Jessica Morgan

ACTIVE BACKLIST

SIMRYN GILL
Text by Russel Storer, Jessica Morgan, Michael Taussig.
WALTHER KöNIG
ISBN: 9783865603999 | US $45.00
Pub Date: 3/1/2009
Active | In stock

BRIAN JUNGEN
WITTE DE WITH PUBLISHERS
ISBN: 9789073362697 | US $15.00
Pub Date: 3/1/2007
Active | Awaiting stock

OUT OF PRINT LISTING

URS FISCHER: SHOVEL IN A HOLE
Edited by Massimiliano Gioni. Text by Jessica Morgan, Bice Curiger, Massimiliano Gioni.
JRP|RINGIER
ISBN: 9783037640371 | US $69.95
Pub Date: 12/31/2009
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

VIK MUNIZ: MODEL PICTURES
Essay by Matthew Drutt. Preface by Louisa Stude Sarofim.
THE MENIL FOUNDATION, INC.
ISBN: 9780939594535 | US $30.00
Pub Date: 7/2/2002
Out of print | Not available

LAYLAH ALI
Essay by Suzanne Wise. Introduction by Jessica Morgan.
ICA BOSTON
ISBN: 9780910663625 | US $10.95
Pub Date: 1/2/2002
Out of print | Not available

CHIC CLICKS
HATJE CANTZ PUBLISHERS
ISBN: 9783775711357 | US $55.00
Pub Date: 2/2/2002
Out of print | Not available

ELLEN GALLAGHER
D.A.P./ICA BOSTON
ISBN: 9781891024313 | US $39.95
Pub Date: 11/2/2001
Out of print | Not available

MARLENE DUMAS: ONE HUNDRED MODELS AND ENDLESS REJECTS
Essay by Jessica Morgan. Foreword by Jill Medvedow.
HATJE CANTZ PUBLISHERS
ISBN: 9783775710138 | US $29.95
Pub Date: 5/2/2001
Out of print | Not available

OLAFUR ELIASSON
Essay by Jessica Morgan. Foreword by Jill Medvedow.
HATJE CANTZ PUBLISHERS
ISBN: 9783775710428 | US $29.95
Pub Date: 3/2/2001
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

CORNELIA PARKER
Essays by Bruce W. Ferguson, Jill Medvedow, Jessica Morgan.
ICA BOSTON
ISBN: 9780910663571 | US $29.95
Pub Date: 2/2/2000
Out of print | Not available

Jessica Morgan

Urs Fischer: Shovel in a Hole

Edited by Massimiliano Gioni. Text by Jessica Morgan, Bice Curiger, Massimiliano Gioni.
Published by JRP|Ringier

In a move that now seems prescient, Swiss artist Urs Fischer--who was born in 1973--literally pulled the floor out from under viewers for a 2007 exhibition at Gavin Brown's Enterprise, New York, by digging through the gallery foundations and exposing the dirt and rubble beneath. Best known for this kind of dramatic transfiguration of the exhibition space, as well as for his unexpected transformations of quotidian objects and his lack of allegiance to any one style, Fischer consistently projects a sense of transience and existential uncertainty. This volume--which includes newly commissioned essays by Massimiliano Gioni and Jessica Morgan, as well as over 200 images of Fischer's work, including installation views and studio shots--functions like a search engine, cross-referencing Fischer's thought processes. Published concurrently with his solo exhibition at New York's New Museum, it was conceived by designer Scipio Schneider in close collaboration with the artist.

Simryn Gill

Text by Russel Storer, Jessica Morgan, Michael Taussig.
Published by Walther König

Sydney-based Simryn Gill is interested in how we locate ourselves in the world through objects. By photographing, casting, collecting and arranging various objects, she demonstrates how meaning is dependent on context. This first monograph features works from the past two decades and in-depth essays illuminating her idiosyncratic process.

Brian Jungen

Edited by Solange De Boer. Interview with Homi Bhabha by Solange de Boer, Zoe Gray. Text by Clint Burnham, Jessica Morgan, Edgar Schmitz. Introduction by Nicolaus Schafhausen.
Published by Witte de With Publishers

Brian Jungen is perhaps best known for his Prototypes for New Understanding (1998-2005), a series of reproduction Northwest Coast Aboriginal masks made from disassembled athletic shoes. That ingenious mash-up of two seemingly disparate hot commodities--globally branded footwear and revered First Nations artwork--reflects the artist's own hybrid cultural identity, as both a member of the Doig River band, a tribe in British Columbia's Dunne-za Nation, and a fixture of Vancouver's thriving art scene, a position recently cemented by a show at the Tate Modern in London. Other meldings of consumer goods and common materials through which Jungen has explored the exchange of goods, ideas and cultures include a basketball court made of sewing tables and a whale skeleton built from plastic lawn chairs. All represent the Postmodern, postcolonial world with aplomb and a sense of humor. Includes an interview with the important postcolonial theorist Homi Bhaba.

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.

Vik Muniz: Model Pictures

Essay by Matthew Drutt. Preface by Louisa Stude Sarofim.
Published by The Menil Foundation, Inc.

While visiting The Menil Collection, Vik Muniz, creator of what he calls "photographic delusions," happened upon the museum's exhibition planning room, which contains a small-scale model of galleries filled with tiny copies of artworks from the permanent collection--museum curators use these models in planning installations. Fascinated, Muniz took digital pictures of the maquettes and, for the exhibition Model Pictures, held at The Menil Collection in spring 2002, enlarged them to the scale of the original works of art that they represent. For the book Model Pictures, a conceptual extension of the exhibition, he shrinks his photographs of the maquettes to their miniature size, or 1:12 of the original artworks.

Laylah Ali

Essay by Suzanne Wise. Introduction by Jessica Morgan.
Published by ICA Boston

The implicit violence, frozen narratives, and pared-down, comic-book aesthetic of Layla Ali's gouache-and-ink drawings present an ambiguous place where civilization and psychology meet. Psycho-political situations are suggested, but rarely acted out, by figures dressed in costumes derived from superhero wear and sports gear, garb reminiscent of outfits worn by the KKK, the Pope, and Coptic priests. Who are they? What are they doing? Their gender neutralized by unisex costumes, their race neutralized by green-colored skin, Ali has created a tight, contained, strangely compelling hand-drawn world in which questions are unanswerable, narratives refuse to go forward, and yet everything is eerily perfect.

Chic Clicks

Creativity and Commerce in Contemporary Fashion Photography

Artwork by Philip-Lorca diCorcia, Richard Prince, Corinne Day, Edwin Wurm. Photographs by Vinoodh Matadin, Inez van Lamsweerde, Fred Aufray, Anuschka Blommers, Jean-Francois Carly, Donald Christie, Philippe Cometti, Horst Diekgerdes, Nathaniel Goldberg, Alexei Haye, Tom Lignau, Blaise Reutersward, Frank Schuhmacher, Niels SchumEdited by Ulrich Lehmann, Jessica Morgan, Olivier Zahm. Text by Gilles Lipovetsky, Valerie Williams, Urs Stahel, Jill Medvedow.
Published by Hatje Cantz Publishers

Nan Goldin shoots campaigns for Prada, David LaChapelle does Camel cigarette ads, and Jurgen Teller got his start photographing models in i-d, w, and The Face. The debate between aesthetic images and commercial pressure has perhaps never been so relevant and complex as it is today, with the increasing commercialization of the art world, the not insignificant exploratory aspects of fashion photography, and our constantly expanding realm of visual references. To study these tensions and overlaps, Chic Clicks invited some 40 photographers to present both their free work and their published editorials from fashion magazines and advertising campaigns. Photographers well-known for their commercial work offer personal and exploratory prints; those who gained prominence in the fine arts display work they were subsequently hired to do for fashion companies and magazines. Accompanying essays approach fashion photography from various perspectives, from that of cutting-edge fashion magazines to the field of contemporary art photography.

Ellen Gallagher

Edited by Jessica Morgan. Essays by Robert Storr and Greg Tate. Interview by Jessica Morgan. Foreword by Jill Medvedow.
Published by D.A.P./ICA Boston

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.

Marlene Dumas: One Hundred Models And Endless Rejects

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

South African artist Marlene Dumas has cultivated a unique position within the world of figurative painting since the early 1980s, focusing on how the human body is translated into an image. Dumas dose not use models, but instead takes her images from mass media and popular culture sources, particularly newspapers and television. According to Dumas, ''what interested me was to make a statement about peoples' frames of mind and the relationships between them.'' Dumas' pictures impress with their urgent realism--but within their provocative energy lurk provocative questions about gender, identity, oppression, sexual and ethnic violence, and the situation of women and minorities; Dumas is always seeking to initiate new thought processes and critical strategies. Featuring the series of drawings One Hundred Models and Endless Rejects, this book provides an overview of the last ten years of Dumas' brilliant and challenging work.

Olafur Eliasson

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

This new catalogue accompanies the first major U.S. museum presentation of work by internationally celebrated Danish artist Olafur Eliasson, whose photography, sculpture, and installation work are distinguished by poetic economy of means and a quiet, elegant beauty. Eliasson's work typically transforms the museum or outdoor setting through installations that combine the artist's concerns with both the ephemeral natural effects of light, water, and wind and more tangible materials such as thorns, moss, and grass. His work is characterized by simplicity of approach. Despite its often-remarkable effects--rainbows, massive waterfalls, walls of steam--the technology required to create the work is relatively simple and clearly exposed for the viewer to observe. Eliasson has also worked extensively in the field of photography, frequently documenting the landscape of Iceland, his home for many years. Presented in serial grid format, Eliasson approaches photography with the mind of an amateur scientist, documenting different cave formations or icebergs in dozens of studies that take on the appearance of independent sculptural objects.

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.

Cornelia Parker

Essays by Bruce W. Ferguson, Jill Medvedow, Jessica Morgan.
Published by ICA Boston