items spectators could use on her, including a loaded gun. A fight broke out when someone tried to use it. Beginning in the late 70s, she and her then partner Ulay collaborated on now classic performances in which they crawled on their stomachs with a python that hadn't eaten in two weeks; collided with each other, naked, at top speed; sat motionless for seven hours at either end of a long table, trying not even to blink; and, most famously and difficultly, crossed the Great Wall of China, starting at opposite ends and walking until they met in the middle. Abramovic thought The House With the Ocean View would be most like walking this last piece, so she mounted the platforms at Sean Kelly Gallery clad in the old hiking boots she wore in China.
This volume presents documentation of The House With the Ocean View, Abramovic's most important performance work to date, alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, and others.
Published in conjunction with the Sean Kelly Gallery

Julião Sarmento

Artwork by Juan Muìoz, Julião Sarmento. Contributions by Louise Neri. Text by Alexandre Melo, Simon Baker, Juan Carlos Marset, Chrissie Iles, Adrian Searle.
Published by Poligrafa

One of the European artists who has best combined text, image, and movement, Julião Sarmento's multidisciplinary oeuvre evinces the tension that exists between image and word, between what is explicitly biographical and the impossibility of all forms of narration. Over the past 26 years, Sarmento's work has revealed an intimate and passionate pre-occupation with desire, explored both in the realm of the speculative and the gestural. Within his work there is no chronology, no unfolding narrative, no apparent logic--simply glimpses of experience that give visual form to primordial desires, ones felt but not defined. Working with various media, including paint, print, photography, sculpture and video, he determines to define the intangible gap between experience and memory, now and then.

Dreaming Red

Creating ArtPace

Edited by Cuauhtemoc Medina, Okwui Enwezor, David Frankel. Contributions by Teresita Fernndez, Bill Arning, Judith Russi Kirshner. Text by Frances Colpitt, Lisa Corrin, Laura Cottingham, Shaila Dewan, Eleanor Heartney, Linda Pace, Jan Jarboe Russell, Lynne Cooke, Chrissie Iles, Kathryn Kanjo.
Published by ArtPace, A Foundation for Contemporary Art, San Antonio

Since its founding seven years ago by Pace Foods heiress Linda Pace, ArtPace has become one of the premiere foundations for contemporary art. An artist residency program based in San Antonio, Texas, ArtPace's goal is to give artists time and space in which to imagine new ways to work. Each year, nine artists (three from Texas, three from other areas of the United States and three from abroad) are invited to the foundation to create new work. Selected by guest curators the likes of Robert Storr and Okwui Enwezor, the list of artists who have undertaken residencies at ArtPace is impressive, prescient and diverse, including Felix Gonzalez-Torres, Annette Messager, Tracey Moffatt, Xu Bing, Nancy Rubins, Cornelia Parker, Inigo Manglano-Ovalle, Glenn Ligon, Kendell Geers, Carolee Schneemann, Mona Hatoum, Isaac Julien, Arturo Herrera, and Christian Jankowski. Dreaming Red includes illustrations of all the works created at ArtPace since its inception, an essay by art historian Eleanor Heartney, short essays on selected artists by the guest curators, including Cuauhtémoc Medina, Lynne Cooke, Chrissie Iles and Judith Russi Kirshner, and a lengthy essay on the personal history of the foundation and its founder.

Postmodernism: A Virtual Discussion

Edited by Maurice Berger. Contributions by Robert Rosenblum, Michelle Wallace, Maxwell Anderson, Catherine Lord, Jonathan Weinberg, Olu Oguibe, Michael Leja, Dan Cameron, Yvonne Rainer, Donna deSalvo, Simon Leung, Chrissie Iles, Jennifer Gonzalez, Wendy Ewald, Kellie Jones, David Ross, and Jerry Saltz.
Published by The Center for Art, Design and Visual Culture/Georgia O'Keeffe Museum

What is Postmodernism, and is it a useful concept for understanding American art and visual culture of the past 40 years? When and to what extent did Modernism wane as a phenomenon in American art? How have the various liberation movements, from civil rights to feminism, influenced American art and culture and contributed to the rejections of the Modernist ethos? How has globalism changed American art and culture? How have the new technologies of the past 50 years--television, personal computers, the Internet--altered the nature of progressive art in the United States? Are any of these changes intrinsically Postmodern? These issues and more were debated during the two-week online conference The Modern/Postmodern Dialectic: American Art and Culture, 1965-2000, held on the Georgia O'Keeffe Museum website during Octobert 2001. Postmodernism: A Virtual Discussion gathers the edited proceedings, with contributions from an international group of scholars, artists and curators, including Dan Cameron, Donna DeSalvo, Wendy Ewald, Chrissie Iles, Catherine Lord, Olu Oguibe, Yvonne Rainer and Robert Rosenblum.

Gary Hill: Selected Works & Catalogue Raisonné

Artwork by Gary Hill. Contributions by Gijs van Tuyl, Gottfried Boehm. Text by Chrissie Iles, Heinz Liesbrock.
Published by Dumont

Marijke Van Warmerdam

Edited by Ellen Seifermann. Essays by Chrissie Iles and Marijke van Warmerdam.
Published by Oktagon

Dutch artist Marijke van Warmerdam has achieved international recognition in recent years, showing her videos at the MUHKA Museum, Antwerp, the Malm‡ Konsthall in Sweden, the Stedelijk Museum, Amsterdam, the Sydney Biennial and documenta X. Her pieces feature seemingly unspectacular actions--a small boy shivering in the cold, a bear groping about, a child's hands catching and throwing a ball--repeated continuously until they become spectacular. Eschewing the narrative confines of film, van Warmerdam emphasizes video's sculptural qualities, concentrating on calm and almost motionless images that exercise and sharpen the viewer's perceptions. This new monograph presents the first ever overview of van Warmerdam's video work to date, and also draws connections between the artist's videos and her photography and sculptures. Featuring numerous color spreads of her video stills, Marijke van Warmerdam offers a fascinating insight into this artist's already substantial oeuvre.