Douglas Crimp

PREVIOUSLY ANNOUNCED

IN THE SHADOW A SHADOW: THE WORK OF JOAN JONAS
Essay by Joan Simon. Text by Johanna Burton, Barbara Clausen, Douglas Crimp.
GREGORY R. MILLER & CO.
ISBN: 9780980024289 | US $75.00
Pub Date: 6/30/2013
Forthcoming

ACTIVE BACKLIST

ALVIN BALTROP: DREAMS INTO GLASS
CONTEMPORARY ARTS MUSEUM HOUSTON
ISBN: 9781933619392 | US $14.95
Pub Date: 8/31/2012
Active | Awaiting stock

YVONNE RAINER: SPACE, BODY, LANGUAGE
KUNSTHAUS BREGENZ/MUSEUM LUDWIG, COLOGNE
ISBN: 9783863351373 | US $55.00
Pub Date: 8/31/2012
Active | Awaiting stock

VERA LUTTER
Text by Douglas Crimp, Gertrud Koch.
HATJE CANTZ
ISBN: 9783775732789 | US $55.00
Pub Date: 10/31/2012
Active | In stock

CINDY SHERMAN, THOMAS RUFF & FRANK MONTERO: 1000 FACES, 0 FACES, ONE FACE
Text by Gerardo Mosquera, Douglas Crimp, Diana Cuéllar, José Miguel G. Cortés.
LA FáBRICA/FUNDACIóN TELEFóNICA
ISBN: 9788415303152 | US $60.00
Pub Date: 10/31/2011
Active | In stock

THE AESTHETICS OF RISK: SOCCAS SYMPOSIUM VOL. III
JRP|RINGIER
ISBN: 9783905770551 | US $25.00
Pub Date: 1/1/2008
Active | Awaiting stock

OUT OF PRINT LISTING

THE EIGHTH SQUARE: GENDER, LIFE AND DESIRE IN ART SINCE 1960
HATJE CANTZ PUBLISHERS
ISBN: 9783775718295 | US $55.00
Pub Date: 10/1/2006
Out of print | Not available

Douglas Crimp

Alvin Baltrop: Dreams into Glass

Edited and with text by Valerie Cassel Oliver. Introduction by Douglas Crimp. Forward by Bill Arning.
Published by Contemporary Arts Museum Houston

Dreams into Glass accompanies the first major museum exhibition of African-American photographer Alvin Baltrop (1948–2004), whose career unfolded in the late 1960s amid a period of turbulent social and political upheaval. Following a stint in the Navy, Baltrop returned to New York in the 1970s and immersed himself in the city’s decaying landscape, documenting a post-industrial wasteland of vacant manufacturing buildings that included the piers located along the Hudson River in lower Manhattan. It was here that Baltrop captured his most iconic images of nocturnal danger and despair alongside intimate and voyeuristic portraits of the homeless, teenage runaways, prostitutes and clandestine sexual encounters. During this period, Baltrop captured Gordon Matta-Clark’s monumental piece “Day’s End” and the work of graffiti artist, Tava, now lost to history. This survey features over three decades of vintage and reprinted photographs as well as archival material--from Baltrop’s intimate portraits of Navy friends and other enlisted men to his poetic body abstractions and street photography to the documentation of an era of gay sexual abandon between the Stonewall riots and the AIDS pandemic.

Yvonne Rainer: Space, Body, Language

Edited by Yilmaz Dziewior, Barbara Engelbach. Foreword by Yilmaz Dziewior, Barbara Engelbach, Kaspar König. Text by Gabriele Brandstetter, Douglas Crimp, Yilmaz Dziewior, Barbara Engelbach, Carrie Lambert-Beatty, Volker Pantenburg, Catherine Wood.
Published by Kunsthaus Bregenz/Museum Ludwig, Cologne

Despite her years of work and influence as one of the world’s leading choreographers, dancers and filmmakers, Yvonne Rainer (born 1934) has until now not received the retrospective exhibition in Europe that her career deserves. Yvonne Rainer: Space, Body, Language is published for exhibitions at the Kunsthaus Bregenz and the Museum Ludwig, Cologne, and covers the full spectrum of her work, starting from her foundational New York dance works such as The Mind Is a Muscle (1968), which created a new physical language out of everyday gestures and humdrum objects such as mattresses, barbells and bubblewrap. Moving to her political and feminist films between 1976 and 1996, which took the filmic montage features of her dance (and her incorporation of filmed actions of hands and volleyballs in her performances) to their next level, Space, Body, Language brings us up to the present with Rainer’s return to choreography in 2000 and such recent compositions as Assisted Living: Good Sports 2 (2011) and Spiraling Down (2008). This catalogue presents previously unseen documentation of stage works, notebooks, an astonishing number of dance scores, scripts, movie and exhibition posters and a carefully compiled appendix, as well as essays by Douglas Crimp, Gabriele Brandstetter, Carrie Lambert-Beatty, Volker Pantenburg, Catherine Wood and editors Yilmaz Dziewior and Barbara Engelbach.

Vera Lutter

Text by Douglas Crimp, Gertrud Koch.
Published by Hatje Cantz

In 1991, German-born photographer Vera Lutter (born 1960) moved to New York. Inspired by the city’s architecture and night-time luminescence, Lutter took the extraordinary step of transforming her apartment into a pinhole camera, and, in a process that could last weeks or even months, exposed images directly onto wall-size sheets of photographic paper. Intent upon minimal interference with this process, Lutter refrained from duplicating the images, and used the negative as the final work. New York has remained the recurrent subject of Lutter’s (literally) unique photographs, but over the past two decades, she has applied the process to other locations and styles of architecture around the world, documenting shipyards, airports and abandoned factories. This volume offers the first thorough overview of Lutter’s magical architectural photography, representing her full range of motifs and subjects in superb duotone. Also included is an account of her first film and sound installation.

Cindy Sherman, Thomas Ruff & Frank Montero: 1000 Faces, 0 Faces, One Face

Text by Gerardo Mosquera, Douglas Crimp, Diana Cuéllar, José Miguel G. Cortés.
Published by La Fábrica/Fundación Telefónica

1000 Faces/0 Faces/One Face unites two great contemporary artists who have interrogated constructions of identity with an entirely unknown late-nineteenth-century photographer named Frank Montero. Its thesis runs as follows: in Cindy Sherman’s manipulations of generic casting we encounter a face that produces all faces; in Thomas Ruff’s proliferating but depersonalized portraits, we all encounter all faces reduced to a zero degree; and in Montero, we encounter a face that plays the role of itself, throughout the inscriptions wrought upon it by time. Montero’s work, seemingly made without artistic intentions or ambitions, and published here for the first time, provides a sort of Rembrandt-like counterpoint to the identity arguments made by Ruff and Sherman’s work, and alongside them makes for the most fascinating panorama of the absolute constructedness of the photographic portrait and the eerie artifice of identity itself.

In the Shadow a Shadow: The Work of Joan Jonas

Essay by Joan Simon. Text by Johanna Burton, Barbara Clausen, Douglas Crimp.
Published by Gregory R. Miller & Co.

One of the most continuously influential figures of the past half century, Joan Jonas (born 1936) was among the first artists to embrace the forms of video, performance and installation. From her beginnings as a sculptor, and her emergence in the New York art and performance scenes of the 1960s and 70s (including the seminal "Vertical Roll" video piece of 1972, in which the titular television malfunction enacted a memorably fractured female identity), up through her performance at the Performa 09 biennial and recent collaborations with composer Alvin Lucier and the avant-garde theater company The Wooster Group, her work has always been surprising, groundbreaking and necessary. This extensively illustrated volume, containing hundreds of full-color images, presents the definitive collection of Jonas' work. The first career-spanning monograph of the multimedia pioneer, it covers more than 40 years of performances, films, videos, installations, texts and video sculptures. In addition to documentation of the artist's crucial projects, In the Shadow a Shadow includes individual essays by Douglas Crimp, Barbara Clausen and Johanna Burton, a major survey text by Joan Simon, and unpublished photographs and drawings from Jonas' archives. This intensively researched and authoritative book documents the range, breadth and depth of one of most prolifically original artists of the twentieth and twenty-first century.

The Aesthetics of Risk: SoCCAS Symposium Vol. III

Edited by John C. Welchman. Text by Jane Blocker, Douglas Crimp, Rachel Greene, Richard Shiff, et. al.
Published by JRP|Ringier

This anthology of essays, images and dialogues exploring contemporary art's engagements with risk--physical, social, political and aesthetic--brings readers into the conference from which the book takes its title, a third annual collaboration between the Getty Research Institute and the Southern California Consortium of Art Schools (SoCCAS). Some content there was so intense that it came with a warning label: "Contains graphic depictions of violence, nudity and bodily functions. No one under the age of 18 years will be admitted." The Aesthetics of Risk showcases conversations between Catherine Opie and Douglas Crimp, Paul McCarthy and Kristine Stiles, and presentations including "Aestheticizing Risk in Wartime: The SLA to Iraq." Featured artists include Brock Enright and Steve Kurtz. Featured critics and commentators include Jane Blocker of the University of Minnesota, independent curator Rachel Greene, Richard Shiff of the University of Texas at Austin and Stiles, Professor at Duke University. Editor John C. Welchman is professor of modern and contemporary art history and theory at the University of California, San Diego, and the editor of the most recent title in this series, Institutional Critique and After.

The Eighth Square: Gender, Life and Desire in Art Since 1960

Foreword by Frank Wagner, Kasper König. Text by Judith Butler, Douglas Crimp, Diedrich Diederichsen, Harald Fricke, Julia Friedrich, Hanne Loreck, Cristina Nord, Thomas Meinecke, Eva Meyer, Marlene Steeruwitz, Frank Wagner.
Published by Hatje Cantz Publishers

In chess, when a pawn reaches the eighth square on the far side of the board, the player can swap it for a piece from his opponent's set. So the pawn--a lowly foot soldier--can transform into a queen, the least powerful figure can transform into the epitome of power, and a man can become a woman--just like that. Issues of sexuality are playing out around us all the time, quaking and transmuting under the surface of every family exchange and embedded in all of our popular media images. This scholarly and yet still erotic compendium examines, through works by more than 70 artists, historical and social developments in human sexuality, taking on all facets of drag, gender, queerness and transsexuality. Artists include Diane Arbus, Francis Bacon, Matthew Barney, Louise Bourgeois, Nan Goldin, Felix Gonzalez-Torres, David Hockney, Jasper Johns, Robert Mapplethorpe, Tracey Moffatt, Bruce Nauman, Robert Rauschenberg and Cindy Sherman.