Edited by Kathy Halbreich, Mark Godfrey, Lanka Tattersall, and Magnus Schaefer. Text by Paul Chan, Christophe Cherix, Tacita Dean, Barbara Engelbach, Mark Godfrey, Stefan Gronert, Kathy Halbreich, Rachel Jans, John Kelsey, Jutta Koether, Christine Mehring, Matthias Muhling, Marcelle Polednik, Christian Rattemeyer, Kathrin Rottmann, Magnus Schaefer, and Lanka Tattersall. Bibliography by Erhard Klein. Interview with Benjamin H. D. Buchloh
Hbk, 9.5 x 12 in. / 320 pgs / 520 color. | 4/30/2014 | In stock ISBN 9780870708893 | $75.00
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.
Paperback, 6.5 x 9.25 in. / 256 pgs / 225 color / 25 bw. | 1/1/2006 | In stock ISBN 9780935640847 | $34.95
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.
Clothbound, 7.5 x 10.5 in. / 616 pgs / 680 color / 150 duotone. | 4/15/2005 | In stock ISBN 9780935640786 | $45.00
Published by The Museum of Modern Art, New York. Edited by Kathy Halbreich, Mark Godfrey, Lanka Tattersall, and Magnus Schaefer. Text by Paul Chan, Christophe Cherix, Tacita Dean, Barbara Engelbach, Mark Godfrey, Stefan Gronert, Kathy Halbreich, Rachel Jans, John Kelsey, Jutta Koether, Christine Mehring, Matthias Muhling, Marcelle Polednik, Christian Rattemeyer, Kathrin Rottmann, Magnus Schaefer, and Lanka Tattersall. Bibliography by Erhard Klein. Interview with Benjamin H. D. Buchloh
Working across an unusually broad range of media, including painting, photography, film, drawing and sculpture, Sigmar Polke is widely regarded as one of the most influential and experimental artists of the post-war generation. His irreverent wit and promiscuous intelligence, coupled with his exceptional grasp of the properties of his materials, provided the foundation for his punishing critiques of the conventions of art history and social behavior. Experimenting wildly with materials and tools as varied as meteor dust and the xerox machine, Polke made work of both an intimate and monumental scale, drawn from sources as diverse as newspaper headlines and Dürer prints. Polke avoided any one signature style, a fluid method best defined by the word “alibi,” which means “in or at another place.” This also is a reminder of the deflection of responsibility which shaped German behavior during the Nazi period, compelling Polke’s generation to reinvent the role of the artist. Published in conjunction with Alibis: Sigmar Polke 1963–2010, the first exhibition to encompass the artist’s work across all media, this richly illustrated publication provides an overview of his cross-disciplinary innovations and career. Essays by Kathy Halbreich, Associate Director of The Museum of Modern Art; Mark Godfrey, Curator of International Art, Tate Modern; and a range of scholars and artists examine the full range of Polke’s exceptionally inventive oeuvre and place his enormous skepticism of all social, political and artistic conventions against German history. Sigmar Polke (1941–2010) was born in Oels, in eastern Germany, now Olesnica in present-day Poland. At the end of World War II, Polke and his family fled to East Germany and, in 1953, escaped to Düsseldorf, where he was trained as a glass painter and subsequently studied at the Kunstakademie Düsseldorf. Since the late 1960s, Polke’s work has been shown widely, including solo exhibitions at European and American museums. His last major work was a commission for 12 stained glass windows of the Grossmünster in Zurich, Switzerland, completed in 2009.
Kathy Halbreich is Associate Director at The Museum of Modern Art.
Mark Godfrey is Senior Curator of International Art (Europe and Americas) at Tate Modern in London.
Lanka Tattersall is Assistant Curator at the Museum of Contemporary Art, Los Angeles.
Magnus Schaefer is a Curatorial Assistant in the Department of Drawings and Prints at The Museum of Modern Art, New York.
Paul Chan is an American artist, writer and founder of the art and ebook publishing company Badlands Unlimited, based in New York City.
Christophe Cherix is The Robert Lehman Foundation Chief Curator of Drawings and Prints at The Museum of Modern Art.
Tacita Dean is an English filmmaker and visual artist.
Barbara Engelbach is a curator at the Museum Ludwig, Cologne.
Stefan Gronert is a curator of the graphics collection at the Kunstmuseum and teaches art history at the University of Bonn, specializing in photography.
Rachel Jans is Assistant Curator at The San Francisco Museum of Modern Art.
Published by Walker Art Center. Foreword by Kathy Halbreich. Text by Philippe Vergne. Excerpt by Charles Bukowski
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.
Published by Walker Art Center. Foreword by Kathy Halbreich. Edited by Elizabeth Carpenter. Text by Hayden Herrera, Elizabeth Carpenter, Victor Zamudio-Taylor.
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.
Published by Walker Art Center. 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.
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.
Published by Edition Schellmann. Edited by Jàrg Schellmann. Essays by Dierk Stemmler, Joan Rothfuss, Jàrg Schellmann and Peter Nisbet. Afterword by James Cuno and Kathy Halbreich.
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.
PUBLISHER Edition Schellmann
BOOK FORMAT Hardcover, 8.5 x 12 in. / 544 pgs / 320 color / 540 bw.
PUBLISHING STATUS Pub Date 3/1/2006 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2006 p. 98
PRODUCT DETAILS ISBN 9783888142109TRADE List Price: $95.00 CDN $115.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Walker Art Center. Foreword by Kathy Halbreich. Introduction by Philippe Vergne.
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.
Published by Charta. Essays by Kathy Halbreich, Linda Norden and Frances Stark.
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.
BOOK FORMAT Hardcover, 9.5 x 11.5 in. / 148 pgs / 76 color and 5 bw.
PUBLISHING STATUS Pub Date 9/15/2006 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2006 p. 79
PRODUCT DETAILS ISBN 9788881586035TRADE List Price: $60.00 CDN $70.00
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.
Published by Walker Art Center. 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.
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.
Published by Walker Art Center/San Francisco Museum of Modern Art. Essays by Siri Engberg, Madeleine Grynsztejn and Douglas R. Nickel. Foreword by Kathy Halbreich and Neal Benezra.
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.
Published by Walker Art Center. Edited by Siri Engberg. Essays by Siri Engberg, Linda Nochlin and Marina Warner. Interview by Lynne Tillman. Foreword by Kathy Halbreich.
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.
Published by Walker Art Center. Edited by Douglas Fogle. Essays by Douglas Fogle, Kate Bush, Richard Flood, Geoffrey Batchen, Stefan Gronnert and Pamela Lee. Foreword by Kathy Halbreich.
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.
Published by Walker Art Center. Edited by Andrew Blauvelt. Essays by Aaron Betsky, Jonathan Bell and Jamer Hun.
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.
Published by Walker Art Center. Edited by Joan Rothfuss. Essays by Richard Shiff, Victor Stoichita, Foreword by Kathy Halbreich.
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.
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.
Published by Poligrafa. Edited by Gloria Moure. Foreword by Kathy Halbreich. Introduction by Rudi Fuchs.
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.
Published by Walker Art Center. Photographs by Bruce Conner. Edited by Joan Rothfuss. Contributions by Kathy Halbreich, Bruce Jenkins, Peter Boswell.
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.