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.
Clothbound, 11 x 12 in. / 392 pgs / 265 color / 45 bw. | 7/15/2005 | Not available ISBN 9781933045009 | $65.00
Artwork by Max Beckmann, Leon Golub, Ellsworth Kelly, William Kentridge. Edited by Sean Rainbird. Text by Susanne Bieber, Barbara Buenger, Charles Haxthausen, Jill Lloyd, Nina Peter, Ortrud Westheider, Anette Kruszynski, Robert Storr.
Clothbound, 9.75 x 11 in. / 304 pgs / 140 color / 7 bw. | 5/2/2003 | Not available ISBN 9780870702419 | $65.00
Edited by Kirk Varnedoe and Pepe Karmel. Essays by T.J. Clark, Robert Storr, James Coddington, Carol C. Mancusi-Ungaro, Rosalind E. Krauss, Anne M. Wagner, Jeremy Lewison, Pepe Karmel and Kirk Varnedoe.
Hbk, 10.5 x 8.5 in. / 112 pgs / 322 color. | 9/2/2002 | Not available ISBN 9780870700866 | $24.95
Published by David Zwirner Books. Text by Robert Storr.
Ad Reinhardt was one of the most significant American artists of the twentieth century. He was also one of the few artists of the Abstract Expressionist generation to have painted abstractions from the start. “To him abstraction was not a genre or style,” New York Times art critic Holland Cotter writes of him: “it was an ethos.” This extensively illustrated catalogue--the first comprehensive Reinhardt overview in 13 years--reproduces the artist’s signature “black” paintings (his 60 x 60 inch canvases of the 1960s, which he considered to be his “ultimate” aesthetic expression, and “the last paintings that anyone can paint”), as well as his cartoons and photographic slide presentations. Published to document a critically lauded exhibition at David Zwirner in New York in 2013, the monograph includes new scholarship by curator Robert Storr, in addition to an extensive chronology of the artist’s life. Ad Reinhardt (1913–1967) was born in Buffalo, New York, and studied art history at Columbia University, where he forged lifelong friendships with the authors Thomas Merton and Robert Lax. After studies at the American Artists School, he worked for the WPA and became a member of the American Abstract Artists group, with whom he exhibited for the next decade; later he was also represented by Betty Parsons. Throughout his career Reinhardt engaged in art-world activist politics, participating in the famous protests against The Museum of Modern Art in 1940 and the Metropolitan Museum of Art in 1950 (among the group that became known as “The Irascibles”).
Published by Steidl. Edited by Julie Ault. Text by Robert Storr, Miwon Kwon, et al.
Félix González-Torres, one of the most influential artists of his generation, lived and worked resolutely according to his own democratic ideology, determined to "make this a better place for everyone." Combining principles of Conceptual Art, minimalism and political activism, González-Torres' arsenal included public billboards, giveaway piles of candy or posters and ordinary objects (clocks, mirrors, light fixtures) often used to startling effect. His work challenged notions of public and private space, originality, authorship and the authoritative structure in which he functioned. With this volume, now in its second edition, Gonzalez-Torres's editor Julie Ault has amassed a comprehensive overview of this important artist. In the spirit of the artist's method, Ault rethinks the very idea of what a monograph should be. The book contains texts by Robert Storr and Miwon Kwon, among other notables, as well as significant critical essays, exhibition statements, transcripts from lectures, personal correspondence and writings that influenced González-Torres and his work. Ample visual documentation adds another decisive layer of content. We see works not just in their finality, but often witness their transformation over a lifespan.
Published by David Zwirner Books. Text by Robert Storr. Interview by Angela Choon.
Over the course of almost three decades, Kerry James Marshall (born 1955) has produced a complex body of work exploring the representation of African Americans in society, culture and art history. Working across various media in portraits, interiors, nudes and landscapes, Marshall conflates actual and imagined events from African American history and culture and integrates a range of stylistic influences to address the limited historiography of black art. Produced on the occasion of the artist's first exhibition at David Zwirner in London, this volume features reproductions of 14 new paintings (the majority of which are portraits of subjects whose disassociated stares suggest the differences between "looking" and "seeing"), as well as preparatory drawings, details and new scholarship by Robert Storr. Taken all together, the range of materials included in Kerry James Marshall: Look See constitutes a vibrant portrait of Marshall's original and ever-evolving practice.
Published by Wexner Center for the Arts. Edited by Robert Storr. Foreword by Sherri Geldin. Text by Lisa Florman, et al.
In celebration of its 25th anniversary in fall 2014, the Wexner Center for the Arts presented an unprecedented exhibition of the personal collection of Leslie and Abigail Wexner. Transfigurations: Modern Masters from the Wexner Family Collection features an in-depth selection of masterworks by Pablo Picasso, Alberto Giacometti and Jean Dubuffet. With its concentrated focus on these three twentieth-century virtuosos, along with additional works by Edgar Degas, Willem de Kooning and Susan Rothenberg, the Wexner Family Collection is truly incomparable to any other private collection formed over the last 50 years. Guest curated by Robert Storr, professor and dean of the Yale University School of Art, the exhibition and accompanying catalogue bring fresh perspective to these artists and examine the figurative impulses that connect them. The comprehensive catalogue features essays by such leading art historians and curators as James Demetrion, Valerie Fletcher, Lisa Florman, Marilyn McCully, Diana Widmaier Picasso, Robert Storr and the late Kirk Varnedoe, as well as entries on the 60 objects in the exhibition. Apart from the singular significance of each individual work, both the catalogue and exhibition demonstrate the persistence of the human figure in art throughout the twentieth century and into our own.
Published by Hatje Cantz/David Zwirner. Edited by Anna Gray, Kristine Bell. Text by Robert Storr.
Published on the occasion of the exhibition Ad Reinhardt at David Zwirner, New York, this catalogue presents a comprehensive exploration of the artist’s cartoon works, which he created for various publications throughout his lifetime, most notably the progressive tabloid daily newspaper P.M., in which his How to Look series first appeared in 1946. Reinhardt’s comics shed light on the artist’s humorous insight into art history, politics and culture, as well as his unparalleled critical sensibility as a painter and thinker. The publication includes new scholarship on this facet of Reinhardt’s practice by curator Robert Storr. Ad Reinhardt (1913–1967) was born in Buffalo, New York, and studied art history at Columbia University, where he forged lifelong friendships with Thomas Merton and Robert Lax. After studies at the American Artists School, he worked for the WPA and became a member of the American Abstract Artists group, with whom he exhibited for the next decade; later he was also represented by Betty Parsons. Throughout his career Reinhardt engaged in art-world activist politics, participating in the famous protests against The Museum of Modern Art in 1940 and the Metropolitan Museum of Art in 1950 (among the group that became known as "The Irascibles").
Published by Kerber. Edited by Patricia Donegan. Text by Alexander Borovsky, Grisha Bruskin, Hans-Peter Riese, Robert Storr, Olga Sviblova.
Grisha Bruskin’s new sculpture project H-Hour examines the idea of ‘the enemy’ in broad terms: the hostile state, class enemies, “the other” as enemy and even time and death as enemies. The sinister plaster sculptures, abundantly illustrated in this volume, embody a myriad of familiar tensions.
Published by Hatje Cantz. Text by Fanni Fetzer, Joseph Masheck, Robert Storr, John Yau.
The minimalist paintings of Swiss artist Helmut Federle (born 1944) are inflected with a strong spiritual character. American Songline focuses on his lesser known, more freely rendered paintings and drawings, discussed in a series of critical essays by renowned authors and interspersed with poems chosen by the artist.
Contemporary Latin American Art from the Diane and Bruce Halle Collection
Published by Phoenix Art Museum. Edited by Beverly Adams, Vanessa Davidson. Foreword by James K. Ballinger. Text by Beverly Adams, Vanessa Davidson, Robert Storr, Edward Sullivan. Interview with Diane Halle by Roland Augustine.
The works in this catalogue are drawn from the Diane and Bruce Halle Collection, one of the most important collections of Latin American art in the U.S. The Halles began collecting art from Latin America in 1995, aiming to educate themselves as well as make a wider public more aware of the remarkable art from this under-recognized region. Among the artists showcased here are Carlos Cruz Diez, Iran do Espíritu Santo, León Ferrari, Gego, Arturo Herrera, Guillermo Kuitco, Wifredo Lam, Helio Oiticia, Ińigo Manglano-Ovalle, Lygia Pape, Mira Schendel and Jesus Rafael Soto. These artists--working on canvas, in sculpture, photography, video and installation--instigated aesthetic currents that have international resonance.
PUBLISHER Phoenix Art Museum
BOOK FORMAT Hardcover, 9.75 x 11.75 in. / 240 pgs / 75 color.
PUBLISHING STATUS Pub Date 2/28/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 150
PRODUCT DETAILS ISBN 9780910407069TRADE List Price: $45.00 CDN $55.00
Published by Ludion/David Zwirner. Edited by Donna Wingate, Tommy Simoens. Interviews with Brice Marden, Peter Schjeldahl, Robert Storr, Madeleine Grynsztejn and Helen Molesworth by Lynne Tillman.
The famous David Zwirner Gallery in New York has been a base of operations for the Belgian painter Luc Tuymans since 1994. At the start of his career, Tuymans committed himself to showing a new series of works there once every two years--a promise that he kept, and continues to keep, 18 years on, as his tempered style and political content have steadily garnered him worldwide acclaim. Tuymans’ thematic exhibitions at the Zwirner Gallery have tackled controversial topics, ranging from the Holocaust to Belgium’s colonial past and the hypocrisy of the Disney empire. Luc Tuymans: Exhibitions at David Zwirner 1994–2012 presents the artist’s major works, together with brief commentary, photographs and archival documentation. Interviews with four leading U.S. critics--Ann Temkin, Brice Marden, Peter Schjeldahl and Robert Storr--that were conducted specially for this publication by Lynne Tillman discuss Tuymans’ presence in the U.S.
Published by Hatje Cantz. Edited by Allison Unruh. Text by Thomas Crow, Robert Storr, Jonathan Katz.
Self-described as an “American painter of signs,” Robert Indiana (born 1928) has interpreted the postwar American semiotic landscape through a unique merging of Pop's graphic snap with American modernist painting's codes of sexuality and use of advertising designs. Best known for his iconic rendition of the word “love,” over the past 50 years Indiana has created a major body of work that spans the movements of assemblage, hard-edged abstraction and Pop art. This book surveys his career from the early 1960s to the present, also convening new scholarship on this important artist by writers such as Thomas Crow and Robert Storr. Addressing topics ranging from Indiana's politically engaged works, his formative years in the Coentie's Slip artistic community in downtown Manhattan, Indiana's place within Pop and his allegorical depictions of gender and family, this book reevaluates and reorients some of Indiana's most significant works.
Published by Turner. Text by Robert Storr, Phong Bui, Kevin Power, Remo Guidiani, Santiago Olmos, Converations with Ray Smith, Phong Bui.
Since the late 1950s, Ron Gorchov (born 1930) has been a stalwart advocate of the possibilities of paintings as objects rather than as representations. Early in his career, alongside artists like Frank Stella, Robert Mangold and Richard Tuttle, Gorchov experimented with the shape of the canvas and stretcher, eventually devising the saddle-like frame that has allowed him to make paintings that are sculptures as much as they are sites of image-making. Gorchov’s art is distinguished by the luminous gentleness of its abstractions, which often consist of paired lozenges or lines that grow perceptually perplexing on their undulating grounds as the viewer engages them. Published on the occasion of a major exhibition in Spain curated by Gorchov’s studio neighbor Ray Smith, this volume is the first substantial monograph on this much loved New York artist, who has received increasing attention over the past decade.
Published by Matthew Marks Gallery. Text by Robert Storr.
This monograph presents 13 paintings and one sculpture that demonstrate a new refinement in Ellsworth Kelly's work. In each of the paintings a rectangular canvas is painted with numerous layers of white paint, on top of which the artist affixes a (usually) black canvas. With their sharp diagonals and dramatic curves, these reliefs are among the most dynamic of Kelly's career.
Published by Paul Kasmin Gallery. Text by Robert Storr.
In Deborah Kass's bright and Pop-ish word paintings, the glass is always half-full--in fact it's brimming over. Her texts call upon the viewer over and over, "c'mon get happy!" while others exhort more sober demands: "save the country now." Robert Storr's verdict: "Glitzy? You bet! And schmaltzy? Yeah!! Wanna make something of it? Kass does--and how!!!"
PUBLISHER Paul Kasmin Gallery
BOOK FORMAT Paperback, 9.25 x 11 in. / 32 pgs / 17 color.
PUBLISHING STATUS Pub Date 4/30/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 126
PRODUCT DETAILS ISBN 9780982943304TRADE List Price: $25.00 CDN $30.00
Published by Fundación Cisneros/Colección Patricia Phelps de Cisneros. Text by Robert Storr.
This third publication in the Fundación Cisneros' Conversaciones/Conversations series puts Brazilian conceptual artist Jac Leirner in dialogue with art historian Adele Nelson. Leirner (born 1961) emerged in the early 1990s at the forefront of a new, transnational generation of artists looking to the art of the 1960s and 1970s as a point of departure. Leirner's meticulously constructed works carve out a place for commonplace objects, from cigarette packs and plastic shopping bags to cutlery and currency. In this, the first in-depth study of Leirner's creative process, Nelson interviews the artist about more than two decades of production.
Published by Charta. Text by Robert Storr, Nalini Malani.
This gilt-edged artist's book by the celebrated Indian artist Nalini Malani was inspired by the writings of the German critic and novelist Christa Wolf on the ancient Greek myth of Cassandra. Through more than 40 exquisitely reproduced images, Malani retells this story from the perspective of the unheard woman whose insights are constantly ignored or relegated to heresy. Here, Cassandra symbolizes the unfinished business of the feminist revolution--acknowledging the ways that female logic and foresight have remained disparaged and overlooked despite all of the advances we have made as a society. Nalini Malani was born in Karachi in 1946--before the partition of her country into the nations of India and Pakistan. A committed social activist, Malani often bases her work on the stories of those who have been marginalized by history.
BOOK FORMAT Hardcover, 8.5 x 11.75 in. / 160 pgs / 43 color.
PUBLISHING STATUS Pub Date 2/1/2009 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 94
PRODUCT DETAILS ISBN 9788881587032TRADE List Price: $55.00 CDN $65.00
Published by David Nolan Gallery/Nolan Judin Berlin GmbH. Text by Robert Storr.
New York artist Alexander Ross makes some of the weirdest images around. Cartoonish, psychedelic, anthropomorphic, retro-futuristic, organic and mutant--like all good science fiction they manage to be serious, terrifying and funny at once. This stunning volume collects drawings made since 2000.
PUBLISHER David Nolan Gallery/Nolan Judin Berlin GmbH
BOOK FORMAT Hardcover, 9.75 x 12.75 in. / 86 pgs / 39 color / 4 bw.
PUBLISHING STATUS Pub Date 2/1/2009 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 169
PRODUCT DETAILS ISBN 9780977171439TRADE List Price: $75.00 CDN $99.00
AVAILABILITY In stock
in stock $75.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by MER. Paper Kunsthalle. Text by Robert Storr.
This volume features a collection of 36 editions and one painting by Richter, all from an exhibition at Belgium's Cultuurcentrum Strombeek. A short text by Robert Storr illuminates Richter's 1966 painting "Familie im Schnee" (Family in the Snow), which, copied from a photograph, exemplifies Richter's characteristic blurred brushwork.
Published by Kerber. Edited by Renate Petzinger. Text by Boris Groys, Robert Storr.
This two-volume, slipcased set presents the first complete overview of iconic New York-based, Russian-born artist Ilya Kabakov's paintings. Centered around 130 works produced by Kabakov in Moscow between 1957 and 1987--when he used imaginary characters in his paintings to portray the banality of everyday life in the Soviet Union, providing both a parable on humankind and sardonic commentary on the system's unfulfilled promises and undelivered utopias--this comprehensive catalogue raisonné follows the publication of a two-volume catalogue raisonné of Kabakov's installations in 2004 and includes important essays by curator and critic Robert Storr and acclaimed late-Soviet Postmodern art and literature expert Boris Groys. Ilya Kabokov was born in 1933 in Dnepropetrovsk, Russia, and immigrated to the U.S. in 1988. Kabokov is a contemporary of other "unofficial" Russian artists like Komar & Melamid--who also immigrated to the U.S.--and Oleg Vassilyev and Ivan Chuikov, who remained.
During Pop art's heyday in the 1960s, a small headstrong group presented themselves as artists' artists rather than media darlings. Renegade works by Richard Artschwager, William Copley, Steve Gianakos, Alfred Jensen, Peter Saul, John Tweedle, John Wesley, H.C. Westermann and Joe Zucker demonstrate this thesis for the European exhibition, Exile on Main Street.
Published by Walther König, Köln. Text by Catherine Millet, Robert Storr, Tatiana Trouvé.
This is the most complete monograph of Paris-based Tatiana Trouvé's multifaceted oeuvre, which consists of mixed media sculptures and drawings made from such materials as vinyl and copper. Trouvé was awarded the 2007 Prix Marcel Duchamp. This volume features an essay by Robert Storr.
Concerning his penchant for difficult or vulgar subject matter, San Francisco-born painter Peter Saul has stated, "Putting crime, war, sex, distortion and low class stuff into the picture is a way to take the decoration out of the picture--literally remove it from the dining room because no one is going to drink orange juice in the same room with it." Saul fuses his MAD Magazine-inspired humor with a Surrealist painting style to create difficult, funny and trenchant works--what Robert Storr, who has penned an essay for this volume, refers to as "sick jokes." Presaging Paul McCarthy and Mike Kelley and exerting noticeable influence on artists such as Barry McGee and Ed Templeton, Saul's oeuvre is long overdue for deeper examination and this comprehensive publication provides the first complete overview of his work over the past five decades--from his epic historical canvases to his homage to Thomas Hart Benton, his lampoons of art world sacred cows and works evidencing his particular take on the existential dilemmas of the aging American male. More recent works satirizing current affairs round this volume out.
Published by Des Moines Art Center. Edited by Patricia Hickson. Foreword by Jeff Fleming. Text by Patricia Hickson, Daniela Pérez, Robert Storr.
Borderlandia explores the world of cultural hybrids and collisions animated in the work of San Francisco artist Enrique Chagoya. Born in Mexico in 1953, Chagoya taps his home country's complex history, international politics, world religions, art history and popular culture in lively paintings, drawings, codices and prints. His varied oeuvre includes social satire and his trademark "reverse anthropology"--the imaginative retelling of various histories from the point of view of the defeated. Chagoya's fantastical narratives combine contemporary icons like Mickey Mouse, Superman, Che Guevara and George W. Bush with ancient figures like the Aztec god Mictlantecutli, Buddha, the Virgin of Guadalupe and Jesus Christ. This remarkable survey offers a comprehensive presentation of the artist's work from 1983 to 2007, and features bi-lingual--English and Spanish--texts by Jeff Fleming, Patricia Hickson, Daniela Pérez and Robert Storr, alongside a checklist, an artist's chronology and selected exhibition history. Among the 63 color illustrations are several three-panel foldout sheets featuring Chagoya's codices--accordion-folded books on amate (bark) paper drawn from pre-Columbian tradition.
PUBLISHER Des Moines Art Center
BOOK FORMAT Paperback, 9 x 12 in. / 100 pgs. / 63 color illustations.
PUBLISHING STATUS Pub Date 3/1/2008 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 176
PRODUCT DETAILS ISBN 9781879003507TRADE List Price: $24.95 CDN $27.50
Published by Progetto Prada Arte. Foreword by Miuccia Prada and Patrizio Bertelli.Text by Germano Celant, Alex Farquharson, Robert Storr, Carlo Bonini.
This elegant, boxed set introduces two new works by Thomas Demand, both presented during the 2007 Venice Biennale. The first volume presents “Processo Grottesco,” a life-sized paper model of a grotto--complete with stalagmites and stalactites--that was exhibited along with other source materials and Demand’s final photographic images. With a section of its pages cut in two, so that one can flip through old cave postcards on top or details of the finished artwork on the bottom, this volume contains rich, exhaustive documentation of the project, including historical documents, working drawings, models in progress, close-up details and final artworks, as well as an essay by Germano Celant. The second, slimmer, silver-edged volume presents the Yellowcake photographs, which portray the Nigerian Embassy in Rome--famous for “sparking” the United States’ 2003 invasion of Iraq. It includes essays by Robert Storr and Alex Farquharson, as well as a summary of “Nigergate” by investigative journalist Carlo Bonini.
Published by PictureBox. Foreword by Mike Kelley. Text by Robert Storr, Doug Harvey, Edwin Pouncy, Richard Gehr, Dan Nadel, Karrie Jacobs, Bryon Coley.
An intimate look at the work and life of a legendary artist. Gary Panter has been one of the most influential figures in visual culture since the mid-1970s. From his era-defining punk graphics to his cartoon icon Jimbo to his visionary design for Pee-wee's Playhouse, he has left his mark on every medium he's touched. Working in close collaboration with the artist, PictureBox has assembled the definitive volume on Panter's work from the early 1970s to the present. This monumental, slipcased set is split into two 350-page volumes. The first is a comprehensive monograph featuring over 700 images of paintings, drawings, sculptures, posters and comics, alongside essays by Robert Storr, Mike Kelley, Richard Klein, Richard Gehr, Karrie Jacobs and Byron Coley, as well a substantial commentary by the artist himself. The second volume features a selection from Panter's sketchbooks--the site of some of his most audacious work--most of which has never been published in any form. A three-time Emmy Award-winner for his production design on Pee-wee's Playhouse and the recipient of the 2000 Chrysler Award for Design Excellence, graphic artist Gary Panter has drawn inspiration from diverse vernacular and traditional art arenas over the course of the past four decades. Closely associated with the underground comics and music scenes on both coasts, he is responsible for designing the Screamers iconic 1970s poster, many record covers for Frank Zappa, the Red Hot Chili Peppers and The Residents and the ongoing comic character Jimbo. Most recently Panter has performed psychedelic light shows at the Hirshhorn Museum in Washington, D.C. and at New York's Anthology Film Archives. He was a featured artist in the major 2006-2007 touring exhibition, Masters of American Comics.
Published by Stichting Over Holland. Photography and introduction by Jan Christiaan Braun. Essays by Howard Gardner, Robert Storr.
Rambling through New York one day, Dutch photographer Jan Christiaan Braun ended up at a Queens cemetery, intending to find a good place to make a picture of the American flag. Instead, his attention was caught by a festively adorned gravestone with a striking wish: "Happy Birthday in Heaven." And so began the project gathered in this book--which records 144 of the most intensely decorated graves, some photographed serially in different celebratory regalia, from Valentine's Day to the Fourth of July to Halloween, Thanksgiving and Christmas. In Happy Together, Braun captures loving and creative expressions from New Yorkers of almost every conceivable cultural background in cemeteries in the Bronx, Brooklyn, Manhattan, Queens and Staten Island. Published to accompany Braun's exhibition at the 2007 Venice Biennale, curated by contributor Robert Storr, this volume also includes an essay by the renowned Harvard psychologist Howard Gardner.
PUBLISHER Stichting Over Holland
BOOK FORMAT Hardback, 8.75 x 11.25 in. / 272 pgs / 170 color.
PUBLISHING STATUS Pub Date 7/1/2007 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2007 p. 49
PRODUCT DETAILS ISBN 9789078850014TRADE List Price: $55.00 CDN $65.00
Published by Walker Art Center. Text by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr, Kevin Young, Yasmil Raymond.
Kara Walker is among the most complex and prolific American artists of her generation. Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.
This elegant clothbound monograph gathers the most recent work by the seminal language-based installation artist, Jenny Holzer. Presented to great acclaim at New York's Cheim & Read gallery this past summer, the work consists of enlarged, colorized silkscreen "paintings" of declassified and oftentimes heavily censored American military and intelligence documents that have recently been made available to the public through the Freedom of Information Act. Beautiful in their own right, the works are also haunting reminders of what really goes on behind the scenes in the American military/political power system. Documents address counter-terrorism, prisoner abuse, and even the threat of Osama Bin Laden. Some of the documents are almost completely inked out, like Colin Powell's memo on Defense Intelligence Agency reorganization. Others are spotty enough to allow readers to try to fill in the blanks. As Roberta Smith wrote in the New York Times, these are "the hardest-hitting, least hypothetical texts of Holzer's career."
PUBLISHER Cheim & Read
BOOK FORMAT Hardcover, 9.25 x 11.75 in. / 112 pgs / 95 color.
PUBLISHING STATUS Pub Date 2/1/2007 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 147
PRODUCT DETAILS ISBN 9780975331781TRADE List Price: $65.00 CDN $75.00
Published by D.A.P./San Francisco Museum of Modern Art. 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.
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.
Published by Ronald Feldman Fine Arts/Griffin Contemporary/Anthony Reynolds Gallery. Essays by Robert Enright and Meeka Walsh. Interview by Douglas Dreishpoon.
Leon Golub is best known for his large-scale paintings of violence and the abuse of power, scenes as colossal in brutality as they are in size. But, throughout his long career, Golub was a prolific draftsman as well. With subjects ranging from the classical to the erotic, and media ranging from oil sticks, to conte crayons, to inks, to acrylics, Golub's drawings interrogate the condition of our world. His first major drawing period began when he was a student in the 1940s. He began to articulate the figure in motion as he embraced Graeco-Roman sculpture, and in recent years (2000-2004) his drawings became more informal and spontaneous, with subjects ranging from aggression to erotic fun and games. Don't Tread on Me! features beautiful color reproductions and is the first book dedicated exclusively to Golub's provocative mastery of the figure.
PUBLISHER Ronald Feldman Fine Arts/Griffin Contemporary/Anthony Reynolds Gallery
BOOK FORMAT Paperback, 8.5 x 11 in. / 124 pgs / 99 color.
PUBLISHING STATUS Pub Date 2/15/2005 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 102
PRODUCT DETAILS ISBN 9780971928923TRADE List Price: $30.00 CDN $35.00
Site Sante Fe Fifth International Biennial Exhibition
Published by SITE Santa Fe. Essay by Robert Storr. Introduction by Charles Stainback.
Historically speaking, "grotesque" first referred to the bizarre motifs discovered in Nero's palaces in the 15th century--strange hybridities of plant, animal, and human forms. Such whimsies became fodder for Renaissance masters and later for Baroque, Rococo, Romantic, modern, and postmodern artists. For the Site Sante Fe Fifth International Biennial Exhibition, invited curator Robert Storr examines contemporary embodiments of the grotesque tradition in art, a spirit which unites formal opposites: emotional and intellectual conflicts, beauty and ugliness, delight and delirium, tragedy and comedy. Producing an art of revelatory impurities that encompasses both the wondrous and the disturbing, the grotesque has informed many of the key postmodern movements in art and culture. The Biennial brings together internationally known artists working in a wide range of media, subject matter, and conceptual and aesthetic approaches, including Louise Bourgeois, Bruce Conner, Inka Essenhigh, Tom Friedman, Ellen Gallagher, Robert Gober, Douglas Gordon, Paul McCarthy, Sigmar Polke, Susan Rothenberg, Jenny Saville, Cindy Sherman, and Kara Walker.
PUBLISHER SITE Santa Fe
BOOK FORMAT Flexibound, 9.5 x 11 in. / 212 pgs / 65 color.
PUBLISHING STATUS Pub Date 9/2/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2004
PRODUCT DETAILS ISBN 9780970077486TRADE List Price: $49.95 CDN $60.00
Published by Hatje Cantz. Edited by Eva Keller. Essays by Robert Storr and Jean de la Fontaine.
Born in Paris in 1911 and a New Yorker since 1938, Louise Bourgeois created a unique oeuvre that owes no allegiance to twentieth-century “isms” in the course of a career than has spanned more than 60 years. Her art is grounded in her own life and experience: “My goal is to re-experience a past emotion... to relive anxiety... anxiety is a passive state, and the object is to be active and take control.” Yet Louise Bourgeois did not create an autonomous universe as an artistic hermit. While her art is nourished by personal experience, it also draws from art and art history--a wellspring of inspiration from which she developed her themes, concepts and approach to media in both two- and three-dimensional works. Her rich and fascinating oeuvre is the subject of this publication, which presents more than 50 works from 60 years of creative activity in impressive full-color illustrations. Most of the works featured here are from the Daros Collection in Zurich.
Published by Walther König, Köln. Essays by Jörg Immendorff, Anette Hüsch.
In his youth, J‡rg Immendorff was an assistant at Joseph Beuys's legendary performance How to Explain Pictures to a Dead Hare. As he describes here in an interview with Hans Ulrich Obrist, when Beuys complied with his dealer's request to rearrange the stage for commercial reasons ('I need the stuff we can sell at the front.'), Immendorff stuck a red dot on Beuys's vest, the international sign that a work has sold, and in this case the scarlet letter of the sellout. Immendorff remains as politically and personally engaged today. Male Lago, a gigantic scrapbook and portfolio almost three-and-a-half inches thick and weighing in at 880 pages, tracks his work from its earliest and most political days through to his recent paintings and quietly wry brass monkeys.
PUBLISHER Walther König, Köln
BOOK FORMAT Paperback, 8.5 x 11 in. / 880 pgs / 148 color.
PUBLISHING STATUS Pub Date 3/1/2006 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2006 p. 99
PRODUCT DETAILS ISBN 9783883759975SDNR30 List Price: $75.00 CDN $90.00
Published by D.A.P./Les Presses du Reel. Edited by Marie-Laure Bernadac. Interviews with Harald Szeemann, Robert Storr, Bernard Marcadé and Suzanne Pagé.
Texts and words are of crucial importance to Annette Messager's work--for her, "words are images." And so words--at once autonomous from, parallel to, and the sources of her visual creativity--are woven throughout her production. She has looked directly at our diverse relationships to language in forms ranging from the early scrapbooks of the 1970s to the large sculpted words of the late 1990s, and others including personal diaries, letters, calligraphy, alphabets and primers. She works with the repeated, drawn, framed and sculpted word; newsprint, collage and montage of texts and photographs; and handwritten texts. Plays on words and palindromes turn up in her exhibition titles and, more recently, in her children's books. All of these uses of language stem as much from Dada and Surrealism as from the aesthetics of the banal and the everyday, and they give rise to unclassifiable texts, which call somewhere between a literature of the news item or photo-essay and poetic maxims for personal use. Messager's frequent recourse to copying down and to repetition then serves as a kind of exorcism: in those cases, writing is something like sewing, with a soothing function. The first section of Word for Word focuses on writing in Annette Messager's artworks. The second includes numerous texts published in magazines or catalogues, as well as unpublished notes on her work and personal reflections on art and life. All of her interviews from 1974 to the present are also included.
Published by The Museum of Modern Art, New York. Introduction by Robert Storr.
To accompany the full-scale exhibtion catalogue for Elizabeth Murray's retrospective at The Museum of Modern Art in October 2005, the Museum is also producing a matching artist's book. Since Murray's works often operate in three dimensions, this book will contain two pop-ups, one derived from an existing painting, the other from a drawing created especially for the book. Both pop-ups are to be designed by the accomplished paper engineer Bruce Foster in collaboration with the artist. The book will also show a selection of the preperatory sketches and other drawings that Murray makes to ceate these works. Robert Storr, organizer of the Murray retrospective, will contribute an introduction.
Published by The Museum of Modern Art, New York. Essay by Robert Storr.
Elizabeth Murray has radically altered the structure of Modernist painting. Her shaped and constructed canvases, often topologically modeled in three dimensions or fitted together out of multiple jigsaw-like parts, treat figure and ground in unprecedented ways, giving the elastic shapes of classic Surrealism a space in their own image. The alternatively comfortable and cataclysmic world that her images depict would crack irrevocably if it followed Euclidean logic; instead; it constantly metamorphoses under stress. With a chaptered essay by Robert Storr, plate section, and in-depth interview, the book will explore Murray's relation to artists such as Joan Miró, Stuart Davis, Claes Oldenburg and Frank Stella, as well as to the mainstream and opened up options for rising generations. This book accompanies the most detailed examination of Murray's art yet mounted, showing its development from Pop-oriented reliefs in the 1960s to the extraordinary volumetric of her recent work.
Published by Walther König, Köln. Edited by Pamela Kort and Robert Storr. Essay by Isabel Moffat, Pamela Kort and Robert Storr.
Accompanying the artist's first major exhibition in the United States, I Wanted to Become an Artist examines Jörg Immendorff's anarchic approach to the Conceptual art practices of the 60s and 70s. Playfully and politically, he adds to Germany's ongoing efforts to come to terms with its role in modern history.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 9.25 x 11.25 in. / 152 pgs / 184 color / 9 bw.
PUBLISHING STATUS Pub Date 5/2/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2004
PRODUCT DETAILS ISBN 9783883757643SDNR30 List Price: $45.00 CDN $55.00
Published by Richter Verlag. Edited by Toni Stooss. Essays by Robert Storr, Rod Mengham, Boris Groys and Oskar Bätschmann
The struggle with one's own memories, especially those of an unofficial artist in the last decades of the Soviet Union, has been the dominant theme of the work of Ilya Kabakov (born 1933 in Dnepropetrovsk, Ukraine), since his 1987 move to the west. Kabakov invites us to enter a private sphere and reminds us of the ugly, depressing aspects of Russian Communism's decline into paranoia and oppression. The driving force behind Kabakov's artistic production has remained a recapitulation of his own past under the disintegration of Soviet civilization.
Published by Charta. Essays by Leon Golub and Robert Storr.
Galvanized by the political events of the Vietnam War, Nancy Spero dedicated herself for five years to creating a group of gouache paintings on paper, titled The War Series. In these works, Spero not only expressed her rage at the violence and oppression of the war, but also introduced many of the images and themes that would continue to find their place in her work, and anticipated the post-modern aesthetic of fracture, dissonance, and collage. This volume is the first to analyze The War Series in depth, and its publication could not, unfortunately, be more timely.
BOOK FORMAT Hardcover, 8.25 x 10.5 in. / 64 pgs / 34 color / 9 bw.
PUBLISHING STATUS Pub Date 2/2/2004 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9788881584574TRADE List Price: $30.00 CDN $35.00
Published by The Museum of Modern Art, New York. Artwork by Max Beckmann, Leon Golub, Ellsworth Kelly, William Kentridge. Edited by Sean Rainbird. Text by Susanne Bieber, Barbara Buenger, Charles Haxthausen, Jill Lloyd, Nina Peter, Ortrud Westheider, Anette Kruszynski, Robert Storr.
Max Beckmann was among the greatest painters of the 20th century, yet no retrospective of his work has been mounted in the art capitals of New York, London, and Paris in over 30 years. Perhaps the lapse of attention has to do with the importance of abstraction in 20th-century art, and Beckmann's work is always figurative, simultaneously muscular and enigmatic and has enormous and unsettling power. Beckmann began his career as a naturalist and Symbolist in the period before World War I. After the war he developed a unique pictorial style that mixed expressionist color and gesture, mythological and mystical allegory, and the harsh new objectivity of his portrayal of modern life throughout the Nazi reign of terror. A prolific artist in painting, drawing, and printmaking--as well as a powerful sculptor--Beckmann created mysterious images and dense tableaux of unparalleled intensity and complexity during an odyssey that took him from his native Germany to Paris, Amsterdam, St. Louis, and New York.
A new examination of Beckmann's role and reputation during the first half of the 20th century has been eagerly awaited. Making use of new scholarship and previously unavailable research materials, this book sheds light on Beckmann's work and his influence on and interactions with the artists of his day. Essays include discussions of Beckmann's Frankfurt cityscapes, his pictures from Italy, his triptychs, his group portraits, and his relationship with cultural politics in the 1920s and 1930s; texts and interviews by artists Leon Golub and Ellsworth Kelly; curator Robert Storr on "The Beckmann Effect"; and artist William Kentridge on Beckmann's Death. This sumptuous volume is published on the occasion of the retrospective exhibition mounted jointly by the Tate Modern, Centre Georges Pompidou, and The Museum of Modern Art, New York. It is the first comprehensive exhibition of Beckmann's work to be seen in the United States since 1984, and the first in New York since 1964.
Published by Mitchell-Innes & Nash. Essay by Robert Storr.
Drawn from a critical period of Tony Smith's career, when the artist lived in Germany from 1953-55, the Louisenberg series is named after a German geological site. Containing paintings and drawings based on an abstract grid composed of circles--some self-contained, others fused into peanut-shaped groups of two or more--the work's modular approach reflects Smith's architectural ideas and prefigures his familiar sculptural methods.
Published by The Museum of Modern Art, New York. By Robert Storr.
Robert Storr's is one of the sharpest minds in American art museums. --The New York Review of Books [Gerhard Richter is] Europe's most challenging modern painter. --Michael Kimmelman Gerhard Richter is widely recognized as one of the most significant painters working today, and he is certainly among the most influential. He has worked in a wide range of manners since the early 1960s, producing abstractions, landscapes, images derived from the mass media and photographs, and more. Seen together, these works call into question such widely held assumptions as the importance of stylistic consistency, individual artistic sensibility and spontaneous creativity. They also explore the impact of technology and media imagery on the traditional methods and formats of painting. The Museum of Modern Art has published two important books on Richter, both written by Robert Storr: one covering 40 years of his painting, and published to accompany the museumís large Richter retrospective in spring 2002, and one focusing on a single crucial series, October 18, 1977, which Richter painted in 1988. This new publication brings together the essays, an interview and bibliography from both of those books in a single volume--an ideal service for the student who wants both texts at hand at a relatively low price.
Published by The Museum of Modern Art, New York. By Robert Storr.
Ranging from photo-based pictures to gestural abstraction, Gerhard Richter's diverse body of work calls into question many widely-held attitudes about the importance of stylistic consistency and the relationship of technological means and mass media imagery to traditional studio methods and formats. Unlike many of his peers, he has explored these issues through the medium of painting, challenging it to meet the demands posed by new forms of conceptual art. In every level of his varied output--from his austere photo-based realism of the early 60s, to his brightly colored gestural abstractions of the early 80s, to his notorious cycle of black-and-white paintings of the Baader-Meinhof group--Richter has assumed a critical distance from vanguardists and conservatives alike regarding what painting "should" be. The result has been one of the most convincing renewals of painting's vitality to be found in late twentieth- and early twenty-first-century art. With an extensive and insightful critical essay by curator Robert Storr, a recent interview with the artist, a chronology, an exhibition history and nearly 300 color and duotone reproductions, Gerhard Richter: Forty Years of Painting marks a significant contribution to the understanding of contemporary art in general, and Gerhard Richter in particular.
Published by The Museum of Modern Art, New York. Edited by Robert Storr. Essays by Robert Storr, John Keenen and Joan Pachner.
Tony Smith is primarily known as a sculptor of large abstract constructions, which he made during the last 20 years of his life. Less well known is the fact that he was also an architect and a painter--a true Renaissance man. In the mid-1930s he studied drawing, painting, and anatomy at the Arts Student League in New York, later moving to Chicago, where he took courses in architecture and design at the New Bauhaus. Subsequent work with Frank Lloyd Wright led him to establish his own architectural firm in the 40s. Becoming disheartened with the role of architect, he returned to painting, and in the late 50s found his ultimate calling in sculpture. This volume provides the first complete overview of the career of this unique figure in the postwar American artistic vanguard. Published in conjunction with a 1998 exhibition at The Museum of Modern Art, New York, this book presents Smith's life and work in all mediums; thoughtful, critical essays; an illustrated chronology; a section of writings, interviews, and letters by Smith, his family, and his friends; and a selected bibliography and exhibition history.
Published by The Museum of Modern Art, New York. Edited by Robert Storr. Essays by Kirk Varnedoe and Deborah Wye. Foreword by Glenn D. Lowry.
The most comprehensive assessment of Chuck Close's work yet published, this volume accompanied a mid-career retrospective exhibition that opened at The Museum of Modern Art, New York, on February 25, 1998. A leading figure in the New York art world since the early 1970s, Close has recently concentrated on portraits of his artist friends and colleagues, characterized by colorful patterning and vivid brushwork. Subjects include Robert Rauschenberg, Roy Lichtenstein, Alex Katz, Kiki Smith, Lucas Samaras and Lorna Simpson. Here, more than 90 paintings, prints, drawings and photographs are reproduced, along with details and comparative illustrations.
Published by The Museum of Modern Art, New York. Essay by Robert Storr.
On October 18, 1977, three young German radicals, members of the militant Baader-Meinhof group, were found dead in a Stuttgart prison; they were pronounced suicides, but many people suspected they had been murdered. Gerhard Richter, a German painter, and one of the most exceptional and highly regarded artists of the second half of the 20th century, created, 11 years after this traumatic event, a series of 15 paintings known as October 18, 1977. It is among the most challenging works of the artist's career, and one of the 20th century's most famous works on a political theme, still highly debated and unsettling to this day. Accompanied by an extensive and sensitive group of texts by Robert Storr, who recently curated the highly acclaimed Richter retrospective at The Museum of Modern Art, New York.
Published by The Museum of Modern Art, New York. Edited by Kirk Varnedoe and Pepe Karmel. Essays by T.J. Clark, Robert Storr, James Coddington, Carol C. Mancusi-Ungaro, Rosalind E. Krauss, Anne M. Wagner, Jeremy Lewison, Pepe Karmel and Kirk Varnedoe.
Presenting nine critical essays by leading scholars--among them T.J. Clark, Robert Storr, James Coddington, Rosalind Krauss, and Kirk Varnedoe--this collection offers dramatically different ways of understanding Jackson Pollock's art and influence. Revealing not just the richness of Pollock's work, but also the vitality and diversity of contemporary criticisms, these texts discuss the crisis of easel painting, Pollock's relationship with his wife, artist Helen Frankenthaler, the Americanization of Europe, and the place of chaos in Pollock's work. Based on a symposium held in 1999 during The Museum of Modern Art, New York's retrospective exhibition of Pollock's oeuvre, this volume is a companion to Jackson Pollock: Key Interviews, Articles, and Reviews, a collection of older texts by or about the artist.
Published by Richter Verlag. Essay by Robert Storr. Introduction by Rudi Fuchs.
Here are five artists rarely mentioned in the same sentence--and never before collected together in one book. How to reconcile Robert Crumb's cult-status comic offenses with Mike Kelley's taboo, childish handiwork and Jim Nutt's measured, dogged portraits? How to link Peter Saul's violent, colorful caricatures with H.C. Westermann's eccentric folk fancies? Though none belong firmly to the artistic mainstream, each of these artistic mavericks has exerted a strong influence on their contemporaries and on generations of younger artists--infecting their eyes, if you will, with a shared visual language influenced by comic books, advertisements, folk art, and daily life. Often run through with explicit sexuality and violence, and always visually bombastic, the works presented in Eye Infection are not for the faint-hearted or soft-eyed but for the pop-culture aficionado, the surreptitious comics reader, the humorist, the eccentric, and, of course, the follower of contemporary art.
Contemporary Art from the Werner and Elaine Dannheisser Collection
Published by The Museum of Modern Art, New York. Essay by Robert Storr. Introduction by Kirk Varnedoe.
The Werner and Elain Dannheisser Collection is a group of artworks--paintings, sculptures, texts, billboards, drawings, videos, neons, photomontages, installations, and photographs--that together provide a running account of the simultaneous attractions and provocations of contemporary art. Produced by 33 artists from Europe and America--among them Carl Andre, Richard Artschwager, Matthew Barney, Joseph Beuys, Sue Coe, Katharina Fritsch, Gilbert & George, Robert Gober, On Kawara, Jeff Koons, Richard Long, Bruce Nauman, Sigmar Polke, Richard Prince, Cindy Sherman, and Christopher Wool--and dating from the 1960s to the 90s, these works document artistic directions that are still in the process of making themselves known. The collection, the largest gift of contemporary art ever given to The Museum of Modern Art, charts an independent path through the maze of new ideas and styles that characterized the last three decades of the 20th century.
Published by The Museum of Modern Art, New York. Essay by Robert Storr. Foreword by Glenn D. Lowry.
Throughout the twentieth century, the evolution of mainstream Modernism in the arts has been shadowed and made complex by alternative expressions of a seemingly retrograde type, art that appears to set back the clock or to redirect the stream of progress. Modern Art Despite Modernism explores the anti-Modernist impulse in painting and sculpture through socio-cultural conflicts of the 1920s, 30s and 40s. Texts by Robert Storr advocate the strengths of this impulse in paintings and drawings by Otto Dix, Lucian Freud, Francesco Clemente and even Pablo Picasso--and note the enduring popularity of such artists as Pavel Tchelitchew, whose "Hide and Seek," along with Andrew Wyeth's "Christina's World," remain among the public's favorite pictures. Storr also discusses taste and its implications, both part and present, for institutions like The Museum of Modern Art. This book was published as the second in a series of three titles, in conjunction with the millennial exhibitions schedule of MoMA2000 at The Museum of Modern Art, New York.
Published by D.A.P./ICA Boston. Edited by Jessica Morgan. Essays by Robert Storr and Greg Tate. Interview by Jessica Morgan. Foreword by Jill Medvedow.
Ellen Gallagher has emerged as one of the most acclaimed young artists in the United States over the past decade, and this book will be the first to present a significant body of recent work in one volume. Gallagher inflects the surface of her layered drawings and paintings with unique irony and wit. They refer obliquely to a history of African American stereotypes through minute interventions on the canvas: tongues, eyes, wigs, and lips appear like individual musical notes. Their lack of fully formed bodies underlines the manner in which these stereotypical images were used: appearing as disembodied parts in advertisements, toys, and other products of the popular culture. It is through repetition of this limited vocabulary of signs that meanings are established and transformed in Gallagher's work. The large-scale paintings in the exhibition and this accompanying book explore her personal iconography of forms. Included will be Gallagher's recent all-black paintings as well as a carefully selected group of drawings from the artist's own collection. In addition, it features an extensive interview with the artist, for which she has executed several drawings specifically to illustrate this section, as well as critical essays on the work.
Published by Independent Curators International (ICI). Edited by Carin Kuoni. Essays by Jean-Christophe Ammann, Carlos Basualdo, René Block, Francesco Bonami, Dan Cameron, Lynne Cooke, Bice Curiger, Donna De Salvo, Richard Flood, Thelma Golden, Yuko Hasegawa, Jean-Hubert Martin, Gerardo Mosquera, Hans Ulrich Obrist.
A modern update of the Medieval trade manuals--the 'come-along-with-me' (vade mecum) of Medieval craftsmen--Words of Wisdom: A Curator's Vade Mecum is an invaluable guidebook for anyone interested in contemporary art and the practice of curating. In over fifty short essays, this compendium offers advice to a new generation of curators from veterans of contemporary art exhibitions who, over the past 25 years, have played a crucial role in shaping what we see today, and how we see it. While providing an intimate look at the minds of these master curators, Words of Wisdom also establishes the curator's craft as an important vocation that has changed tremendously over the past quarter-century. In the course of their musings, the curators offer behind-the-scenes insights into influential exhibitions and institutions and the contemporary art world they represent. Among the contributors are Jean-Christophe Amman, director of the Museum of Modern Art, Frankfurt, Germany; Donna de Salvo, curator at the Tate Gallery, London; Richard Flood, chief curator at the Walker Arts Center, Minneapolis; independent curator Hans Ulrich Obrist; and Marcia Tucker, founding director of the New Museum of Contemporary Art, New York.