Helen Molesworth

ACTIVE BACKLIST

LUC TUYMANS: EXHIBITIONS AT DAVID ZWIRNER
LUDION
ISBN: 9789461300720 | US $55.00
Pub Date: 1/31/2013
Active | Awaiting stock

LUC TUYMANS
SAN FRANCISCO MUSEUM OF MODERN ART/WEXNER CENTER FOR THE ARTS
ISBN: 9780918471826 | US $35.00
Pub Date: 3/31/2013
Active | In stock

WILLIAM POPE.L: BLACK PEOPLE ARE CROPPED
Edited by Clément Dirié. Text by Iain Kerr, Helen Molesworth, William Pope.L.
JRP|RINGIER
ISBN: 9783037642696 | US $15.00
Pub Date: 8/31/2012
Active | Awaiting stock

JOSIAH MCELHENY: SOME PICTURES OF THE INFINITE
HATJE CANTZ
ISBN: 9783775733311 | US $55.00
Pub Date: 9/30/2012
Active | In stock

CATHERINE OPIE: EMPTY AND FULL
Edited by Helen Molesworth. Text by Jill Medvedow, Anna Stothart.
HATJE CANTZ
ISBN: 9783775730150 | US $40.00
Pub Date: 5/31/2011
Active | In stock

LOS CARPINTEROS: HANDWORK, CONSTRUCTING THE WORLD
THYSSEN-BORNEMISZA ART CONTEMPORARY
ISBN: 9781935202677 | US $190.00
Pub Date: 4/30/2011
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DANCE, DRAW
HATJE CANTZ
ISBN: 9783775731638 | US $55.00
Pub Date: 11/30/2011
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LUC TUYMANS
SAN FRANCISCO MUSEUM OF MODERN ART/ WEXNER CENTER FOR THE ARTS/D.A.P.
ISBN: 9781933045986 | US $60.00
Pub Date: 10/31/2009
Active | In stock

REE MORTON: WORKS 1971-1977
Edited by Sabine Folie. Text by Sabine Folie, Diana Baldon, Helen Molesworth, Susanne Neubauer.
VERLAG FüR MODERNE KUNST NüRNBERG
ISBN: 9783941185302 | US $60.00
Pub Date: 11/30/2009
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ALEXIS ROCKMAN: THE WEIGHT OF AIR
Edited by Michael Rush. Text by Helen Molesworth, Brett Litman.
THE ROSE ART MUSEUM
ISBN: 9780976159360 | US $45.00
Pub Date: 2/1/2009
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ROBERT BECK: DUST
Foreword by Sherri Geldin. Text by Bill Horrigan, Helen Molesworth, Robert Hobbs.
WEXNER CENTER FOR THE ARTS
ISBN: 9781881390442 | US $19.95
Pub Date: 8/1/2007
Active | In stock

SADIE BENNING: SUSPENDED ANIMATION
WEXNER CENTER FOR THE ARTS
ISBN: 9781881390411 | US $24.95
Pub Date: 3/1/2007
Active | In stock

JOSIAH MCELHENY: NOTES FOR A SCULPTURE AND A FILM
WEXNER CENTER FOR THE ARTS
ISBN: 9781881390404 | US $11.95
Pub Date: 8/15/2006
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THE DADA SEMINARS
D.A.P./THE NATIONAL GALLERY OF ART, WASHINGTON
ISBN: 9781933045139 | US $25.00
Pub Date: 5/15/2005
Active | In stock

THE DADA SEMINARS
D.A.P./THE NATIONAL GALLERY OF ART, WASHINGTON
ISBN: 9781933045146 | US $45.00
Pub Date: 5/15/2005
Active | In stock

LANDSCAPE CONFECTION
Essay by Helen Molesworth. Foreword by Sherri Geldin.
WEXNER CENTER FOR THE ARTS
ISBN: 9781881390367 | US $29.95
Pub Date: 1/2/2005
Active | In stock

IMAGE STREAM
WEXNER CENTER FOR THE ARTS
ISBN: 9781881390343 | US $19.95
Pub Date: 1/2/2004
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OUT OF PRINT LISTING

KERRY JAMES MARSHALL: ONE TRUE THING
MUSEUM OF CONTEMPORARY ART, CHICAGO
ISBN: 9780933856790 | US $29.95
Pub Date: 11/2/2003
Out of print | Not available

WOLFGANG TILLMANS
CANTZ
ISBN: 9783893228881 | US $35.00
Pub Date: 10/2/1996
Out of print | Not available

Helen Molesworth

Luc Tuymans: Exhibitions at David Zwirner

1994-2012

Edited by Donna Wingate. Interviews with Brice Marden, Peter Schjeldahl, Robert Storr, Madeleine Grynsztejn and Helen Molesworth by Lynne Tillman.
Published by Ludion

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 Kristine McKenna discuss Tuymans’ presence in the U.S.

Luc Tuymans

Edited by Madeleine Grynsztejn, Helen Molesworth. Text by Helen Molesworth, Joseph L. Koerner, Ralph Rugoff, Bill Horrigan.
Published by San Francisco Museum of Modern Art/Wexner Center for the Arts

Luc Tuymans (born 1958) is one of today’s most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. First published in hardback for the artist’s first full-scale American survey in 2009, and now available in paperback, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter’s main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers Tuymans’ recent work and Bill Horrigan examines the artist’s cinematic sources. This book remains not only the most comprehensive survey of Tuymans’ career to date, but also the most thorough chronology of his development.

William Pope.L: Black People Are Cropped

Skin Set Drawings 1997–2011

Edited by Clément Dirié. Text by Iain Kerr, Helen Molesworth, William Pope.L.
Published by JRP|Ringier

“When Pope.L shakes his head he makes drawings that keep him from laugh-crying to death,” writes Helen Molesworth of Skin Set Drawings, an ongoing series by multi-disciplinary artist William Pope.L (born 1955). Made with very humble materials, this extended corpus deals with the absurdities and perversities of intentional language, especially racist language and language associated with categorizing and naming color. “Black People Are Taut,” “Brown People Are the Green Ray,” “Blue People Are What We Do to Homosexuals,” “Red People Are From Mars Green People Are From New Jersey,” “Purple People Are Reason Bicarbonate,” “Red People Are the Niggers of the Canyon” are some examples of this highly-charged series by the self-proclaimed “friendliest black artist in America.” Black People Are Cropped offers a selection of drawings from 1997–2011, sketches, critical texts and the artist’s own writing.

Josiah McElheny: Some Pictures of the Infinite

Foreword by Helen Molesworth. Text by Maria Gough, Gregg Bordowitz, Moyra Davey, Andrea Geyer, Zoe Leonard, R. H. Quaytman, Amy Sillman, Taylor Walsh. Interview with Doug Ashford, Bill Horrigan, Helen Molesworth.
Published by Hatje Cantz

Josiah McElheny (born 1966) explores representations of time and space through the medium of glass. Some Pictures of the Infinite looks at 15 years of his work and his ongoing investigation of twentieth-century conceptions of infinity and utopia. McElheny combines the methodologies and mathematics of science with the craftsmanship of artisan glassmaking, and translates the imaginings of Jorge Luis Borges, the utopian endeavors of Bruno Taut and Paul Scheerbart, the futuristic thinking of R. Buckminster Fuller and the sculptural sensuality of Isamu Noguchi into a range of kaleidoscopic scale models for the infinite--most notably in his recent collaboration with a cosmologist on Island Universe, an accurate scale model of the Big Bang. This publication includes a range of essays by artists and critics, including Gregg Bordowitz, Moyra Davey, Zoe Leonard, Amy Sillman and others.

Catherine Opie: Empty and Full

Edited by Helen Molesworth. Text by Jill Medvedow, Anna Stothart.
Published by Hatje Cantz

Catherine Opie (born 1961) has forged new idioms in both portrait and landscape photography, frequently combining the two genres to explore how people occupy different landscapes--from high school football players on the field to ice fishermen on frozen lakes, to surfers waiting for the next wave. In doing so she has come to stand as one of America's foremost documentarians. Recently, Opie has returned to the genre of street photography, elaborating on the relationship between people and place, particularly the energies and desires created when masses of people convene around a shared interest or value. Freedom of assembly is one of the rights Americans take for granted; Opie is interested in the way that sites, such as the National Mall in Washington, D.C., come to be defined by the groups of people who assemble there and how their gathering shapes the identity of the place. This catalogue presents Opie's photographs of recent political demonstrations and gatherings, ranging from the inauguration of President Obama to Tea Party rallies. Drawing on a long and august tradition of American landscape painting and documentary photography, Opie gives us a view of democracy in action. Her photographs offer a dynamic, complicated and loving portrait of the United States at the dawn of the twenty-first century. This fully illustrated catalogue features a discussion between the artist and ICA Boston Chief Curator Helen Molesworth.

Los Carpinteros: Handwork, Constructing the World

Special Edition

Edited by Gudrun Ankele, Daniela Zyman. Texts by Eugenio Valdés Figueroa, Paulo Herkenhoff, Helen Molesworth, Rochelle Steiner.
Published by Thyssen-Bornemisza Art Contemporary

The Cuban duo Los Carpinteros renounces individual authorship to sabotage the disciplines of design and architecture from within. This limited edition of the first comprehensive Los Carpinteros monograph—itself voted one of “Austria's Most Beautiful Books” for 2010—comes with a pair of flip flops designed by the artists. These flip flops are imprinted with a street map of Old Havana and are meant for the owner to wear while soaking up the city’s atmosphere. As the artists put it: “We wanted people who read our book to have not just the intellectual experience of what we have tried to achieve in our work—i.e. communicating the unique experience of the Contemporary Cuban Artist—but also the visceral experience of ‘feeling’ the streets of our home and by doing so thinking about what it is and was to be Cuban during the years of our artistic journey.”

Dance, Draw

Text by Carrie Lambert-Beatty, Catherine Lord, Helen Molesworth. Interview with Paul Chan, Helen Molesworth.
Published by Hatje Cantz

Dance and the visual arts have had a longstanding inter-relationship, but until now there has been no authoritative portrayal of their shared characteristics. Dance/Draw assembles works by around 40 artists, in an attempt to locate a place and a language in art history for the interactions between contemporary dance and the visual arts over the past 40 years. The idea of “the line” in its broadest sense is deployed as the conceptual anchor for this history. While modern dance deviated from the strictures of ballet en pointe, adopting everyday gestures and spontaneous childlike play into its vocabulary, contemporary drawing likewise discarded the confines of technical perfection to leap beyond the (picture) frame. In both instances, the line was liberated from an aspiration towards perfected form, in order to appear in space as a mobile, open-ended, socially integrative element. Dance/Draw provides a fascinating conceptual take on this liberating paradigm shift, looking at works by William Anastasi, Janine Antoni, Ruth Asawa, Charles Atlas, Jérôme Bel, Trisha Brown, John Cage, Paul Chan, Liz Collins, Louise Fishman, William Forsythe, Gego, David Hammons, Mona Hatoum, Eva Hesse, Joan Jonas, Bruce Nauman, Senga Nengudi, Cornelia Parker, Howardena Pindell, Yvonne Rainer, Daniel Ranalli, Fred Sandback, Amy Sillman, Cecilia Vicuña, Faith Wilding and many others.

Luc Tuymans

Edited by Madeleine Grynsztejn, Helen Molesworth. Text by Helen Molesworth, Joseph L. Koerner, Ralph Rugoff, Bill Horrigan.
Published by San Francisco Museum of Modern Art/ Wexner Center for the Arts/D.A.P.

Luc Tuymans is one of today's most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. As a European child of the 1950s, his relationship to painting is inevitably structured by television, cinema and by the lingering effects of World War II; more recent historical preoccupations have included the dramatic turn of world events post-9/11. Tuymans combines a muted palette with deteriorated surface effect and a singular use of cropping, close-up and sequencing--perfect devices with which to undertake his investigation of the pathological, the banal and the conspiratorial. Published in conjunction with the artist's first full-scale American survey, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter's main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers the nature of visual experience in light of Tuymans' recent work, and Bill Horrigan examines cinematic sources. This book is not only the most comprehensive survey of Tuymans' career to date, but also the most thorough chronology of his artistic development.
Born in Mortsel, Belgium, in 1958, Luc Tuymans first exhibited his paintings in 1985, at Palais des Thermes in Ostend. His first U.S. exhibition came ten years later, at The Renaissance Society in Chicago. He has also worked in film and printmaking.

Ree Morton: Works 1971-1977

Edited by Sabine Folie. Text by Sabine Folie, Diana Baldon, Helen Molesworth, Susanne Neubauer.
Published by Verlag Für moderne Kunst Nürnberg

Casting aside the orthodoxies of 1970s Minimalism in favor of a wittier, decorative, more "impure" art, Ree Morton (1936-1977) synthesized a vast repertoire of materials and erudition to produce sculptures, drawings and installations that have delighted an ever-swelling army of fans. Between 1971 and 1977, Morton made signature use of celastic, a material that resembles fabric when sculpted, and which enabled her to devise bizarre takes on domestic crafts of the "bless this house" variety. Yet none of her work is kitsch or folksy, and an Eva Hesse-style biomorphism and relish of surface and mass always prevails (Hesse was a crucial touchstone for Morton). Works 1971-1977, which accompanies a survey at the Generali Foundation, Vienna (the first since the New Museum's 1980 exhibit) is the first thorough monograph on Morton. Alongside the work itself, it reproduces the artist's numerous notebooks and sketchbooks, and an immense number of her own documentary photographs, which reconstruct the genesis of both existing works and works that have either been destroyed or can no longer be located. Essays by Diana Baldon, Sabine Folie, Susanne Neubauer and Helen Molesworth address Morton in context, against the backdrop of 1970s installation art, and Ilse Lafer provides an extensive chronological biographical and bibliographical survey.

Alexis Rockman: The Weight of Air

Edited by Michael Rush. Text by Helen Molesworth, Brett Litman.
Published by The Rose Art Museum

Disturbingly majestic hurricanes, wind-energy fields, tornadoes, landslides, waterspouts, melting glaciers, forest fires and newly mutant species are some of the subjects of Alexis Rockman's deeply hued and intricately crafted works on paper. Surreal and deeply critical of man's destructive relationship to the environment, the primary works collected in this volume, published to accompany Rockman's first major large-scale museum exhibition in the United States, were all made since 2005. With echoes of J.M.W. Turner, Winslow Homer, Charles Burchfield and Rockman's own inimitable realism, the works surge with a power and flow of color that announces a new direction for this remarkable artist, who has been praised as much for his figurative exactitude as for his wildly imaginative take on what is considered the real. Essays are by the Rose Art Museum's Michael Rush and the Harvard University Art Museums' Helen Molesworth; the artist interview is by Brett Littman of The Drawing Center in New York.

Robert Beck: Dust

Foreword by Sherri Geldin. Text by Bill Horrigan, Helen Molesworth, Robert Hobbs.
Published by Wexner Center for the Arts

Robert Beck (b. 1959) makes drawings, photographs, sculptures, videos and installations investigating sexuality, masculinity and violence; his work has been collected by the Getty, the Whitney and MoMA, among others. Dust documents the eponymous recent installations in materials including graphite, Polaroids, drywall and shower curtains.

Sadie Benning: Suspended Animation

Foreword by Sherri Geldin. Introduction by Jennifer Lange. Text by Eileen Myles, Helen Molesworth, Aleksandar Hemon, Amy Sillman.
Published by Wexner Center for the Arts

Sadie Benning is not only among the country's most respected and influential video artists, she also broke cultural ground as a founding member of the multimedia feminist band Le Tigre. Suspended Animation, the first monograph on the artist and the catalogue of her first U.S. museum exhibition, introduces Benning's paintings and Play Pause, an ambitious new two-channel video installation. Benning's videos, which she began to make in the late 1980s with a Fisher-Price Pixelvision 2000 "toy camera," are known for their explorations of loneliness, alienation, gender ambiguity and her own developing lesbian identity. Benning's recent paintings--flat, illustrative, exuberant--are playful, imaginary portraits that address similar themes. Play Pause, created entirely from hundreds of Benning's drawings, offers a rhythmic and affectionate view of contemporary life in a city's streets, parks and gay bars. Includes written contributions by Eileen Myles and Aleksandar Hemon, and a conversation with the New York painter Amy Sillman.

Josiah McElheny: Notes for a Sculpture and a Film

Edited by Helen Molesworth. Essays by David Weinberg, Helen Molesworth and Josiah McElheny with Scott Rothkopf. Foreword by Sherri Geldin.
Published by Wexner Center for the Arts

Conceptual artist Josiah McElheny's work in glass explores the relationship between art, history and narrative. This catalogue chronicles his most ambitious project to date and offers a comprehensive overview of the conception and creation of his sculptural work. Also documents his first-ever film.

The Dada Seminars

Introduction by Leah Dickerman. Essays by George Baker, Leah Dickerman, Uwe Fleckner, Hal Foster, T. J. Demos, Amelia Jones, David Joselit, Marcella Lista, Helen Molesworth, Arnauld Pierre, Jeffrey T. Schnapp and Matthew S. Witkovsky.
Published by D.A.P./The National Gallery of Art, Washington

This volume of 12 essays fills a broad gap in Modernist art history. Taken together, these case studies on artists and concepts present Dada as a coherent movement with a set of operating principles. Among the “ tactics” elaborated are the hyperbolic mimicry of dominant social and linguistic conventions, the performance of gender and other aspects of identity, the usurpation of the modes of a new media culture and the marketplace, and the recycling of history and memory in a world traumatized by war. The Dada Seminars developed out of a series held by the Center for Advanced Study in the Visual Arts at the National Gallery of Art, in advance of 2005's major traveling exhibition on international Dada. Contributors include George Baker, T.J. Demos, Leah Dickerman, Uwe Fleckner, Hal Foster, Amelia Jones, David Joselit, Marcella Lista, Helen Molesworth, Arnauld Pierre, Jeffrey T. Schnapp and Matthew S. Witkovsky.

The Dada Seminars

Introduction by Leah Dickerman. Essays by George Baker, Leah Dickerman, Uwe Fleckner, Hal Foster, T. J. Demos, Amelia Jones, David Joselit, Marcella Lista, Helen Molesworth, Arnauld Pierre, Jeffrey T. Schnapp and Matthew S. Witkovsky.
Published by D.A.P./The National Gallery of Art, Washington

This volume of 12 essays fills a broad gap in Modernist art history. Taken together, these case studies on artists and concepts present Dada as a coherent movement with a set of operating principles. Among the “ tactics” elaborated are the hyperbolic mimicry of dominant social and linguistic conventions, the performance of gender and other aspects of identity, the usurpation of the modes of a new media culture and marketplace, and the recycling of history and memory as blasted in a world traumatized by war.The Dada Seminars developed out of a series of seminars held by the Center for Advanced Study in the Visual Arts at the National Gallery of Art, in advance of 2005's major traveling exhibition on international Dada. Contributors include George Baker, T.J. Demos, Leah Dickerman, Uwe Fleckner, Hal Foster, Amelia Jones, David Joselit, Marcella Lista, Helen Molesworth, Arnauld Pierre, Jeffrey T. Schnapp and Matthew S. Witkovsky.

Landscape Confection

Essay by Helen Molesworth. Foreword by Sherri Geldin.
Published by Wexner Center for the Arts

Landscape Confection brings together a group of emerging and mid-career artists involved in expanding the historical practice of landscape painting. Long considered one of the primary categories of Western painting, landscape has traditionally been dialectically structured by the production of either realistic or idealized representations of the natural world. The artists in Landscape Confection work in the realm of imaginary landscape. Many of the paintings derive from the unconscious space of dreams, some borrow from the discipline of topography, and still others reside at the boundary between landscape and abstraction. Most of the pictures have a high degree of whimsy and call to mind the f'êtes galantes of Watteau, redolent as they are with bodily and visual pleasure. Artist included in the exhibition and catalogue are Rowena Drig, Pia Fries, Jason Gubbiotti, Jim Hodges, Katie Pratt, Michael Raedecker, Neil Rock, Lisa Sanditz, Amy Sillman and Janaina Tschape.

Image Stream

Essays by George Baker, Gregg Bordowitz, Aruna D'Souza, Bill Horrigan, Bruce Jenkins, Helen Molesworth and Hamza Walker. Introduction by Sherri Geldin.
Published by Wexner Center for the Arts

Image Stream brings together eight gallery-based film and video works, each of which explore the limits of this new medium, returning to narrative and changing conventional modes of viewing. Curator Helen Molesworth in this her first exhibition for the Wexner Art Center has selected works by Kutlug Ataman, Matthew Barney, Tacita Dean, Andrea Fraser, Pierre Huyghe, Neil Jordan, Donald Moffett and Lorna Simpson, each of which is accompanied by an individual short analytical essay. As Molesworth writes in her introduction, “the hygenic isolation of the white cube has slowly, but steadily, been overtaken by an increasingly promiscuous black box. As any turn-of-the-century member of the art public knows, darkened rooms and heavy black curtains signal the omnipresent film and/or video installation.” If an earlier generation of film and video artists were concerned with the formal properties of film, she argues, today's contemporary artists “willingly explore visual forms borrowed from both Hollywood and auteur film, as well as television, MTV, CNN and the theater. This profligate borrowing of mass-media forms has been accompanied by a strong impulse towards narrative.” It is what Molesworth calls this “reciprocity” between art world and mass culture that is a “defining characteristic of contemporary projected images.”

Kerry James Marshall: One True Thing

Meditations On Black Aesthetics

Essays by Helen Molesworth, Jeff Donaldson, Nathaniel McLin and Charles Mills. Foreword by Robert Fitzpatrick. Introduction by Elizabeth A. T. Smith.
Published by Museum of Contemporary Art, Chicago

In Kerry James Marshall's Rythm Mastr comic strip, an urban superhero battles the forces of evil using a combination of futuristic and traditional African accoutrements. This graphic narrativization is a stylistic update of Marshall's best-known work, monumental paintings of African-American subjects based on the traditional genre of narrative history painting. In One True Thing, the catalogue accompaniment to Marshall's first solo show in five years, the artist presents a multi-media range of new work that demonstrates the evolution of his ideas and his ongoing commitment to issues of construction and interpretation of meaning. The body of work Marshall is developing for the book and exhibition centers on the idea of ambiguity surrounding the representation of African Americans in our culture. Stemming in part from the Rythm Mastr comic strip project first developed for the 2000 Carnegie International exhibition, the monumental paintings in this new body of work portray figures in the urban landscape of the South Side of Chicago, inspired by the tradition of old-master paintings, especially the townscapes of Canaletto. Marshall is also creating several photographic series depicting urban settings along with a group of figurative works based on African tribal sculptures.

Wolfgang Tillmans

For When I'm Weak I'm Strong

Photographs by Collier Schorr. Contributions by Annelie Lutgens. Text by Helen Molesworth, Wolfgang Tillmans.
Published by Cantz