Edited by Elena Filipovic, Marieke van Hal, Solveig Øvstebo. Texts by Carlos Basualdo, Daniel Buren, John Clark, Okwui Enwezor, Bruce Ferguson, Milena Hoegsberg, Ranjit Hoskote, Caroline A. Jones, Jakouba Konaté, Gerardo Mosquera, Rafal Niemojewski, et al.
Pbk, 2 vols., 6.5 x 10 in. / 568 pgs / 20 color / 100 bw. | 11/30/2010 | Not available ISBN 9783775726108 | $55.00
Edited by Veronique Patteeuw. Essays by Aaron Betsky, Okwui Enwezor, Neal Leach, Matthew Stadler, Bart Verschaffel, H.J.A. Hofland and Bruce Sterling. Excerpts by Michael Sorkin, Jean Attali, Anthony Vidler, Fredric Jameson, et al.
Paperback, 6.5 x 8.75 in. / 168 pgs / 48 color. | 1/2/2004 | Not available ISBN 9789056623494 | $29.95
Edited by Cuauhtemoc Medina, Okwui Enwezor, David Frankel. Contributions by Teresita Fernndez, Bill Arning, Judith Russi Kirshner. Text by Frances Colpitt, Lisa Corrin, Laura Cottingham, Shaila Dewan, Eleanor Heartney, Linda Pace, Jan Jarboe Russell, Lynne Cooke, Chrissie Iles, Kathryn Kanjo.
Clothbound, 7.75 x 9.5 in. / 320 pgs / 250 color. | 3/2/2003 | Not available ISBN 9781888302004 | $29.98
Edited by Ute Meta Bauer, Mark Nash, Okwui Enwezor, Octavio Zaya. Contributions by Stefano Boeri, Susanne Ghez. Text by Carlos Basualdo, Marta Calsina, Isolde Charim, Gerald Eibegger, Michael Hardt, Elsa LÄpez, Robert Misik, Antonio Negri, Rudolf Scholten, Upendra Baxi, Homi Bhabha, Akeel Bilgrami, Iain Chambers, Zhiyuan Cui, Manuel De Landa, Enrique Dussel, Boris
Paperback, 6.25 x 9 in. / 412 pgs / 24 color. | 12/2/2002 | Not available ISBN 9783775790826 | $35.00
Published by Walther König, Köln. Edited by Julienne Lorz. Foreword by Okwui Enwezor. Text by Sabine Brantl, Julienne Lorz. Interview by T.J. Demos.
For the middle hall of the Haus der Kunst in Munich, South Korean artist Haegue Yang (born 1971) has created a complex scene of hanging blinds that play on the boundaries between inside and outside, open and closed. This publication documents the installation.
Published by Walther König, Köln. Foreword by Okwui Enwezor, Dirk Snauwaert, Tom Trevor. Text by Julienne Lorz, Catherine Mayeur, Dirk Snauwaert, Tom Trevor, Joëlle Tuerlinckx.
Utilizing drawing, found objects, paper, vitrines, newspapers, collage and sculpture, Belgian artist Joëlle Tuerlinckx (born 1958) subverts museum presentations of archival material, inquiring into basic knowledge structures. This volume explores her works of the past three decades.
Published by Walther König, Köln. Foreword by Okwui Enwezor. Text by Snje?ana Pintariæ, Patrizia Dander, Radmila Iva Jankoviæ, Radoslav Putar, Jesa Denegri, Zdenko Rus, Davor Matièeviæ, Ivica ?upan, Antun Maraèiæ, Bart De Baere.
Ivan Koaric (born 1921) is among Croatia’s most significant contemporary artists; in the late 1940s he was a central figure in Yugoslavia’s postwar avant-garde. Although he is renowned and influential in Croatia, this survey represents the first examination of his practice outside Croatia.
Published by Damiani. Text by Gwen Allen, Nancy Princenthal, Charles Wylie. Conversation with Okwui Enwezor.
After leaving Cal Arts in 1990, Gary Simmons (born 1964) moved to New York and set up his studio in a former school building where he found himself clearing away blackboards to make space for his sculpture. Soon after, Simmons began his first series of chalk drawings on blackboards. It was this work, focusing on the development of racial, class and cultural identities through cartoon imagery, which paved the way for his signature "erasure" technique. While Simmons, who has often defined himself as a sculptor, is widely known for the erasure drawings, he has consistently worked across media. This overview of Simmons's 20-plus year career brings together for the first time his photographs, installations, public projects, sculpture, drawings and paintings. Alongside approximately 150 plates, Paradise includes an in-depth interview with Okwui Enwezor, critical essays by Gwen Allen and Charles Wylie and a reprint of an important early text by Nancy Princenthal.
Published by Hatje Cantz. Text by Okwui Enwezor, Ingvild Goetz, León Krempel, et al.
Resonance and Silence is the third volume in a series produced in collaboration between the Goetz Collection and Munich’s Haus der Kunst. The theme of this latest installment is the role of sound, music and accompaniment in the context of moving pictures. Participating artists include Yael Bartana, David Claerbout, Christian Marclay and Wolfgang Tillmans.
BOOK FORMAT Paperback, 7 x 8.75 in. / 112 pgs / 101 color / 13 bw.
PUBLISHING STATUS Pub Date 8/31/2012 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 176
PRODUCT DETAILS ISBN 9783775732888SDNR30 List Price: $40.00 CDN $54.00
AVAILABILITY In stock
in stock $40.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Hatje Cantz. Text by Okwui Enwezor, Ingvild Goetz, León Krempel, Rainald Schumacher.
The immersive soundscape installations and intimate environments of the Canadian artist duo Janet Cardiff (born 1957) and Georges Bures Miller (born 1960) present an ongoing series of chapters in the life of the ghost in the machine. Their works describe tales of tag-sale menace and shared loneliness through aural means, wholly reconceiving the gallery experience. A pioneering collector of new media art, Ingvild Goetz has assembled a significant series of works by Cardiff and Miller over the years, and this publication presents this important collection for the first time. Texts by Goetz, Okwui Enwezor, León Krempel and Rainald Schumacher provide background details and references to each work that shed light on its place in the artists’ oeuvre, with a particular focus on the couple’s very personal and theatrical use of sound.
Published by Walther König, Köln. Edited by Patrizia Dander, Okwui Enwezor. Text by David Levi Strauss, Marion G. Müller, Georges Didi-Huberman, Tom Holert.
Image Counter Image looks at artistic explorations of media representation of conflict over the past two decades. Among the artists included are Harun Farocki, Omer Fast, Hans-Peter Feldmann, Monika Huber, Alfred Jaar, Langlands & Bell, Trevor Paglen, Thomas Ruff, Wilhelm Sasnal, Sean Snyder and Jasmila Zbanic.
Published by Hatje Cantz. Text by Okwui Enwezor, Friedhelm Hütte, Marie Muracciole, Daniel Soutif.
A rapidly expanding city with millions of inhabitants, Tangiers is rich in tensions between east and west, and its location in the Straits of Gibraltar only heightens its ambiguous status. Yto Barrada (born 1971) speculates on the political and cultural precariousness of her adopted city in films, photographs and installations.
Published by Damiani. Edited by Okwui Enwezor. Introduction by Toni Morrison, Ford Morrison. Text by Hal Foster.
James Casebere (born 1953) emerged in the Pictures Generation as an artist-photographer complicating the status of the photographic image alongside Cindy Sherman and Richard Prince. His earliest works dismantled the codes of American suburbia and the myth of the west, but he quickly arrived at the practice for which he is best known today: the construction of formally simplified architectural models--arenas, monasteries, tunnels, factories--which Casebere lights and photographs in his studio. In the early 1990s, as the ramifications of Michel Foucault's critiques of architecture and power took hold in American culture, Casebere's practice developed into a study of architectural typologies of the Enlightenment era, particularly prisons. The lighting in his photographs is dramatic, or rather it plays with the rhetoric of dramatic lighting, qualified by the sheer artifice of the architectural models themselves. Edited by Okwui Enwezor, this major mid-career survey includes several of Casebere's lesser-known early works, as well as previously unreproduced sculpture and photographs from 1975 to 2010. Enwezor contributes both an introduction and a conversation with the artist. The volume also contains essays by Hal Foster and Toni Morrison. James Casebere: Works 1975-2010 is the most comprehensive monograph to date on this important American artist.
Published by Hatje Cantz. Text by Okwui Enwezor, Lauri Firstenberg, Friedhelm Hütte, Courtney J. Martin, Klaus Ottmann, Pierre de Weck.
Kenyan sculptor and anthropologist Wangechi Mutu (born 1972) mines ethnographic photography, fashion, sport, porn and popular-science publications such as National Geographic to develop her fierce critique of the deformation of the female body by consumerism in elegant, tapering spirals of collage and drawing. Mutu refers to her hybrid women as “warrior women” whom she augments and contorts in prosthetic treatments. Often indefinably horrific, Mutu’s complexly patterned works are often pitched between decorative abstraction and mutant figuration, and as Klaus Ottman points out in an essay included here, her hybrid creatures evoke “the genocidal horrors inflicted by African rebels in Sierra Leone and Sudanese soldiers in Darfur while also recalling the imaginative heads of Archimboldo; the erotic contortions of Egon Schiele; and the photomontages of Hannah Höch.” Mutu’s work, presented here in over 130 color images, has advanced a fresh treatment of black female identity, consumer culture and postcolonialism.
Published by Kunsthaus Bregenz. Text by Okwui Enwezor, Beatrice von Bismarck, Edgar Schmitz.
Identity formation and its mediation by culture are the two recurrent themes of the work of the photographer and video artist Candice Breitz (born 1972). Throughout her early work in photography and collage, and in her more recent complex video installations, the Berlin-based South African artist has consistently picked apart the insidious effects of mass media and popular culture, role play and gender construction on the most intimate constructions of the self. These themes form the cornerstone of The Scripted Life, a full assessment of Breitz’s work which showcases early works alongside more recent installations, including New York, New York, a new piece co-commissioned by the Kunsthaus Bregenz with Performa 09. Essays by Beatrice von Bismarck, Colin Richards and Okwui Enwezor address various aspects of Breitz’s oeuvre. Each work is introduced individually with a text by Edgar Schmitz, making The Scripted Life the most comprehensive publication on Breitz to date.
PUBLISHER Kunsthaus Bregenz
BOOK FORMAT Clth, 7.25 x 9.25 in. / 232 pgs / 90 color.
PUBLISHING STATUS Pub Date 10/31/2010 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2010 p. 146
PRODUCT DETAILS ISBN 9783865607829TRADE List Price: $68.00 CDN $80.00
AVAILABILITY In stock
in stock $68.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Hatje Cantz. Edited by Elena Filipovic, Marieke van Hal, Solveig Øvstebo. Texts by Carlos Basualdo, Daniel Buren, John Clark, Okwui Enwezor, Bruce Ferguson, Milena Hoegsberg, Ranjit Hoskote, Caroline A. Jones, Jakouba Konaté, Gerardo Mosquera, Rafal Niemojewski, et al.
Born as a vehicle for national propaganda, the art biennial today has become an outsize phenomenon mobilizing not only artists, curators and gallerists but sponsors, celebrities and politicians, commanding huge press attention and deciding the careers of artists worldwide. For a city to host a biennial today has colossal ramifications. This anthology on the art biennial gathers previously published seminal texts from around the world alongside commissioned contributions from the leading scholars, curators, critics and thinkers today--among them Carlos Basualdo, Daniel Buren, John Clark, Okwui Enwezor, Bruce Ferguson, Milena Hoegsberg, Ranjit Hoskote, Caroline A. Jones, Jakouba Konaté, Gerardo Mosquera and Rafal Niemojewski. Tracing the genealogy of the standard exhibition format--including biennials but also other recurrent exhibitions such as triennials and quadrennials--and examining some of the most famous examples of the twentieth and twenty-first century, from the Venice Biennale to the Johannesburg Biennial and the Havana Bienal to Documenta and the Asian biennials, this reader explores the artistic, theoretical, political and other ambitions of such large-scale exhibition projects. It is certain to be a vital resource for scholars, students, curators, artists and critics alike.
Published by Charta/Irish Museum of Modern Art. Text by Okwui Enwezor, Sean Kissane, Enrique Juncosa, Sofía Hernandez.
Carlos Garaicoa (born 1967) addresses the politics and ideologies of his native Cuba through an examination of its architecture. After the 1959 Cuban revolution, many architectural projects and buildings were left unfinished or abandoned in the nation's cities. Adopting Havana as his laboratory, Garaicoa creates provocative visual commentaries on such themes as architecture's ability to alter the course of history, the failure of modernism as a catalyst for social change and the frustration and decay of twentieth-century utopias. Garaicoa makes his critiques through large installations using materials such as crystal, wax candles and rice-paper lamps: in "Bend City" (2007), the artist constructed a city entirely from cut paper, and "The Crown Jewels" (2009) consists of miniature replicas of real-life torture centers, prisons and intelligence networks, all cast in silver. This publication includes new and recent works, and demonstrates the breadth of Garaicoa's witty articulations of architecture and urbanism.
PUBLISHER Charta/Irish Museum of Modern Art
BOOK FORMAT Hardcover, 9.25 x 11 in. / 288 pgs / 183 color.
PUBLISHING STATUS Pub Date 9/30/2010 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2010 p. 101
PRODUCT DETAILS ISBN 9788881587841TRADE List Price: $75.00 CDN $90.00
Published by JRP|Ringier. Edited by Claire Gilman, Margaret Sundell. Text by T.J. Demos, Okwui Enwezor, Claire Gilman.
Amid the popularity of documentary practices in contemporary art, The Storyteller addresses the use of storytelling as a means of exploring recent political events. For the artists in this volume, the story operates neither as a purely imaginary conceit nor as an item of verifiable information. In some cases, it may take the form of an invented drama based on real events; in others, it adopts literary genres such as the fairy tale or the quest; in still others, a dialogue is conceived between active participants in a contemporary political situation. Edited by Claire Gilman and Margaret Sundell, The Storyteller includes works by Cao Fei, Jeremy Deller and Mike Figgis, Omer Fast, Mounir Fatmi, Ryan Gander, Lamia Joreige, Joachim Koester, Emanuel Licha, Missing Books, Steve Mumford, Adrian Paci, Michael Rakowitz, Liisa Roberts and Hito Steyerl.
Published by Walther König, Köln. Text by Chris Dercon, Okwui Enwezor, Axel Sowa.
Candida Höfer brings her rigorous taxonomic eye to the buildings of Johannes Kuehn, Wilfried Kuehn and Simona Malvezzi, who are perhaps better known among artists and gallery owners than among architects, having been responsible for the conversion of the Binding brewery for Documenta 11, the extension of the Hamburger Bahnhof for the Flick Collection and the conversion of a factory building in Düsseldorf for the Stoschek collection.
Published by Aperture. Text by Isolde Brielmaier, Okwui Enwezor.
Since Apartheid's fall in 1994, South African photography has exploded from the grip of censorship onto the world stage. A key figure in this movement is Zwelethu Mthethwa, whose portraits powerfully frame black South Africans as dignified and defiant individuals, even under the duress of social and economic hardship. Photographing in urban and rural industrial landscapes, Mthethwa documents a range of aspects in South Africa, from domestic life and the environment to landscape and labor issues. Mthethwa's work challenges the conventions of both Western documentary work and African commercial studio photography, marking a transition away from the visually exotic and diseased--or "Afro-pessimism," as curator Okwui Enwezor has described it--and employing a fresh approach marked by color and collaboration. Zwelethu Mthethwa, the artist's long awaited first comprehensive monograph provides an overview of his work to date, and features the stunning portraits that have brought him international acclaim. Born in Durban, KwaZulu-Natal, South Africa, in 1960, Zwelethu Mthethwa received his BFA from the Michaelis School of Fine Art, University of Cape Town, a then white-only university he entered under special ministerial consent. In 1989, he received his Master's degree while on a Fulbright Scholarship to the Rochester Institute of Technology. Mthethwa has had more than 35 international solo exhibitions and has been featured in numerous group shows, including the 51st Venice Biennale in 2005 and Snap Judgments: New Positions in Contemporary African Photography at the International Center of Photography, New York, in 2006. He is represented by Jack Shainman Gallery, New York, and lives in Cape Town, South Africa.
BOOK FORMAT Hardcover, 12 x 10 in. / 120 pgs / 75 color.
PUBLISHING STATUS Pub Date 3/31/2010 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781597111133TRADE List Price: $55.00 CDN $65.00
Published by Damiani. By Okwui Enwezor, Chika Okeke-Agulu.
Contemporary African Art Since 1980 is the first major survey of the work of contemporary African artists from diverse situations, locations, and generations who work either in or outside of Africa, but whose practices engage and occupy the social and cultural complexities of the continent since the past 30 years. Its frame of analysis is absorbed with historical transitions: from the end of the postcolonial utopias of the sixties during the 1980s to the geopolitical, economic, technological, and cultural shifts incited by globalization. This book is both narrower in focus in the periods it reflects on, and specific in the ground it covers. It begins by addressing the tumultuous landscape of contemporary Africa, examining landmarks and narratives, exploring divergent systems of representation, and interrogating the ways artists have responded to change and have incorporated new aesthetic principles and artistic concepts, images and imaginaries to deal with such changes. Organized in chronological order, the book covers all major artistic mediums: painting, sculpture, photography, film, video, installation, drawing, collage. It also covers aesthetic forms and genres, from conceptual to formalist, abstract to figurative practices. Moving between discursive and theoretical registers, the principal questions the book analyzes are: what and when is contemporary African art? Who might be included in the framing of such a conceptual identity? It also addresses the question of globalization and contemporary African art. The book thus provides an occasion to examine through close reading and visual analysis how artistic concerns produce major themes. It periodizes and cross references artistic sensibilities in order to elicit multiple conceptual relationships, as well as breaks with prevailing binaries of center and periphery, vernacular and academic, urban and non-urban forms, indigenous and diasporic models of identification. In order to theorize how these concerns have been formulated in artistic terms and their creative consequences Contemporary African Art Since 1980 examines a range of ideas, concepts and issues that have shaped the work and practice of African artists within an international and global framework. It traces the shifts from earlier modernist strategies of the sixties and seventies after the period of decolonization, and the rise of pan-African nationalism, to the postcolonial representations of critique and satire that evolved from the 1980s, to the postmodernist irony of the 1990s, and to the globalist strategies of the 21st century. The main claim of this book is that contemporary African art can be best understood by examining the tension between the period of great political changes of the era of decolonization that enabled new and exciting imaginations of the future to be formulated, and the slow, skeptical, and social decline marked by the era of neo-liberalism and Structural Adjustment programs of the 1980s. These issues are addressed in chapters covering the themes of “Politics, Culture, Critique,” “Memory and Archive,” “Abstraction, Figuration and Subjectivity,” and “The Body, Gender and Sexuality.” In addition, the book employs sidebars to provide brief and incisive accounts of and commentaries on important contemporary political, economic and cultural events, and on exhibitions, biennales, workshops, artist groups and more. Rather than a comprehensive survey, this richly illustrated book presents examples of ambitious and important work by more than 160 African artists since the last 30 years. This list includes Georges Adeagbo Tayo Adenaike, Ghada Amer, El Anatsui, Kader Attia, Luis Basto, Candice Breitz, Moustapha Dimé, Marlene Dumas, Victor Ekpuk, Samuel Fosso, Jak Katarikawe, William Kentridge, Rachid Koraichi, Mona Mazouk, Julie Mehretu, Nandipha Mntambo, Hassan Musa, Donald Odita, Iba Ndiaye, Richard Onyango, Ibrahim El Salahi, Issa Samb, Cheri Samba, Ousmane Sembene, Yinka Shonibare, Barthelemy Toguo, Obiora Udechukwu, and Sue Williamson. Okwui Enwezor, a leading curator and scholar of contemporary art, is the Dean of Academic Affairs at the San Francisco Art Institute, and founding publisher and editor of Nka: Journal of Contemporary African Art. Chika Okeke-Agulu is Assistant Professor of Art and Archeology and African American Studies at Princeton University, and editor of Nka: Journal of Contemporary African Art.
Published by Haunch of Venison. Text by Okwui Enwezor, Ivan Vladislavic, Tamar Garb.
Focusing on the work of seven contemporary South African artists--David Goldblatt, Nicholas Hlobo, William Kentridge, Vivienne Koorland, Santu Mofokeng, Berni Searle and Guy Tillim--this scholarly and well-designed exhibition catalogue focuses on images and invocations of landscape that explore the country today. Differing from the usual approach to post-apartheid South Africa, the book addresses the complexity of the landscape, reflecting upon notions of memory, place and identity and referring to the political context and historical background of South Africa only through the imprint and trace of human experience on the physical landscape. It includes major new essays by Tamar Garb and Okwui Enwezor, alongside a specially commissioned text by noted Postmodern novelist Ivan Vladislavic, which explores the liminal territory between memoir, history and social analysis to reveal a city--Johannesburg--that is subtly yet insistently in a state of flux.
PUBLISHER Haunch of Venison
BOOK FORMAT Hardcover, 9.75 x 10.75 in. / 168 pgs / 131 color / 12 bw.
PUBLISHING STATUS Pub Date 9/30/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 148
PRODUCT DETAILS ISBN 9781905620258TRADE List Price: $50.00 CDN $60.00
Published by Tate/D.A.P.. Edited by Guy Brett. Text by Moacir dos Anjos, Guy Brett, Okwui Enwezor, Maaretta Jaukkuri, Bartomeu Mar', Lu Menezes, Suely Rolnik, Sônia Salzstein, Lynn Zelevansky.
Brazilian artist Cildo Meireles, born in 1948, has made some of the most politically telling and aesthetically seductive works in recent art. An important theme in the Brazilian postwar avant-garde, from which Meireles emerged at the end of the 1960s, was the relationship between the sensual and the cerebral, the body and the mind. Meireles, now acknowledged as a key instigator of international Conceptual art, has remained true to these concerns--and to a political and ethical viewpoint formed outside the cultures of plenty. At the same time, he has become a global artist, making work that deals with issues and experiences that affect us all--whatever our country of origin. Under the repressive military regime of the late 1960s and early 1970s, which controlled the Brazilian media, Meireles found different ways of reaching the public--stamping bank notes with seditious slogans and returning them into circulation, or stenciling Coke bottles with slogans before sending them back to the bottling plant. Other works play with the sense of space or scale, varying in size from that of a finger ring to an installation covering almost 750 square feet. His installations are always designed to heighten the awareness of his audience, sometimes by inducing fear, as in "Volatile" (1980/94), which includes the presence of a naked candle and the smell of natural gas. "Babel" (2001) is a contemporary take on the myth of the tower that confounded the world's languages. Lavishly illustrated, this volume includes 10 short thematic essays by leading scholars--including Moacir dos Anjos, Guy Brett, Okwui Enwezor, Maaretta Jaukkuri, Bartomeu Mar', Lu Menezes, Suely Rolnik, Sônia Salzstein and Lynn Zelevansky--as well as previously unpublished commentaries on each work by the artist.
00s—The History of a Decade That Has Not Yet Been Named
Published by JRP|Ringier. Edited by Hans Ulrich Obrist, Stéphanie Moisdon. Text by Okwui Enwezor. Text by Michel Houellebecq, Paul Veyne, Ralph Rugoff.
The curators of the ninth Lyon Biennial approached the task of mapping the moment in contemporary art playfully: by commissioning a polyphonic history and geography book. With 70 “players” from around the world, the “game” of how to define the decade unfolded via a series of delegations, invitations and programs in which artists proposed their responses and critics and curators sequenced and challenged them, in turn suggesting artists of their own. Reframing the unfolding present from within, creatively rethinking the role of the artist as well as that of serious play, and reconsidering the now-ubiquitous and decreasingly authoritative biennial exhibition, these myriad voices, framed by only a few rules, became participants in an exercise in collective self-determination. This lavishly illustrated publication, designed by the renowned Parisian firm M/M and edited by Biennial curators Hans Ulrich Obrist and Stéphanie Moisdon, includes previously unpublished essays by Michel Houellebecq, Okwui Enwezor and Ralph Rugoff, and functions as a manual for “a decade yet to be named…a present that is endlessly arriving.”
Published by Walther König, Köln. Text by Pamela Lee, Okwui Enwezor, Niklas Maak, Jan Verwoert.
The Frankfurt am Main Städelschule, and its gallery Portikus, form a leading international center for experimental contemporary art. The Städelschule was founded in 1817 by Johann Friedrich Städel for the purpose of introducing students to his prodigous art collection. This publication is authored by contemporary Städelschule professors and visiting lecturers, including Pamela Lee, Niklas Maak, Jan Verwoert and Okwui Enwezor, who discuss what teaching art means in the context of a contemporary academy, and at what point the art market should be introduced in a student’s education. It serves as an example of the kind of discourse available to Städelschule students, as there is always in residence an impressive international cast of artworld practitioners. This volume is not only functional, however; it also includes a series of new photographs, produced especially for this project, by Wolfgang Tillmans.
Published by Walther König, Köln. Edited by Adam Szymczyk. Text by Adam Szymczyk, John Berger, Jean-Françoise Chévrier, Okwui Enwezor, Rhoda Kannaaneh.
From January to July of 2005, photographer Ahlam Shibli, born in Palestine in 1970, followed the young Palestinians of the Israeli army, soldiers of Bedouin descent deployed in tracking units at borders and in the occupied territories. The banal and unheroic moments she recorded, while the men were resting or waiting for something to happen, are set alongside images of destroyed houses and decayed infrastructure, cemeteries where Palestinians who died fighting against Israel are buried beside those who fought on its behalf, and the villages from which the men come and to which they will return. Shibli's portraits are understanding and her subjects forcefully portrayed, but their loyalty to the state of Israel touches a sore spot, and highlights certain divisive questions about how the Palestinian community can move forward. What might it mean for these young men to serve in the Israeli army? In Shibli's words, what is "the price a minority is forced to pay to the majority to be accepted?"
Published by Hatje Cantz. Text by Okwui Enwezor, Marion Ackermann, Christian Höller, Simone Schimpf.
The work of the New York-based German conceptualist, Josephine Meckseper, deals with themes of consumerism and commodity fetishism in modern society. For example, her shop window installations, Shelves, juxtapose fashion accessories with regalia, such as Palesetinian kaffiyeh, taken from left wing protest movements. The connection between consumerism and politics was initially sparked by the confluence of luxury advertising and political news, but Meckseper also does straight politics--she has filmed anti-Bush demonstrations and Berlin protest marches. The resulting work is held in the Saatchi Collection among others, and appeared in the 2006 Whitney Biennial. This monograph, which also features contributions from Okwui Enwezor, Christian Höller and Simone Schimpf, presents a concise overview of Meckseper's visual worlds, in a wide range of video, collage, painting, sculpture and installation. Born in 1964, Meckseper was deemed one of the top ten artists to watch by New York magazine in 1996.
Published by nai010 publishers/Neue Nationalgalerie. Edited by Veronique Patteeuw. Essays by Aaron Betsky, Okwui Enwezor, Neal Leach, Matthew Stadler, Bart Verschaffel, H.J.A. Hofland and Bruce Sterling. Excerpts by Michael Sorkin, Jean Attali, Anthony Vidler, Fredric Jameson, et al.
There are few outside a circle of initiates who realize just how important Rem Koolhaas and the Office for Metropolitan Architecture (OMA) are for international architecture today. Arguably, Koolhaas/OMA is the most interesting architect from the latter half of the twentieth century. But how well is this truly understood? Certainly in the Netherlands, OMA is known only for the Kunsthal in Rotterdam. The average culture buff--who sees architecture from a layman's point of view--often only has two criteria when looking at architecture: it has to look good and it has to serve a purpose. Regrettably this section of the public considers the Kunsthal to be a failure on both counts and so is blind to the significance of Rem Koolhaas and OMA. In New York, Koolhaas's Prada store is perhaps equally elusive: it looks unlike any other store and it behaves unlike any other store. What is OMA maps the fields where Koolhaas is active, not only showing his realized buildings but illuminating his perspective on the contemporary city and urbanity. The book describes with great clarity Koolhaas's role in architectural theory and the body of concepts wielded by him. Authors of international repute from beyond the province of architecture examine Koolhaas's work in the light of social and economic developments. As a result, What is OMA paints an intelligent picture of the sheer range of Rem Koolhaas's architecture and its seminal role in the architectural world. It is the first book to approach Koolhaas's work from the vantage point of disciplines other than architecture and to explain it to the general public.
Published by Snoeck Publishers, Ghent. Edited by Laurie Ann Farrell. Essays by Okwui Enwezor, Laurie Ann Farrell, Jos» Antonio B. Fernandes Dias, Laurie Firstenberg, Steven Nelson, Salah Hassan and John Peffer.
Looking Both Ways: Art of the Contemporary African Diaspora considers the work of artists from North, South, East and West Africa who live and work in Western countries, including Belgium, France, Germany, the Netherlands, Portugal, the United Kingdom and the United States. As its title indicates, Looking Both Ways refers to the artists' practice of looking at the psychic terrain between Africa and the West, a terrain of shifting physical contexts, aesthetic ambitions and expressions. It examines the relationship between physical contexts, emotional geographies, ambition, and freedom of expression while focusing on the increasing globalization of the African Diaspora. Looking Both Ways is not a survey, but rather an intimate consideration of the work of twelve artists: Fernando Alvim, Ghada Amer, Oladélé Bamgboyé, Allan deSouza, Kendell Geers, Moshekwa Langa, Hassan Musa, N'Dilo Mutima, Wangechi Mutu, Ingrid Mwangi, Zineb Sedira and Yinka Shonibare.
PUBLISHER Snoeck Publishers, Ghent
BOOK FORMAT Hardcover, 9.5 x 11.75 in. / 184 pgs / 182 color.
PUBLISHING STATUS Pub Date 3/2/2004 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2004
PRODUCT DETAILS ISBN 9789053494431TRADE List Price: $50.00 CDN $60.00
Power and Poetics in Contemporary South African Art
Published by Museum for African Art/Cathedral Church of Saint John the Divine. Edited by Sophie Perryer. Essays by David Brodie, Okwui Enwezor, Laurie Ann Farrell, Churchill Madikida, Tracy Murinik and Liese van der Watt.
Season South Africa is a major program of contemporary visual and performing arts that runs from September 2004 through January 2005. Launched by the Museum for African Art and The Cathedral of St. John the Divine during the year that South Africa is commemorating its first decade of democracy, Season South Africa showcases some of that country's most gifted and acclaimed contemporary visual and performing artists chosen by an international team of curators. The visual arts exhibition, Personal Affects: Power and Poetics in Contemporary South African Art, presents newly commissioned and recently produced works in various media by 17 South African artists. The common thread throughout the exhibition is the higly personal point of departure of the artists' working methods that are informed by their varied experiences as South Africans. Volume I also features an introduction by the exhibition curators, as well as various exploratory and insightful texts.
PUBLISHER Museum for African Art/Cathedral Church of Saint John the Divine
BOOK FORMAT Paperback, 9 x 11.25 in. / 176 pgs / 200 color.
PUBLISHING STATUS Pub Date 6/15/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 109
PRODUCT DETAILS ISBN 9780945802426TRADE List Price: $40.00 CDN $50.00
Published by Snoeck Publishers, Ghent. Edited by Stéphane Aquin. Essays by Anna Detheridgede and Derrick de Kerckhove. Interviews with Alan L. Bean, Arthur C. Danto, Okwui Enwezor, Yoko Ono, Carolee Schneemann, Ettore Sottsass, Bert Stern, Agnés Varda, Michael J. Watts, Tobias Wolff, et al.
In his 1962 book The Gutenberg Galaxy, Marshall McLuhan wrote the famous words: "The new electronic interdependence recreates the world in the image of a global village." As predicted by the renowned Canadian media theorist, satellite telecommunications, beginning with the first Sputnik launch in 1957, united humanity under a vast "cosmic membrane." An immense web of waves echo information around the planet, and distance and time are abolished. Dreams, upheavals, trends, and conflicts are now experienced on a global scale. Global Village: The 1960s plumbs the depths of those planetary echoes as they resonated throughout the decade in the fields of visual arts, decorative arts, fashion, and architecture. Along with a wealth of images, it contains interviews with diverse key figures of the time, including designer Ettore Sottsass, art critic Arthur Danto, artist Yoko Ono, filmmaker Agn¿s Varda, curator Okwui Enwezor, writer Tobias Wolff, playwright Michel Tremblay, and artist Carolee Schneeman.
PUBLISHER Snoeck Publishers, Ghent
BOOK FORMAT Hardcover, 9.5 x 11 in. / 208 pgs / 278 color.
PUBLISHING STATUS Pub Date 2/2/2004 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9789053494486TRADE List Price: $53.00 CDN $65.00
Published by Contemporary Art Museum St. Louis. Edited by Shannon Fitzgerald and Tumelo Mosaka. Essays by Okwui Enwezor, Salah Hassan, Gilane Tawadros, Orlando Britto Jinorio, Ery Camara. Foreword by Paul Ha.
A Fiction of Authenticity presents seminal moments for challenging prevailing notions about interculturalism and postcolonial subjects. This full-color catalogue features specially commissioned work by 11 contemporary artists of African descent--each of whom lives and works in either the United States or Europe and examines the invented idea of an “authentic” Africa. Each of these artists has positioned themselves outside the frame of Africa, but each remains connected, and by doing so has created a shift in the way the world considers postmodern and postcolonial art production. The participating artists are Siemon Allen, Fatma Charfi, Godfried Donkor, Mary Evans, Meschac Gaba, Kendell Geers, Moshekwa Langa, Ingrid Mwangi, Odili Donald Odita, Owusu-Ankomah and Zineb Sedira. Also included are seven new essays by some of the most exciting and critical voices working internationally today. A Fiction of Authenticity considers the diasporic positioning of these artists, as well as paradigms of discourse concerned with aesthetics, nationhood, citizenship, community, locality and sense of place.
Published by Hatje Cantz. Essays by Okwui Enwezor, Laurie Firstenberg and Nancy Spector.
As early as 1978, critics have compared the striking works of French photo artist Touhami Ennadre to the intensity of Van Gogh, and others have since identified affinities with Caravaggio and the poetry of Rimbaud. In the words of author Tilman Spengler, "Ennadre presents images that appear and disappear at the same time. Often insistent to the point of obsession, these works imitate Creation in their own unique fashion, posing the question of how light and shadow become form and figure in a dialogue of equals." Author Fran¡ois Aubral coined the term "black light" with reference to this aspect of Ennadre's work. If You See Something Say Something features an impressive selection of Ennadre's beautifully modeled photographs, and presents for the first time his recent Danse series, shot on the New York City club scene.
Published by Guggenheim Museum Publications. Essays by Okwui Enwezor, Olu Oguibe, and Octavio Zaya. Introduction by Clare Bell.
The 30 African photographers selected for this pioneering anthology challenge long-standing Western misconceptions about Africa. Created from the beginnings of the continent's struggles for independence to the postcolonial present, their diverse works include studio portraiture and architectural views from the 1940s and 1950s; photojournalism from Drum, the influential South African magazine that celebrated and critiqued life in the 1950s; scenes of the activities of cosmopolitan youth in the 1960s and 1970s; and contemporary art that addresses more personal concerns, from issues of identity and representation of the body, to formal studies exploring the symbolism of light and darkness. Okwui Enwezor's and Octavio Zaya's probing essays discuss photographic representation, Western perceptions of Africa and the changing self-images of Africans over this period of profound transformation. Olu Oguibe's text illuminates the nature and uses of the image in African history and traditions. Also included are artists' biographies and personal statements.
Published by ArtPace, A Foundation for Contemporary Art, San Antonio. Edited by Cuauhtemoc Medina, Okwui Enwezor, David Frankel. Contributions by Teresita Fernndez, Bill Arning, Judith Russi Kirshner. Text by Frances Colpitt, Lisa Corrin, Laura Cottingham, Shaila Dewan, Eleanor Heartney, Linda Pace, Jan Jarboe Russell, Lynne Cooke, Chrissie Iles, Kathryn Kanjo.
Since its founding seven years ago by Pace Foods heiress Linda Pace, ArtPace has become one of the premiere foundations for contemporary art. An artist residency program based in San Antonio, Texas, ArtPace's goal is to give artists time and space in which to imagine new ways to work. Each year, nine artists (three from Texas, three from other areas of the United States and three from abroad) are invited to the foundation to create new work. Selected by guest curators the likes of Robert Storr and Okwui Enwezor, the list of artists who have undertaken residencies at ArtPace is impressive, prescient and diverse, including Felix Gonzalez-Torres, Annette Messager, Tracey Moffatt, Xu Bing, Nancy Rubins, Cornelia Parker, Inigo Manglano-Ovalle, Glenn Ligon, Kendell Geers, Carolee Schneemann, Mona Hatoum, Isaac Julien, Arturo Herrera, and Christian Jankowski. Dreaming Red includes illustrations of all the works created at ArtPace since its inception, an essay by art historian Eleanor Heartney, short essays on selected artists by the guest curators, including Cuauhtémoc Medina, Lynne Cooke, Chrissie Iles and Judith Russi Kirshner, and a lengthy essay on the personal history of the foundation and its founder.
PUBLISHER ArtPace, A Foundation for Contemporary Art, San Antonio
BOOK FORMAT Clothbound, 7.75 x 9.5 in. / 320 pgs / 250 color.
PUBLISHING STATUS Pub Date 3/2/2003 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2003
PRODUCT DETAILS ISBN 9781888302004TRADE List Price: $29.98 CDN $35.00
Published by Hatje Cantz. Artwork by Kiki Smith. Edited by Okwui Enwezor, Alfredo Jaar.
The catastrophic fate of European Jewry during the years of National Socialism in Germany and the subsequent calamity of the holocaust for both Jews and other minorities under the Third Reich have continued to press on contemporary thinkers and historians the difficult task of coming to terms with its features. While the Holocaust or Shoah remains representative of a form of state crime, its overwhelming singularity is today tested by many cases of state impunity, systemic violence, repression, war crimes, and gross human rights violations--especially in the Balkans and Rwanda. In the wake of the debates around such violations, new and formidable categories of jurisprudence are emerging in which such notions as transitional justice, global justice, and universal jurisdiction are working to reshape the nature of judicial sovereignty on the one hand and accountability on the other in the post-cold war period. Experiments with Truth engages with the vicissitudes of the emerging debates around "Truth and Reconciliation," new forms of global justice, testimonies and memories of communities. In this volume a wide range of intellectuals, artists, filmmakers, and historians respond to the challenge of transitional justice in often difficult but illuminating ways.
Published by Hatje Cantz. Edited by Silvia Eiblmayr. Essay by Okwui Enwezor, Elizabeth Harney, Stephan Kohler and Harald Szeemann.
The history that African artist Georges Adéagbo "rewrites" is plural and nonhierarchical, a history that is constantly shifting and being shifted, in which seemingly valid parameters are being subverted, and from which diverse readings emerge. In installations that juxtapose books, magazines, record sleeves, and photographs from Africa with objects and texts from the country in which he is working, Adeagbo elucidates and reinterprets the processes that have led to the development, replacement, and breakup of territories and political and philosophical systems. This first monograph documents 13 of the artist's installations from the last 10 years, including "The Story of the Lion," which won a prize at the Venice Biennale in 1999, and provides a thorough exploration of an important figure in contemporary African art.
Published by Forum for African Arts, Inc.. Artwork by Rashid Koraichi, Willem Boshoff, Maria Magdalena Campos-Pons, Godfried Donkor, Berni Searle, Zineb Sedira, Yinka Shonibare. Edited by Salah Hassan, Olu Oguibe, Okwui Enwezor. Text by Siemon Allen, Sally Berger, Annie Coombes, Rory Doepel, Maryline Lostia, Gilane Tawadros, Els Van Der Plas, Christian Viveros-Faune, Damien Pwono.
Against the musty stereotypes and prejudices that still consider Africa a dark continent full of nameless, Third World nations always striving but never managing to catch up with the West, Authentic/Ex-Centric positions Africa as the source of many of the ideas associated with European modernism. From Cubism's radical abstraction to 70s performance art and its use of ritual, shamanism, and magic, the influence of African art has long been underappreciated. Published in conjunction with an exhibition of the same name held to critical acclaim on the fringes of the 2001 Venice Biennale, Authentic/Ex-centric offers a glimpse of the ways in which African and African Diaspora artists have interpreted and translated the aesthetic and social experiences of post-colonial Africa into new idioms of artistic expression, and argues for their proper location in the broad narrative of global conceptualism.
PUBLISHER Forum for African Arts, Inc.
BOOK FORMAT Paperback, 6.5 x 8.5 in. / 264 pgs / 106 color / 12 bw
PUBLISHING STATUS Pub Date 4/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9789076162065TRADE List Price: $19.95 CDN $25.00
Extensively illustrated, the Catalog contains an essay of the artistic director, Okwui Enwezor, contributions from members of the Documenta11 curatorial team: Ute Meta Bauer, Carlos Basualdo, Sarat Maharaj, Mark Nash, and Angelika Nollert as well as texts written by invited authors from different fields, such as art history, philosophy, or theory. All artists will be featured with illustrations of representative works, and the documentation of selected artist's projects and writings will facilitate an additional insight into the processes of creative thought and the mechanisms of reception at stake in the making of the exhibition. This book will be avilable in the United States mid month June 2002.
Published by Hatje Cantz. Edited by Ute Meta Bauer, Mark Nash, Okwui Enwezor, Octavio Zaya. Contributions by Stefano Boeri, Susanne Ghez. Text by Carlos Basualdo, Marta Calsina, Isolde Charim, Gerald Eibegger, Michael Hardt, Elsa LÄpez, Robert Misik, Antonio Negri, Rudolf Scholten, Upendra Baxi, Homi Bhabha, Akeel Bilgrami, Iain Chambers, Zhiyuan Cui, Manuel De Landa, Enrique Dussel, Boris
Recently democracy has been the watchword for a range of disparate, yet apparently convergent contestations and negotiations within the global order. Democracy Unrealized, detailing the results of Platform1, the first of four conferences held in conjunction with Documenta 11, presents a context within which the interpretive and conceptual regimes surrounding democracy can be reargued against the claims of a neoliberal ideology. From this globalist viewpoint, democracy described as an unfinished project requires no structural changes, for it is complete in all its foundational features, requiring only small technical adjustments and minor tinkering. This is how the main Western democracies have seen themselves--at best as "incomplete implementations" of equality and justice, rather than as limited, flawed, dead-ended, and problematic. In response to this presumption, this book proceeds from the idea that realizing democracy is partly a matter of bringing to light what liberal democracy has promised but failed to deliver. The emphasis here is on the potential for revision, a reevaluation of values, and the extension and creative transformation necessary to keep in step with 21st-century globalizing processes. This is democracy as an ever open, essentially unfinishable project that in principle has fallen short of its ideals.
Published by Witte de With Publishers. Essays by Chris Dercon, Okwui Enwezor, Peter Friedl, Olu Oguibe, Hermann Pitz, Dirk Snauwaert, Nasrin Tabatabai, Moniek Toebosch, Gediminas Urbonas. Foreword by Bartomeu Mari.
From No. 3 features a series of short essays which provide an art historical and theoretical context for the Witte de With's exhibition program, and will investigate and represent the European cultural identity as seen through the practice of contemporary art.
Published by Hatje Cantz. Edited by Yilmaz Dziewior. Essays by Okwui Enwezor, Bodys Isek Kingelez and Andre Magnin.
Bodys Isek Kingelez is a native of Congo who makes colorful postmodernist models of buildings and cities out of paper, cardboard, and wood. While they can easily be read as a reaction to Western attempts at domesticating African creativity, they also serve to comment on the so-called Afro-kitsch in contemporary African art that caters primarily to the expectations of Western tourists.