Edited by Donna Wingate, Marc Joseph Berg. Text by Geoffrey Batchen, Francesco Bonami, Gavin Brown, Paulo Herkenhoff, Chrissie Iles, Jenelle Porter, David Rimanelli, Christian Scheidemann, Adam Szymczyk, Catherine Wood.
Hbk, 6.75 x 9.5 in. / 208 pgs / 100 color. | 4/30/2014 | In stock ISBN 9783775737876 | $55.00
Published by Hatje Cantz. Edited by Donna Wingate, Marc Joseph Berg. Text by Geoffrey Batchen, Francesco Bonami, Gavin Brown, Paulo Herkenhoff, Chrissie Iles, Jenelle Porter, David Rimanelli, Christian Scheidemann, Adam Szymczyk, Catherine Wood.
Emerging in the mid-1990s, the Warsaw-born, New York-based artist Piotr Uklanski has created a provocative body of work that ranges across media, from installation, paper reliefs, tie-dye paintings, textile-based immersive sculptures and resin-based sculptures and paintings to photography, performance and a feature-length film, Summer Love. Second Languages is the first book to offer a comprehensive look at this iconoclastic artist. Taking the form of a reader, this richly illustrated collection of 11 essays--authored by internationally renowned art historians, curators and critics--analyzes Uklanski's protean output. While this book serves to critically situate Uklanski's work in art historical and theoretical contexts, it also provides some unconventional, humorous interpretations.
Published by Institute of Contemporary Art, University of Pennsylvania, Philadelphia. Preface by Claudia Gould. Text by Jenelle Porter. Interview by Kaja Silverman.
Charline von Heyl (born 1960) synthesizes elements of Cubism, Abstract Expressionism and the brasher imagery of popular culture in a fascinating brand of abstraction that seems eternally poised on the lip of figuration. Resolutely devoted to energetic gesture and joyous expression, von Heyl also aspires to create images that declare an enigmatic self-sufficiency: “What I’m trying to do is to create an image that has the iconic value of a sign but remains ambiguous in its meaning,” she told Bomb magazine in a 2010 interview. “Something that feels like a representation but isn’t.” In the spirit of von Heyl’s work, this volume--published for the artist’s first U.S. museum survey-- attempts to break free of the conventions of the museum catalogue, with an artist-designed cover and poster-sized reproductions of each of the 18 paintings included in the show.
Kathy Butterly, Félix González-Torres, Roy McMakin, Sue Williams
Published by Hatje Cantz. Edited by Jeremy Sigler, Jenelle Porter. Text by Jenelle Porter.
Figuring Color looks at the work of four artists who use color and shape to represent a metaphorical body. For instance, Roy McMakin's sculpture of a chair is at once a body and an implication of an absent body, where two tables intertwined suggest bodies nestled together. Kathy Butterly's ceramic sculptures are miniature bodies, whose sensuality amplifies clay's potential for delightful form. In Felix Gonzalez-Torres's sculptures, piles of wrapped candy and plastic-bead curtains are experienced through touch, privileging the physical body while still evoking a metaphorical body. Sue Williams's riotously colorful paintings explore the body abstracted, represented entirely through color. Poems by Charles Bernstein, Mei-Mei Berssenbrugge, Jen Bervin, Lee Ann Brown, Miles Champion, Marcella Durand, Craig Dworkin, Tonya Foster, Alan Gilbert, Lisa Jarnot, Vincent Katz, Damon Krukowski and others respond to the book's sensuous theme.
Published by Institute of Contemporary Art, University of Pennsylvania. Edited by Jenelle Porter. Text by Jenelle Porter, Edwin Denby, Shirley Clarke, Yvonne Rainer, Charles Atlas, et al.
Against the backdrop of the histories of cinema, postmodern dance and performance art, Dance with Camera focuses on the myriad ways visual artists use dance to explore broader themes. Spanning six decades, works by 35 artists and filmmakers propose a rich history of pairing dance and the camera. In video dances made by Merce Cunningham and Charles Atlas choreography is designed for the camera's frame. The camera allows close-ups that bring us in proximity to the dance as in works by artists such as Tacita Dean, Maya Deren and Joachim Koester. Photographic series by Kelly Nipper, Christopher Williams and Elad Lassry freeze time while expanding the notion of dance as a time-based medium. Editing techniques conjure dances impossible in real time in works by Eleanor Antin, Oliver Herring and Bruce Conner.
Published by Institute of Contemporary Art, University of Pennsylvania, Philadelphia. Foreword by Claudia Gould. Text by Ingrid Schaffner, Jenelle Porter, Glenn Adamson.
Dirt on Delight is the catalogue for the ICA Philadelphia's hit exhibit of 2009; in a rave review for The New York Times, Roberta Smith observed that this "close to groundbreaking" show, in its diversity, reminds us that ceramics "has one of the richest histories of any medium on the planet," and the works gathered here range from modestly-scaled pots to larger installations, crossing false delineations between fine arts, crafts and "outsider" practices. Among the artists included are Robert Arneson, Kathy Butterly, Nicole Cherubini, Lucio Fontana, Viola Frey, Jane Irish, Ron Nagle, George Ohr, Ken Price, Sterling Ruby, Peter Voulkos, Beatrice Wood and Betty Woodman.
Published by Institute of Contemporary Art, University of Pennsylvania, Philadelphia. Text by Jenelle Porter, Harvey Mitchell.
This first book on the Philadelphia-based artist features work from his 2009 ICA exhibition--an installation composed of a six-minute, animated, high-definition projected video and five bronze sculptures. Dread was premiered at the 52nd Venice Biennale in 2008, where it received critical acclaim.
Published by Institute of Contemporary Art, University of Pennsylvania, Philadelphia. Contributions by Jenelle Porter. Acknowledgements by Claudia Gould.
This first survey of rising San Francisco artist Trisha Donnelly, born in 1974, includes photography, drawing, painting, sculpture, sound, video and other elements made between 1998 and 2007. All of Donnelly’s practices are united by questions about the necessity and viability of making art, and the emotional and almost speechless responses that they evoke in the viewer.
Published by ICA Philadelphia. Edited by Jenelle Porter. Foreword by Claudia Gould. Text by Laurie Olin, Cynthia Davidson, Julia Czerniak, Peter Eisenman.
Architect Peter Eisenman and landscape architect Laurie Olin have been collaborating since 1980 on projects both built and unbuilt. Their key works include the Wexner Center for the Arts and the Holocaust Memorial in Berlin. This first book on their important and unusually egalitarian working relationship offers a revealing look at the development of a 25-year collaboration, beginning with the title work, a recent site-specific environmental installation, and continuing through a survey of their portfolio. Each of the two also maintains an individual practice and teaches: Olin is the Practice Professor of Landscape Architecture and Regional Planning at the University of Pennsylvania and the author of Across the Open Field, Essays Drawn on the English Landscape, and co-author of Vizcaya, An American Villa and its Makers. Peter Eisenman was the first Irwin S. Chanin Distinguished Professor of Architecture at The Cooper Union and is currently the Louis I. Kahn Professor of Architecture at Yale. His books include Diagram Diaries and Chora L Works, co-authored with Jacques Derrida. Fertilizers includes essays by each of them, an interview and many seldom-seen images.
Published by Hatje Cantz Publishers. Edited by Lynn Herbert. Essays by Laura Heon, Lynn M. Herbert, Thyrza Nichols Goodeve and Jenelle Porter. Foreword by Marti Mayo.
In 1995, British artist Matthew Ritchie embarked on an extraordinary undertaking: he set out to tell the story of everything, from the Big Bang onward. His tale was to be told in paintings and drawings through a core group of 49 characters drawn from sources as diverse as mythology, quantum physics, alchemy, gambling, biblical tales, and pulp fiction. With Proposition Player, Ritchie's first major solo museum exhibition and accompanying catalogue, his narrative has reached a "climax, collapse, and crisis"--the story has morphed into a game and Ritchie has created a veritable information casino. Accompanying the paintings and drawings for which the artist is internationally known are works in new media, including a 100-foot-long three-dimensional drawing, an interactive craps table with digital animation that invites viewers to roll the dice for the future of the universe, an enormous rubble floor mosaic that invites viewers to walk into the heart of the piece, and a deck of cards featuring Ritchie's cast of characters.
Published by Deste Foundation for Contemporary Art. Edited by Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick.
Charley 03 is a time machine, bringing out the past and casting it into a new light. Charley 03 presents one hundred artists from the 80s and 90s. Playing with memory and amnesia, Charley 03 presents--in a new frame--the works that have shaped two decades of contemporary art. Suspended between nostalgia and archeology, Charley 03 writes a small history of what-ifs: a scenario that speaks about the instability of taste as it undermines the hierarchies of art history. Yesterday begins tomorrow. A multiform creature, Charley is bound to transform at each new appearance. The first issue featured 400 emerging artists from around the world, selected by a pool of international artists, curators, critics and art professionals. Charley 02 provided a snapshot of the New York City art season in 2001-2002. Charley is sponsored by the Deste Foundation, Athens, Greece, which supports artist's projects, exhibitions, and symposia that explore the relationship between contemporary art and culture.
Published by Deste Foundation for Contemporary Art. Edited by Maurizio Cattelan, Massimiliano Gioni, Ali Subotnick. Contributions by Jenelle Porter, Conny Purtill.
The second issue of Charley is a snapshot of the New York City art season from fall 2001 through summer 2002. A predigested combine, it is a memory update that serves both as a playlist and a Who's Who of contemporary art. Charley 02 treats the city as a giant open-air festival of contemporary art; it's a catalog of an imaginary show that unravels in the streets of New York, stretching from Harlem to Chelsea, through SoHo, Queens and Brooklyn. Charley 02 is open to endless transformations: constructed as a collection of 142 color postcards featuring images from the season's most memorable shows and events along with texts, comments, and reviews, it can be shuffled around and rearranged. The postcards can be sent out, pasted on the wall, or glued to the fridge; hierarchies can be shifted, new connections created. Charley 02 is a machine for distribution, a mechanism for spreading and exploiting information, rumors and communication. It is a multiform creature, bound to transform at each new appearance and new issue. Charley 02 is sponsored by the Deste Foundation, Athens, Greece, which supports artist's projects, exhibitions, and symposia that explore the relationship between contemporary art and culture.