Kathy Halbreich

ACTIVE BACKLIST

FRIDA KAHLO
WALKER ART CENTER
ISBN: 9780935640885 | US $49.95
Pub Date: 10/1/2007
Active | Awaiting stock

CAMERON JAMIE
Foreword by Kathy Halbreich. Text by Philippe Vergne. Excerpt by Charles Bukowski
WALKER ART CENTER
ISBN: 9780935640878 | US $34.95
Pub Date: 6/1/2007
Active | In stock

SHARON LOCKHART: PINE FLAT
Essays by Kathy Halbreich, Linda Norden and Frances Stark.
CHARTA
ISBN: 9788881586035 | US $60.00
Pub Date: 9/15/2006
Active | Awaiting stock

HEART OF DARKNESS
Foreword by Kathy Halbreich. Introduction by Philippe Vergne.
WALKER ART CENTER
ISBN: 9780935640854 | US $27.00
Pub Date: 10/15/2006
Active | In stock

HOUSE OF ORACLES: A HUANG YONG PING RETROSPECTIVE
WALKER ART CENTER
ISBN: 9780935640823 | US $45.00
Pub Date: 10/15/2005
Active | Awaiting stock

EXPANDING THE CENTER: WALKER ART CENTER AND HERZOG & DE MEURON
WALKER ART CENTER
ISBN: 9780935640847 | US $34.95
Pub Date: 1/1/2006
Active | In stock

JOSEPH BEUYS: THE MULTIPLES
EDITION SCHELLMANN
ISBN: 9783888142109 | US $95.00
Pub Date: 3/1/2006
Active | Awaiting stock

KIKI SMITH
WALKER ART CENTER
ISBN: 9780935640793 | US $65.00
Pub Date: 11/15/2005
Active | In stock

BITS & PIECES PUT TOGETHER TO PRESENT A SEMBLANCE OF A WHOLE
WALKER ART CENTER
ISBN: 9780935640786 | US $45.00
Pub Date: 4/15/2005
Active | In stock

PAST THINGS AND PRESENT: JASPER JOHNS SINCE 1983
Edited by Joan Rothfuss. Essays by Richard Shiff, Victor Stoichita, Foreword by Kathy Halbreich.
WALKER ART CENTER
ISBN: 9780935640779 | US $34.95
Pub Date: 12/2/2003
Active | Awaiting stock

STRANGELY FAMILIAR
Edited by Andrew Blauvelt. Essays by Aaron Betsky, Jonathan Bell and Jamer Hun.
WALKER ART CENTER
ISBN: 9780935640755 | US $29.95
Pub Date: 6/2/2003
Active | In stock

THE LAST PICTURE SHOW
WALKER ART CENTER
ISBN: 9780935640762 | US $44.95
Pub Date: 11/2/2003
Active | In stock

SITE SPECIFIC PROJECTS
Edited by Gloria Moure. Foreword by Kathy Halbreich. Introduction by Rudi Fuchs.
POLIGRAFA
ISBN: 9788434309951 | US $45.00
Pub Date: 11/2/2003
Active | In stock

BRUCE CONNER: 2000 BC
WALKER ART CENTER
ISBN: 9780935640618 | US $59.95
Pub Date: 11/2/1999
Active | In stock

OUT OF PRINT LISTING

CHUCK CLOSE: SELF-PORTRAITS 1967-2005
WALKER ART CENTER/SAN FRANCISCO MUSEUM OF MODERN ART
ISBN: 9780935640809 | US $34.95
Pub Date: 8/15/2005
Out of print | Not available

HOW LATITUDES BECOME FORMS
WALKER ART CENTER
ISBN: 9780935640731 | US $29.95
Pub Date: 4/2/2003
Out of print | Not available

MARK LUYTEN: ON A BALCONY
Artwork by Mark Luyten. Edited by Joan Rothfuss. Contributions by Kathy Halbreich.
WALKER ART CENTER
ISBN: 9780935640540 | US $16.95
Pub Date: 2/2/1997
Out of print | Not available

BORDERING ON FICTION: CHANTAL AKERMAN'S D'EST
WALKER ART CENTER
ISBN: 9780935640441 | US $14.95
Pub Date: 1/2/1995
Out of print | Not available

BRUCE NAUMAN
Artwork by Bruce Nauman. Contributions by Kathy Halbreich. Text by Robert Storr, Neal Benezra.
WALKER ART CENTER
ISBN: 9780935640427 | US $35.00
Pub Date: 4/2/1994
Out of print | Not available

Kathy Halbreich

Cameron Jamie

Foreword by Kathy Halbreich. Text by Philippe Vergne. Excerpt by Charles Bukowski
Published by Walker Art Center

Cameron Jamie's work--a blend of video, sound, performance, photography and drawing--confronts the dysfunction of European and American society. His critical gaze often focuses on ritualistic practices in popular culture, such as hot dog eating contests and backyard wrestling. Taking suburban phenomena of this sort as his primary material, Jamie explores the dark underbelly of the American dream in drawings, film and performance. This artist-designed exhibition catalogue features more than 60 works in various media, illuminating the artist's process with selections from his personal archive of clippings and ephemera, as well as raw sketches for his projects. An essay by exhibition curator Philippe Vergne, a foreword by Walker director Kathy Halbreich and a reprint of a poem by Charles Bukowski selected by the artist provide context for this first large-scale, museum presentation of Jamie's work.

Frida Kahlo

Foreword by Kathy Halbreich. Edited by Elizabeth Carpenter. Text by Hayden Herrera, Elizabeth Carpenter, Victor Zamudio-Taylor.
Published by Walker Art Center

Few artists have captured the public's imagination with the force of Mexican painter Frida Kahlo. During her lifetime, she was best known as the flamboyant wife of celebrated muralist Diego Rivera. Theirs was a tumultuous relationship: Rivera declared himself to be "unfit for fidelity." As if to assuage her pain, Kahlo recorded the vicissitudes of her marriage in paint. She also recorded the misery of her deteriorating health--the orthopedic corsets that she was forced to wear, the numerous spinal surgeries, the miscarriages and therapeutic abortions. The artist's sometimes harrowing imagery is mitigated by an intentional primitivism and small scale, as well as by her sardonic humor and extraordinary imagination.
In celebration of the one-hundredth anniversary of Kahlo's birth, this major new monograph is published on the occasion of the 2007-08 traveling exhibition. It features the artist's most renowned work--the hauntingly seductive and often brutal self-portraits--as well as a selection of key portraits and still lifes; more than 100 color plates, from Kahlo's earliest works, made in 1926, to her last, in 1954; critical essays by Elizabeth Carpenter, Hayden Herrera and Victor Zamudio-Taylor; and a selection of photographs of Kahlo and Rivera by preeminent photographers of the period, including Manuel Alvarez Bravo, Lola Alvarez Bravo, Gisele Freund, Tina Modotti and Nickolas Muray. The catalogue also contains snapshots from the artist's own photo albums of Kahlo with family and friends such as André Breton and Leon Trotsky--some of which have never been published, and several of which Kahlo inscribed with dedications, effaced with self-deprecating marks or kissed with a lipstick trace--plus an extensive illustrated timeline, selected bibliography, exhibition history and index.

Heart of Darkness

Foreword by Kathy Halbreich. Introduction by Philippe Vergne.
Published by Walker Art Center

Heart of Darkness centers on three large-scale installations by artists Kai Althoff, Ellen Gallagher and Thomas Hirschhorn. Working with fairy tales, science fiction and sensational imagery, these artists invite us to enter an uncanny world of their own creation, where darkness is not just a representation of chaos, madness and dystopia, but an artistic strategy in the search for clarity and empathy within the insurmountable nihilism of the twenty-first century. With an introduction by curator Philippe Vergne and individual interviews with the artists.

Sharon Lockhart: Pine Flat

Essays by Kathy Halbreich, Linda Norden and Frances Stark.
Published by Charta

In the film and photographic series Pine Flat constructed over a three year period, Sharon Lockhart addresses the experience of an American childhood, using the stunning landscape of America's Sierra Nevada Mountains to bring home the close relationships of children with their natural surroundings. Lockhart began by constructing a portrait studio in a small rural community, and extending an open invitation to local children, and then by immersing herself in their environment and noting the complexity of their interactions. Her highly descriptive, almost painterly portraits, taken over the course of several years, abjure narration for the pleasure of the gaze and the notion of temporality. The studio remains a constant, its black backdrop, cement floor and natural lighting; a theatrical setting that allows the children to develop a different kind of relationship to the camera. Those stills stand in stark contrast to the pictorialism of a series showing the community's majestic natural surroundings, and to the portraits on 16mm film that accompany them, which are both literally and figuratively moving.

Joseph Beuys: The Multiples

Edited by Jàrg Schellmann. Essays by Dierk Stemmler, Joan Rothfuss, Jàrg Schellmann and Peter Nisbet. Afterword by James Cuno and Kathy Halbreich.
Published by Edition Schellmann

Out of print since 1999, the classic catalogue raisonnª of Joseph Beuys's multiples is available again at last. Beuys, the most influential German--and perhaps the most influential European--artist of the postwar period, was born in 1921. He had planned to be a doctor, but following World War II he enrolled in the Dsseldorf Academy of Art. As a professor there in the early 1960s he encountered the influence of Fluxus and began to make and show the multiples--prints and boxes and other objects in editions--that became such a key part of his work. Those highlighted here include sleds, pieces of felt, signed head shots of the artist and texts calligraphed onto bank notes in francs, marks and schillings. Bruno Cora Tea mocks both mass production and boutique cachet by refilling a Coca-Cola bottle with tea, resealing it with flourishes worthy of a Belgian beer, and putting the whole thing in a glass-fronted box. Joseph Beuys: Multiples includes some 600 pieces, annotated lists of the major collections where they can be found, essays from significant curators and scholars and an interview with the artist.

Expanding the Center: Walker Art Center and Herzog & de Meuron

Edited by Andrew Blauvelt. Essays by Andrew Blauvelt, Steve Dietz, Sarah Schultz and Robin Dowden. Conversations with Philippe Vergne, Richard Flood, Doryun Chong, Pitor Szhakski and Rich Shelton. Foreword by Kathy Halbreich.
Published by Walker Art Center

The Walker Art Center recently opened its expanded space, which includes a new theater, a new restaurant and more galleries, but is best known for being Herzog & de Meuron's first public building in the United States. The project drew national coverage from media including The New York Times. Expanding the Center addresses this public interest in the building with a generous selection of images, including sketches, renderings and photographs of the construction process and the completed work. Herzog & de Meuron's shimmering but grounded design mirrors the textures and shades of the Walker's original space, and an institutional philosophy based in innovation and risk-taking, the exploration of alternative approaches to learning, the experimental use of technologies to communicate information, and the design of spaces to enhance a variety of museum experiences. The book is organized around the decisions and actions of the architects, builders, Walker staff and the audience--i.e. designing, constructing, unveiling, staging, gathering, patterning, framing, collecting--and highlights the thinking that led to the visible form of the Center as well as the innovative projects and initiatives that give it its inimitable character.

House of Oracles: A Huang Yong Ping Retrospective

Edited by Philippe Vergne and Doryun Chong. Essays by Hou Hanru, Fei Dawei, Huang Yong Ping and Philippe Vergne. Foreword by Kathy Halbreich.
Published by Walker Art Center

This first monograph to look back over Huang Yong Ping's work to date finally brings the full range of his accomplishments to an international audience. As a contemporary artist in China working with diverse traditions and new and ancient media, Huang has built an artistic universe comprised of provocative installations that challenge the viewer to reconsider everything from the idea of art to national identity to recent history. He was once one of the leading figures of the Xiamen Dada movement--a collective of artists working to create a new Chinese cultural identity by bridging trends in Western modernism with Chinese traditions of Zen and Taoism. He continues to confront established definitions of history and aesthetics with sculptures and installations that draw on the legacies of Joseph Beuys, Arte Povera, and John Cage as well as traditional Chinese art and philosophy, juxtaposing traditional objects, iconic images, and modern references. House of Oracles echoes that blend by binding photographs, essays, and striking sketchbook pages, which are presented with translations of the artist's calligraphy, in a matte soft cover with two facing spines--it opens with the plates on one side and the essays and artist writings on the other.

Chuck Close: Self-Portraits 1967-2005

Essays by Siri Engberg, Madeleine Grynsztejn and Douglas R. Nickel. Foreword by Kathy Halbreich and Neal Benezra.
Published by Walker Art Center/San Francisco Museum of Modern Art

A celebrated, popular and influential figure in American art, Chuck Close has focused exclusively, and with great innovation, on the genre of portraiture. This exhibition, co-organized by the San Francisco Museum of Modern Art and the Walker Art Center in Minneapolis, explores the artist's work in self-portraiture over four decades and across a variety of media, including painting, drawing, photography, collage, and printmaking. The first comprehensive museum survey of Close's self-portraits, the exhibition and its accompanying publication offer a fascinating glimpse of an artist's self-examination and evolution over time and elucidate his unbounded, process-driven experimentation with media and techniques. Working with the seemingly narrow subject of his own face, Close has produced a richly varied trove that ranges from intimately scaled collage maquettes and fingerprint drawings to monumental gridded canvases; from the sharp definition of certain photographic techniques to the ghostly blurs of daguerreotypes and holograms; from the tactile complexity of paper pulp editions to the smooth, mechanical surfaces of Polaroids and digital ink-jet prints; from the subtle tonalities of gray-scale paintings and drawings to the exuberance of an 111-color screenprint. When Close unleashes his imagination on his own visage, this familiar figure is at his most revealing.

Kiki Smith

Edited by Siri Engberg. Essays by Siri Engberg, Linda Nochlin and Marina Warner. Interview by Lynne Tillman. Foreword by Kathy Halbreich.
Published by Walker Art Center

Widely considered to be one of the most engaging and fascinating artists of our time, Kiki Smith has, over the past 25 years, developed into a major figure in the world of twenty-first-century art. Her subject matter is as wide-ranging as the materials her work has encompassed. In the 1980s, with her earliest figural sculptures in plaster, glass and wax, Smith developed an elaborate vocabulary around the forms and functions of the body and its metaphorical as well as physical relationship to society. By the early 1990s, she began to engage with themes of a more religious and mythological nature. Her re-imaginings of biblical women as inhabitants of physical bodies--rather than as abstract bearers of doctrine--led her to make series of sculptural works related to the figure of the Virgin Mary, Mary Magdalene, Lilith and others. The artist has more recently considered fairy tales and folk narratives as well as nurturing a growing menagerie of work concerned with animals and the natural world. Smith has now earned a considerable reputation as a virtuoso printmaker and draftsperson, and as a re-inventor of the startling sculptural possibilities present in materials ranging from paper and resin to bronze and porcelain. Organized by the Walker Art Center with the full collaboration of the artist, the exhibition Kiki Smith represents the artist's first full-scale monograph.

Bits & Pieces Put Together To Present A Semblance Of A Whole

Walker Art Center Collections

Edited by Joan Rothfuss and Elizabeth Carpenter. Essays by Elizabeth Alexander, A.S. Byatt, Dave Eggers, Arthur C. Danto, Wayne Koestenbaum, James Lingwood, Linda Nochlin, Annie Proulx, David Shapiro, Charles Simic, Howard Singerman, Hamza Walker et al.
Published by Walker Art Center

One of the premier institutions of contemporary art in the country, the Walker Art Center also holds an important collection of over 11,000 objects from the early twentieth century to the present. These holdings reflect the Center's renowned multidisciplinary program, and include paintings, sculpture, prints, photography, film, video, installations and digital arts that range in date from classic early Modernist to cutting edge contemporary.

Past Things And Present: Jasper Johns Since 1983

Edited by Joan Rothfuss. Essays by Richard Shiff, Victor Stoichita, Foreword by Kathy Halbreich.
Published by Walker Art Center

In 1984, Jasper Johns suggested to an interviewer that he had made a critical shift in his working process. “In my early work,” he said, “I tried to hide my personality, my psychological state, my emotions...I sort of stuck to my guns for a while, but eventually it seemed like a losing battle. Finally, one must simply drop the reserve.” His paintings of the 1980s and 90s bear this out: their imagery often includes objects and locations in his present studio and home, as well as allusions to memories of his childhood. These motifs are reiterated, altered, reworked and quoted in the context of new compositions, forming layered and complex spaces of recollection that merge past and present. This profusely illustrated volume, published in conjunction with an exhibition of paintings, prints and drawings organized by the Walker Art Center, is the first to look broadly at this period in Johns' career. All of the artist's major bodies of work from the past two decades--including those based on the Seasons, Green Angel and Catenary motifs--are covered in this study, with special consideration given to imagery appropriated from Picasso and Manet. Many of the works are published here for the first time, making this an invaluable tool for the study of Johns' work.

Strangely Familiar

Design and Everyday Life

Edited by Andrew Blauvelt. Essays by Aaron Betsky, Jonathan Bell and Jamer Hun.
Published by Walker Art Center

In the past decade, designers have become increasingly engaged with the quotidian. This shift away from more strictly formal and functional concerns has allowed them to freely explore design's contexts and effects. A light that responds to silence, a table that knows where it is, a pig farm the size of a skyscraper, a coat that becomes a tent, a house that fits in your pocket--these projects by innovators in the field of design question the habitual, transform the commonplace, alter our notions of dwelling and blur the boundaries between form and function. Strangely Familiar: Design and Everyday Life explores the paradox of design in our daily lives. Anonymous and conspicuous, familiar and strange, design surrounds us while fading from view, becoming second nature to us and yet remaining still somehow elusive. This exhibition catalogue includes more than 40 innovative projects drawn internationally from the fields of architecture, product, furniture, fashion and graphic design. Among the designers and architects featured are Shigeru Ban, MVRDV, LOT-EK, Atelier Bow-Wow, Dunne & Raby, Marcel Wanders, Michael Anastassiades, Constantin and Laurene Leon Boym, and Allan Wexler. This richly illustrated volume includes essays on the tactics of formlessness and its impact on everyday consumption, the potential of an endlessly transformable environment to extend product lifecycles, and ruminations on the strange and familiar worlds of design.

The Last Picture Show

Artists Using Photography 1960-1982

Edited by Douglas Fogle. Essays by Douglas Fogle, Kate Bush, Richard Flood, Geoffrey Batchen, Stefan Gronnert and Pamela Lee. Foreword by Kathy Halbreich.
Published by Walker Art Center

Photography has become an increasingly pervasive medium of choice in contemporary art practice and is even employed at times by artists who do not necessarily consider themselves to be photographers. How did this come to be? The Last Picture Show will address the emergence of this phenomenon of artists using photography by tracing the development of conceptual trends in postwar photographic practice from its first glimmerings in the 60s in the work of artists such as Bernd & Hilla Becher, Ed Ruscha and Bruce Nauman, to its rise to art-world prominence in the work of the artists of the late 70s and early 80s including Sherrie Levine, Richard Prince and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the checklist will include a wide array of works examining a range of issues: performativity and photographic practice; portraiture and cultural identity; the formal and social architectonics of the built environment; societal and individual interventions in the landscape; photography's relationship to sculpture and painting; the visual mediation of meaning in popular culture; and the poetic and conceptual investigation of visual non-sequiturs, disjunctions and humorous absurdities. Bringing together a newly commissioned body of scholarship with reprints of important historical texts, The Last Picture Show seeks to define the legacy that has produced a rich body of photographic practice in the art world today.

How Latitudes Become Forms

Art in the Global Age

Edited by Philippe Vergne. Contributions by Philip Büther, Vasif Kortun, Baraka Sele, Kathy Halbreich. Text by Paulo Herkenhoff, Steve Dietz, Cuauhtemoc Medina, Hidenaga Otori, Hou Hanru, Vishakha Desai.
Published by Walker Art Center

The rise of globalism has created tremendous challenges to old economic, political and cultural paradigms, changes that are increasingly reflected in diverse artistic practices across the planet. If disciplinary boundaries are now crossed as easily as geographic ones, how does the new internationalism that we are facing affect aesthetics and artistic production? Is there a link, for example, between the rise of video works and the global availability of digital media? Does the global information age facilitate an international language of art and an alternative reading of history, from art history toward art histories? From the perspective of a museum of modern and contemporary art--a purely European construct--the art institution has to overcome a major contradiction, one that exists between its mission of permanence and its mission of change. How can cultural institutions contribute to the revamping of their own structures now that the hegemony of Western modernity is being challenged? How can museums connect with new audiences through different practices, different scholarships, and different interpretive strategies that grow out of the sedimentation of their own history? To invite and encourage such dialogue, How Latitudes Become Forms looks at current scholarship on globalism and changing curatorial practices, and identifies critical models provided by artists themselves, featuring thought-provoking essays and conversations by curators, critics, and cultural programmers from across the world, as well as multidisciplinary artworks by more than 40 artists from Brazil, China, India, Japan, South Africa, Turkey and the United States.

Site Specific Projects

The Espai Poblenou Foundation

Edited by Gloria Moure. Foreword by Kathy Halbreich. Introduction by Rudi Fuchs.
Published by Poligrafa

Between October 1989 and September 1995, 14 site-specific artist's projects were installed in the city of Barcelona, at the initiation of the Espai Poblenou Foundation. The artists were Christian Boltanski, John Cage, Jan Dibbets, Rodney Graham, Rebecca Horn, Jannis Kounellis, Richard Long, Mario Merz, Bruce Nauman, Sigmar Polke, Aurelio Ruiz & Jos Maldonado, Ulrich Ruckriem and Lawrence Weiner. Taken together, their works provide an overview of trends in installation art at the close of the century.

Bruce Conner: 2000 BC

Photographs by Bruce Conner. Edited by Joan Rothfuss. Contributions by Kathy Halbreich, Bruce Jenkins, Peter Boswell.
Published by Walker Art Center

Bruce Conner (1933-2008) first came to prominence in the late 1950s as a leader of the assemblage movement in California. Conner had close ties with poets of the San Francisco Renaissance (particularly Michael McClure) as well as with artists such as Wallace Berman, George Herms, Jess and Jay DeFeo. Conner's use of nylon stockings in his assemblages quickly won him notoriety, and saw his work included in Peter Selz's classic 1961 Art of Assemblage show at MoMA. Around this time, Conner also turned to film-making, and produced in swift succession a number of short films that helped to pioneer the rapid edit and the use of pop music among independent film-makers. Conner's innovative editing techniques and decidedly dark vision of American culture laid the foundation for later Hollywood directors such as Dennis Hopper (a friend and collaborator of Conner's, who frequently acknowledged his influence) and David Lynch. A long overdue and significant addition to the understanding of twentieth-century American art and cinema, 2000 BC: The Bruce Conner Story Part II represents the most comprehensive book to date on Conner's work from the 1950s to the present. The authors elucidate Conner's work in film, assemblage, drawing, printmaking, collage,and photograms, as well as his more ephemeral gestures, actions, protests and "escapes" from the art world. This beautifully designed clothbound monograph is a landmark publication for anyone interested in contemporary art, film, culture and the Beat era.

Mark Luyten: On A Balcony

A Novel

Artwork by Mark Luyten. Edited by Joan Rothfuss. Contributions by Kathy Halbreich.
Published by Walker Art Center

Bordering On Fiction: Chantal Akerman's D'Est

Artwork by Chantal Ackerman. Contributions by Kathy Halbreich, Bruce Jenkins. Text by Michael Tarantino.
Published by Walker Art Center

Bruce Nauman

Exhibition Catalogue

Artwork by Bruce Nauman. Contributions by Kathy Halbreich. Text by Robert Storr, Neal Benezra.
Published by Walker Art Center

This is the catalogue of the exhibition that stunned critics by bringing together the full and largely underrated range of Bruce Naman's work in everything from sculpture to video to holograms.