Published by Hatje Cantz. Text by John G. Hanhardt, Richard Shiff, Richard Grusin.
A longstanding virtuoso of new media, Jim Campbell has been transforming the visual lexicon of digital data into art for 20 years. This retrospective of his career is buttressed with commentary by some of the genre's leading critics, such as John G. Hanhardt of the Smithsonian, Richard Schiff from the University of Texas at Austin and Richard Grusin, co-author of Remediation: Understanding New Media.
Hilla Rebay and the Origins of the Solomon R. Guggenheim Museum
Published by Guggenheim Museum. Edited by Karole Vail. Text by Tracey Bashkoff, Don Quaintance, John Hanhardt.
Exploring the origins and early days of the Guggenheim Museum--when it was first known as the Museum of Non-Objective Painting--this volume reveals for the first time the Guggenheim's complex architectural history, drawing on extensive correspondence between Founding Director Hilla Rebay and artist Rudolf Bauer (whose work the Guggenheim collected exhaustively) to reveal the leading role Bauer played in envisioning the collection and the museum. It also explores Rebay's unusual curatorial conceptions and framing practices at the museum's early locations. Karol Vail provides biographies of many lesser-known artists in the museum's collection, while others discuss the museum's early history and ambitions. Architectural drawings, installation views, photographs and color plates of selected artworks help track the rise of this great museum.
Published by Guggenheim Museum. Essays by Tracey Bashkoff, John Hanhardt, Frederic Tuten and Russell Ferguson.
The American artist John Baldessari rose to prominence in the late 1960s, combining Pop art's use of mass media imagery with Conceptual art's use of language to create a unique body of work that has become a hallmark of postmodern art. Early in his career, Baldessari began incorporating images and text utilized by the advertising and movie industries into his photo-based art. He appropriated pictures and movie stills, juxtaposing, editing and cropping them in conjunction with written texts. The resulting montage of photography and language often counters the narrative associations suggested by the isolated scenes and offers a greater plurality of meanings. The layered, often humorous compositions carry disparate connotations, underscoring how relative meaning can be. Throughout his long and celebrated career, Baldessari has continued to play with and critique popular culture, and over time he has increased the scale and visual impact of his work. This publication looks at new works Baldessari created on commission for the Deutsche Guggenheim.
Published by Guggenheim Museum. Essays by Lisa Dennison, Nancy Spector, Deyan Dudjic, Andrea Codrington, John Hanhardt, Mark Taylor, Gia Kourlas and Drew Daniel.
Singular Forms (Sometimes Repeated) examines the impulse toward reduction, restraint, and lucidity in postwar art. Drawing on the Guggenheim's exceptional holdings of minimalist painting and singular sculpture, Singular Forms begins with Robert Rauschenberg's historic White Painting (1951), a stark, monochrome canvas. This seminal work establishes twin trajectories in the development of contemporary art: the elimination of all extraneous details to achieve an art of pure, essential form, and the attention to issues of perception. After a prologue including other examples of radical, monochrome paintings by Ellsworth Kelly, Frank Stella, and Ad Reinhardt, Singular Forms explores how these parallel artistic strategies were manifest in Minimalist and Conceptual art of the 1960s and 70s through the work of Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin, and Lawrence Weiner, among others. Minimalism's impact on subsequent generations of contemporary artists begins with Postminimalism, which utilized the movement's deliberate paucity of formal means to explore a range of concerns including process, the dematerialization of the object, the performative nature of art, and the structural properties of light. Artists such as Bruce Nauman, Richard Serra, James Turrell, and Richard Long are included in this section. What follows are artists schooled in the deconstructivist tendencies of Postmodernism--such as Robert Gober, Felix Gonzalez-Torres, and Roni Horn--who resuscitated Minimalism as a style, infusing its unitary, nonreferential forms with content to bring to the fore trenchant cultural issues. Singular Forms concludes with recent work that shares the look of classic Minimalist art, but uses it to communicate deeply personal, political, or poetic messages. Also examined is the reach of Minimalism and Conceptualism beyond the visual arts into film, choreography, music, design, and architecture.
Published by Guggenheim Museum. Essays by Nam June Paik, John G. Hanhardt, Caitlin Jones and Anja Osswald.
In 1974, WNET-Channel 13 in New York City broadcast Nam June Paik's Global Groove, a whirlwind, multi-media piece and one of the most influential works of video art. The program took a wide look at culture and transformed the WNET broadcast studio into an experimental venue for dancers, musicians, and performance artists. Weaved into Global Groove were films and videotapes by other artists, interviews and voiceovers, pop music, appropriated commercials, and broadcast breaks. In celebration of the 30th anniversary of the broadcast, Global Groove 2004 celebrates Paik's work on and for television, documenting and interpreting his key television projects. The included essays survey and interpret the distinctive contribution Paik made to remaking video and television into an artist's medium, and examine Paik's historical importance and relevance to new developments in internet art. In-depth analysis and photo essays reveal the range of Paik's transformation of video, including his experiments in the 1960s with the Paik-Abe video synthesizer; his seminal videotapes for broadcast: Global Groove, Suite 212, Guadalcanal Requiem, Lake Placid 80, Living with the Living Theater; and his global television productions: Good Morning, Mr. Orwell, Bye Bye Kipling, Wrap Around the World. Additionally, a selection of the artist's seminal writings on the future of television is featured.
Published by Guggenheim Museum. Edited by John G. Hanhardt and Nancy Spector. Essays by John G. Hanhardt, Nancy Spector, Maria-Christina Villase“or and Joan Young
During the late 1960s and 70s, a paradigm shift occurred within visual culture: photography and the moving image were absorbed into critical art practices. In particular, these mediums were used to record ephemeral or performative events and to render visible conceptual systems or to question the supposed objectivity of representation itself. This volume focuses primarily on artworks from the last decade and proposes that the extensive use of reproducible mediums in today's art has its roots in an earlier formative period. By the end of the 70s, many artists turned to photography as a vehicle through which to critique photographic representation and to subvert an art system premised on the notion of the original. While this practice came to define much of the 80s postmodern art, its legacy for the 90s was essentially the license to indulge in photographic fantasy, image construction, and cinematic narrative. Artists working today freely manipulate their representations of the empirical world or invent entirely new cosmologies. They process their subject matter through conceptual systems or use digital processes to alter their images. Some directly intervene in the environment, subtly shifting components of the found world and establishing their quiet presence in it; others fabricate entire architectural environments for the camera lens. This current state of the arts and its recent history are represented via more than 150 works by 55 artists, including Nam June Paik, Kara Walker, Felix Gonzalez-Torres, Marina Abramovic, Vito Acconci, Ana Mendieta, Bruce Nauman, Robert Smithson, Christian Boltanski, Sophie Calle, Fischli & Weiss, Ann Hamilton, Robert Mapplethorpe, Annette Messager, Cindy Sherman, Bernd and Hilla Becher, Elger Esser, Andreas Gursky, Candida H‡fer, Thomas Ruff, J‡rge Sasse, Thomas Struth, Olafur Eliasson, Roni Horn, Gabriel Orozco, Hiroshi Sugimoto, Matthew Barney, Gregory Crewdson, Anna Gaskell, Sam Taylor-Wood, Oliver Boberg, James Casebere, Thomas Demand, Vanessa Beecroft, Wolfgang Tillmans, Patty Chang, Trisha Donnelly, Stan Douglas, Pierre Huyghe, William Kentridge, Steve McQueen, Shirin Neshat, John Pilson and Gillian Wearing.
Published by Guggenheim Museum. Edited by John G. Hanhardt.
New Lower Price! No artist has had a greater influence in imagining and realizing the artistic potential of video and television than Nam June Paik. Through a vast array of installations, videotapes, global television productions, films and performances, Paik has reshaped our perceptions of the temporal image in contemporary art. The Worlds of Nam June Paik is a celebration of the moving image and an appreciation of Paik's impact on the art of the late twentieth century. The full range of Paik's singular achievement is represented--from his early 1960s performance pieces through his videotapes, installations, megatrons and celebrated robot portraits--including his recent, spectacular laser-projection installations in the rotunda of Frank Lloyd Wright's Solomon R. Guggenheim Museum. In an informative and personal essay, John G. Hanhardt, a longtime supporter of Paik's work, provides an overview of the artist's career while focusing on his important place in the history of the moving image. Also included are a selected exhibition and performance history as well as a selected bibliography.
Published by Guggenheim Museum. Edited by John G. Hanhardt. Essays by John G. Hanhardt, Maria-Christina Villase“or and Glenn O'Brien.
Using foam core, hot glue, plywood, steel, scavenged street lumber, asphalt, a radar gun, liquor, turntables and LPs, Tom Sachs has built a 4,000-square-foot installation that links the idealistic modernism of Le Corbusier with the commercialized modernism of McDonald's. Remote-control cars and their racetrack form the connective tissue that binds the disparate parts of Nutsy's together, from the ghetto and Modernist art park to the bong-hit station and piss station. Representing the culmination of Tom Sachs's studio activity over the past two years, Nutsy's was originally inspired by Le Corbusier's 1952 Unit d'Habitation housing block--a massive 12-story structure which has come to symbolize both the integrity of modernism as well as its subsequent corruption. In thinking about modernism's ideals, Sachs--ever the bricoleur--was driven to explore its other side. Modernism and bricolage act as a kind of foil for each other in Nutsy's, with the resourcefulness of bricolage standing in contrast to the grandiosity of Modernism.
Published by Guggenheim Museum. Introduction by John G. Hanhardt.
Widely recognized as the leading video artist of our time, Bill Viola employs sophisticated state-of-the-art technologies to create installations that envelop the viewer in image and sound. In his newest and most evocative work--exhibited first at the Deutsche Guggenheim Berlin and in this accompanying catalogue--an ordered sequence of allegorical fresco-like images immerse the viewer in a total aesthetic, sensory and philosophical experience. Includes an interview with the artist.