Katy Siegel

ACTIVE BACKLIST

TERRY WINTERS: CRICKET MUSIC, TESSELLATION FIGURES & NOTEBOOK
Text by Katy Siegel.
MATTHEW MARKS GALLERY
ISBN: 9781880146606 | US $45.00
Pub Date: 11/30/2012
Active | In stock

PARKETT NO. 79 JON KESSLER, MARILYN MINTER AND ALBERT OEHLEN
PARKETT
ISBN: 9783907582398 | US $32.00
Pub Date: 5/1/2007
Active | In stock

HIGH TIMES, HARD TIMES
INDEPENDENT CURATORS INTERNATIONAL, NEW YORK/D.A.P.
ISBN: 9781933045399 | US $29.95
Pub Date: 9/15/2006
Active | In stock

DANA SCHUTZ: PAINTINGS 2002-2005
Essays by Jàrg Heiser and Katy Siegel. Introduction and Interview by Raphaela Platow.
THE ROSE ART MUSEUM
ISBN: 9780976159339 | US $45.00
Pub Date: 2/1/2006
Active | In stock

DANICA PHELPS: EVERY DAY LIFE
ZACH FEUER GALLERY/GRINNELL COLLEGE
ISBN: 9780960718276 | US $25.00
Pub Date: 1/1/2006
Active | In stock

FABIAN MARCACCIO: FROM ALTERED PAINTINGS TO PAINTANTS
Essays by Thomas Keenan, Gregg Lynn, Christiane Meyer-Stoll and Katy Siegel.
WALTHER KöNIG, KöLN
ISBN: 9783883758787 | US $39.95
Pub Date: 6/15/2005
Active | Awaiting stock

THE ART OF RICHARD TUTTLE
D.A.P./SAN FRANCISCO MUSEUM OF MODERN ART
ISBN: 9781933045009 | US $65.00
Pub Date: 7/15/2005
Active | Awaiting stock

YVONNE PUFFER: FAMILY MINI-SERIES
Artwork by Yvonne Puffer. Text by Katy Siegel.
D.A.P./DISTRIBUTED ART PUBLISHERS, INC.
ISBN: 9781891024122 | US $19.95
Pub Date: 6/2/1999
Active | In stock

OUT OF PRINT LISTING

FABIAN MARCACCIO: 661 CONJECTURES FOR A NEW PAINT MANAGEMENT 1989-2004
Artwork by Fabian Marcaccio. Text by Thomas Keenan, Katy Siegel, Christiane Meyer-Stoll, Greg Lynn.
WALTHER KöNIG, KöLN
ISBN: 9783883758770 | US $30.00
Pub Date: 6/15/2005
Out of print | Not available

DAVID REED: YOU LOOK GOOD IN BLUE
Essays by Konrad Bitterli, Stephan Berg and Katy Siegel.
VERLAG FUR MODERNE KUNST NURNBERG
ISBN: 9783933096654 | US $40.00
Pub Date: 3/15/2005
Out of print | Not available

SUBJECTIVE REALITIES
THE REFCO GROUP
ISBN: 9781564661173 | US $45.00
Pub Date: 2/2/2004
Out of print | Not available

SUPERNOVA
D.A.P./SAN FRANCISCO MUSEUM OF MODERN ART
ISBN: 9781891024832 | US $50.00
Pub Date: 12/2/2003
Out of print | Not available

JOEL STERNFELD: AMERICAN PROSPECTS
Essays by Kerry Brougher, Andy Grundberg and Anne W. Tucker.
D.A.P./DISTRIBUTED ART PUBLISHERS, INC.
ISBN: 9781891024771 | US $75.00
Pub Date: 2/2/2004
Out of print | Not available

RINEKE DIJKSTRA
Essay by Jessica Morgan, Katy Siegel. Foreword by Jill Medvedow.
HATJE CANTZ PUBLISHERS
ISBN: 9783775710152 | US $25.00
Pub Date: 5/2/2001
Out of print | Not available

LISA YUSKAVAGE
Artwork by Lisa Yuskavage. Text by Katy Siegel.
ICA PHILADELPHIA
ISBN: 9780884540977 | US $25.00
Pub Date: 12/2/2000
Out of print | Not available

Katy Siegel

Terry Winters: Cricket Music, Tessellation Figures & Notebook

Text by Katy Siegel.
Published by Matthew Marks Gallery

Cricket Music, Tessellation Figures & Notebook presents a series of new works by acclaimed New York painter Terry Winters (born 1949), in which he explores forms inspired by mathematical concepts such as tessellations, knot theory and similar shapes derived from natural and scientific realms. Winters’ kaleidoscopic compositions of overlapping grids and patterns create complex pictorial spaces, and his use of transparent pigments allows the viewer to see, as the artist has said, “all the events that went into the making of the painting.” Tessellation Figures refers to the process of creating a two-dimensional plane through the repetition of a geometric shape. The Notebook series (2003–2011) consists of collages of found images, layered on top of one another, which have provided the source material for several of Winters’ recent paintings, and which affirm the enduring tension between abstraction and representation throughout his work.

Parkett No. 79 Jon Kessler, Marilyn Minter and Albert Oehlen

Edited by Cay Sophie Rabinowitz. Text by Mark Godfrey, Glenn O'Brien, Katy Siegel, Paul Bonaventura, Andrea Scott, Pamela Lee.
Published by Parkett

Volume 79 of the influential international art journal Parkett features Jon Kessler, Marilyn Minter and Albert Oehlen. In the tinkered gadgetry of Kessler's retro sci-fi installations, we peek through surveillance cameras to see our own image among his analog programs crammed with detritus of all kinds. Kessler's vista of (d)evolved cyberstuff is in a manic state of accumulation, as this data-diving artist masters the ecology of pure information. Within Marilyn Minter's fetishistic, flawless pictures, we find a painter obsessed with the clear articulation of magnified sweat beads and pore-smeared glitter. In each successive lip-smacking painting, Minter sets out to perfect beauty's disguise, affirming both her pleasure in fashion imagery, and an appreciation of its vulgar mishaps--say, a drag queen's eyelashes clumped together with too much mascara. According to essayist John Kelsey, Albert Oehlen's collage-paintings "seem almost bored of their own shock-value." And yet this artist, one of the most significant German painters of the past 20 years, can make boredom look like a rigorous, if not delirious experiment. Also featured: Spencer Finch, Gelitin and Mark Wallinger, as well as essayists Paul Bonaventura, Mark Godfrey, Glenn O'Brien, Katy Siegel, Andrea Scott and Pamela Lee, to name a few.

High Times, Hard Times

New York Painting 1967-1975

Edited by Katy Siegel. Essays by Dawoud Bey, Anna Chave, Robert Pincus-Witten, Katy Siegel and Marcia Tucker. Foreword by Judith Richards. Introduction by David Reed.
Published by Independent Curators International, New York/D.A.P.

In the late 1960s, the New York art world was, famously, an exhilarating place to be. New forms, including performance and video art, were making their debuts, and sculpture was developing in startling ways. In the midst of it all, experimental abstract painting was pressing art's most iconic medium to its limits and beyond. High Times, Hard Times fills a gap in coverage of this moment in history, recapturing its liveliness and urgency with more than 42 key pieces by 38 artists who were living and working in New York at the time. Many of those featured artists have contributed personal statements reflecting on the work, its meaning and the social scene that surrounded it, including Lynda Benglis, Mel Bochner, Roy Colmer, Mary Corse, David Diao and Peter Young, Guy Goodwin, Harmony Hammond, Mary Heilmann, Cesar Paternosto, Howardena Pindell, Dorothea Rockburne, Carolee Schneemann, Alan Shields, Joan Snyder, Franz Erhard Walther and Jack Whitten, as well as one curator and one critic, Marcia Tucker and Robert Pincus-Witten. The critic Katy Siegel and the painter David Reed have written essays tha focus, respectively, on the work's explosive artistic and political context, and the experience of being a young painter living in New York during these years. Additional pieces by Dawoud Bey and Anna Chave focus on race and gender in that milieu. Color illustrations of every featured work, along with supplementary historic photographs from the period, ephemera, biographies, a timeline and a bibliography round out a beautiful, much-needed book, a complete reference on a crucial era.

Dana Schutz: Paintings 2002-2005

Essays by Jàrg Heiser and Katy Siegel. Introduction and Interview by Raphaela Platow.
Published by The Rose Art Museum

This first book of Dana Schutz's paintings is just catching up with her rave reviews--the New York Times said one recent show was "outstanding," and Artforum agreed, "far greater than the sum of its parts." Schutz's ecstatically imaginative work, executed in a vibrant, subjective palette, has made an impact since she began exhibiting five years ago. Paintings 2002 - 2005 features significant examples of the bodies of work that constitute her oeuvre to date, including the fictitious narrative Frank from Observation, as well as Self-Eaters, which revolves around making and remaking, plus works depicting the construction and destruction of imaginary societies, and paintings of musicians. One undercurrent explored is Schutz's captivating investigation of the artist's role as creator, and hence the relationship between the maker and the made. Another is her tendency to make open-ended references to a vast pool of stylistic and art-historical sources.

Danica Phelps: Every Day Life

Essays by Regine Basha, Barry Blinderman, Deborah Bright, Bruce Brown, Adrian Dannatt, Ranier Ganahl, Kirby Gookin, Kim Levin, Deborah Lynn, Cedar Lorca Nordbye, Ingo Nussbaumer, Raphaela Platow, Frances Richard, Katy Siegel, et al.
Published by Zach Feuer Gallery/Grinnell College

When Phelps put out a call for critics and scholars to write about a subject found in her work--not about her work itself, but one of its themes--and then to trade their piece for a drawing of their choosing, it set off her third barter-based project. The first enmeshed her in a system of mutual indebtedness with other Brooklyn artists, the second with her compatriots in representation by Chelsea's LFL Gallery, and this last puts critics from Adrian Dannatt (the Art Newspaper) to Frances Richard (Artforum) in her pocket. Each participant gets a new object and the goodwill generated by the unusual transaction, but Phelps remains in some sense the owner of the deal itself, which she sells in new work documenting it, including this book.

Fabian Marcaccio: 661 Conjectures For A New Paint Management 1989-2004

Artwork by Fabian Marcaccio. Text by Thomas Keenan, Katy Siegel, Christiane Meyer-Stoll, Greg Lynn.
Published by Walther König, Köln

In 661 Conjectures for a New Paint Management, the first of two volumes that complement but don't require each other, Argentine artist Fabian Marcaccio presents 661 actual-size, black-and-white drawings made over the past 15 years. These serve as a kind of DNA for his massive "paintants," in whose sweeping, curving canvases the artist seeks a new paradigm for art, since, as he says here, we've arrived at "a place beyond the exhaustion of late modernism."

Fabian Marcaccio: From Altered Paintings To Paintants

Re-Sketching Democracy

Essays by Thomas Keenan, Gregg Lynn, Christiane Meyer-Stoll and Katy Siegel.
Published by Walther König, Köln

This second but independent volume, Re-Sketching Democracy, shows the newly realized “paintant” of that name by Argentine artist Fabian Marcaccio. An enormous, colorful canvas thick with paint, the “paintant” incorporates commercial logos and political imagery. Marcaccio's voracious art achieves a scale that often bursts gallery bounds and always challenges the mind.

David Reed: You Look Good In Blue

Essays by Konrad Bitterli, Stephan Berg and Katy Siegel.
Published by Verlag Fur Moderne Kunst Nurnberg

Even more seductive than the title of this book are Reed's unique pictorial inventions combine the precise color application of Minimalism with the swirling gesturism of Abstract Expressionism and the magical light of Baroque painting to create an adventurous, multilayered, dense and complexely interlocking ornamentation. Viewing his paintings, often executed in extremely elongated formats (hence this unique landscape book size) is like a cinemaScope experience that opens undreamt-of vistas and horizons. This catalogue to accompany the noted exhibitions, co-designed by the artist, and translates Reed's preoccupation with the film mediun into book form.

The Art Of Richard Tuttle

Edited by Madeleine Grynsztejn. Essays by Madeleine Grynsztejn, Cornelia Butler, Richard Shiff, Katy Siegel, and Robert Storr. Texts by Tara McDowell, Elizabeth Smith, Adam D. Weinberg and Charles Wylie.
Published by D.A.P./San Francisco Museum of Modern Art

Over the past four decades, Richard Tuttle has thrown into question nearly every conceivable artistic convention and critical category to create an enormously inventive body of abstract work--one that embraces and intermingles drawing, painting, collage, book-making, sculpture and design. From his spare yet enigmatic forms of the 1960s to his complex, multi-faceted assemblages and installations of more recent years, Tuttle's primary impetus throughout has been to craft unique objects, using everyday, often ephemeral materials, that demand to be confronted on their own terms. The relentless individuality of his aesthetic vision has earned him standing as one of the most provocative and influential artists of his day. This richly illustrated and strikingly designed catalogue, the most authoritative volume ever published on this prolific artist, presents nearly 400 reproductions of artworks from across his oeuvre and documentary photographs of his creative process. Essays by a distinguished group of writers trace the arc of Tuttle's career from its inception in the 1960s to the present day, addressing topics such as the philosophical underpinnings of his artistic method; his sensitive handling of diverse materials; his lifelong engagement with drawing and its expansion into three-dimensional space; his groundbreaking solo exhibitions and their critical reception in the United States and Europe; his complex play with the conventions of language; and his innovative artist's books, many of which are collaborations with poets.
The Art of Richard Tuttle is published in conjunction with a major retrospective organized by the San Francisco Museum of Modern Art. The exhibition travels to the Whitney Museum of American Art, New York; the Des Moines Art Center; the Dallas Museum of Art; the Museum of Contemporary Art, Chicago; and the Museum of Contemporary Art, Los Angeles.

Subjective Realities

The Refco Collection of Contemporary Photography

Edited by Adam Brooks. Essays by Lynne Cooke, Dave Hickey, A.M. Homes, David Rimanelli and Katy Siegel. Introduction by Judith Russi Kirshner.
Published by The Refco Group

Among the many lessons we have learned from photography since its inception are a few about the nature of reality and its representation. Long considered a mirror image of the real world, a direct and objective record of what exists in the visual stratosphere, the photograph has come to be understood as something much more complicated and variable, something easily manipulated and modified. Subjective Realities is thus a most apt title for this publication, which presents a stellar selection of contemporary photography from the Refco Collection. Included are works by Vito Acconci, Janine Antoni, Matthew Barney, Chris Burden, Jean-Marc Bustamante, Sophie Calle, Gregory Crewdson, Rineke Dijkstra, Olafur Eliasson, Barbara Ess, Walker Evans, Adam Fuss, Ann Hamilton, Eva Hesse, Axel Hutte, Seydou Keita, Inigo Manglano-Ovalle, Ana Mendieta, Gordon Matta-Clark, Mariko Mori, Catherine Opie, Richard Prince, and many, many more artists. An essay by Dave Hickey introduces the book, and short texts on individual artists have been contributed by Lynne Cooke, Kathryn Hixson, A.M. Homes, Glenn O'Brien, Saul Ostrow, Luc Sante, Katy Siegel, and others.

Supernova

Art of the 1990s From the Logan Collection

Edited by Madeleine Grynzstejn. Essays by Dan Cameron, Amada Cruz, Jessica Morgan, Ralph Rugoff and Katy Siegel. Foreword by Neal Benezra.
Published by D.A.P./San Francisco Museum of Modern Art

su-per-no-va: n., pl. A rare celestial phenomenon involving the explosion of most of the material in a star, resulting in an extremely bright, short-lived object that emits vast amounts of energy. Given the massive shift in the West's cultural sensibility in the wake of the 9/11 attacks and the current global political situation, the 1990s and its over-the-top, anything-goes art scene suddenly appear much more historical than contemporary. If we really are at the turning point that we seem to be, then we've arrived at a particularly opportune moment for reconsideration, for assessing the legacy of the decade after the frenzy has subsided. Supernova brings together a number of curators and critics--each of whom was actively involved in constructing the 1990s art discourse--to step back and consider what trans-identity, broad-based thematic trends can now be identified as emblematic of, or seminal to, the decade.

The Kent and Vicki Logan collection of contemporary art offers a compelling and visually alluring vehicle to consider such issues, as these ambitious collectors were firmly planted at the center of the scene--acquiring some of the most challenging and iconic art of the period, including works by Young British Artists (YBAs), Asian practitioners and a diverse array of influential women artmakers. In Supernova, reproductions of these artists' works are dispersed among contributors' essays, which explore such themes as beauty and the abject, iconoclasm and the role of social activism in art.

Joel Sternfeld: American Prospects

Essays by Kerry Brougher, Andy Grundberg and Anne W. Tucker.
Published by D.A.P./Distributed Art Publishers, Inc.

Originally published in 1987, Joel Sternfeld's now-classic view of America is here remastered, redesigned and reprinted at a larger, brighter, truer scale. Finally, photography and offset printing techniques have caught up with Sternfeld's eye, and this new edition of American Prospects succeeds in presenting Sternfeld's most seminal work as it has always meant to be shown. A specially-commissioned essay by Kerry Brougher, Chief Curator at the Hirshhorn Museum and Sculpture Garden, considers the historical context in which Sternfeld was working and the pivotal role that American Prospects has played in the course of contemporary filmmaking and art photography. In American Prospects, a fireman shops for a pumpkin while a house burns in the background; a group of motorcyclists stop at the side of the road to take in a stunning, placid view of Bear Lake, Utah; the high-tech world headquarters of the Manville Corporation sits in picturesque Colorado, obscured by a defiant boulder; a lone basketball net stands in the desert near Lake Powell in Arizona; and a cookie-cutter suburban housing settlement rests squarely amongst rolling hills in Pendleton, Oregon. Sternfeld's photographic tour of America is a search for the truth of a country not just as it exists in a particular era but as it is in its ever-evolving essence. It is a sad poem, but also a funny and generous one, recognizing endurance, poignant beauty, and determination within its sometimes tense, often ironic juxtapositions of man and nature, technology and ruin.

Rineke Dijkstra

Essay by Jessica Morgan, Katy Siegel. Foreword by Jill Medvedow.
Published by Hatje Cantz Publishers

Artist Rineke Dijkstra has appropriated the formal qualities of the studio portrait from the early part of this century--taking the convention of the full length, frontal and centrally composed portrait to its logical limits, she is able to penetrate to the core of her subjects. Each photograph is marked with a precise date and location, suggesting a conscious evocation of the work of the early 20th century photographer August Sander and his project to document the ''Citizens of the Twentieth Century.'' Dijkstra's photographs stand by themselves, bearing no reference to personal circumstances or the specific geographical details of the location--the power of her images lies in an intimate psychological connection between artist, sitter, and viewer. For Dijkstra's best known series of photographs--an extensive series of beach portraits of teenagers and children taken on beaches all over the world between 1992 and 1996--the artist sought out a certain introversion or unease in her subjects, capturing with rare perfection the human condition of feeling not-at-home in the world. This brilliant new monograph documents Dijkstra's recent photographic and video work.

Lisa Yuskavage

Artwork by Lisa Yuskavage. Text by Katy Siegel.
Published by ICA Philadelphia

Yvonne Puffer: Family Mini-Series

Artwork by Yvonne Puffer. Text by Katy Siegel.
Published by D.A.P./Distributed Art Publishers, Inc.

This small volume collects 25 evocative, ghostly, graphite and acrylic works on panel by New York artist Yvonne Puffer. In an interview with art historian Katy Siegel, Puffer cites influences like Ida Applebroog, Peggy Preheim, Alice Neel and Louise Bourgeois. "Bourgeois is probably the most important for me, since she openly talks about her primal family structure's influence, yet the work doesn't need this information to exert its incredible emotional impact. Bourgeois quite often uses everyday objects in her work that evoke a time and place yet always with a discordant note. There's a mystery, haunting and fragile, that makes you a little uncomfortable, but you're not sure why. That's what I like."