Published by Gregory R. Miller & Co.. Edited by Kelly Taxter. Text by Naima J. Keith, Thomas Lax, Jay Sanders.
You Should’ve Heard Just What I Seen explores how music shapes the experience of making and looking at art, with original contributions from over 50 leading contemporary artists, curators and gallerists. Invited to submit pieces that touch on the way music factors into both their lives and practice, the conversations, poems, essays, lists, show flyers, t-shirts, paintings and photographs they provided are collected in this supreme reader on contemporary art and sound. Featuring works and texts from an international group of artists, the publication is both a lively reader and a visually compelling document of the art of today. The contributors are Kelly Taxter, Maureen Brenner, Elizabeth Peyton, Charlemagne Palestine, Jay Sanders (Whitney Museum of American Art), Chris Ofili, Jeremy Deller, Steven Baker, Dave Muller, Jeff Poe (Blum & Poe), Anne Collier, Lesley Vance, Margaret Lee (47 Canal), Tyson Reeder, Alex Olson, Kelley Walker, Rashid Johnson, Martin Creed, Andrew Kuo, Macrae Semans, Jim Drain, Charles Long, Sarah Thompson, David Kordanksy / Stuart Krimko (David Kordansky Gallery), Roe Ethridge, Matt Anderson (DJ Matt), Spencer Sweeney, Yoshitomo Nara, Christoph Gerozissis (Anton Kern Gallery), Scott Reeder, Kai Althoff, Dan Aran / Uri Aran, Thomas Lax (Studio Museum of Harlem), Laura Owens, Amy Granat, Peter Doig, Trisha Donnelly, Edgar Arceneaux, Brian Degraw, James Fuentes (James Fuentes), Barry Johnston, Naima J. Keith (The Studio Museum in Harlem), Nicholas Party, Berry Van Boekel, Adam Putnam, Brendan Fowler, Mike Watt and Matthew Higgs (White Columns).
Published by Fundación/Colección Jumex. Foreword by Patrick Charpenel. Text by Magalí Arriola, Jay Sanders, Marie de Brugerolle.
The installations, books, films and plays of Guy de Cointet (1934–1983) offer conceptually playful and witty treatments of codes, ciphers and optical tensions between language and image. Born in France and based in Los Angeles from 1965 until his death, de Cointet was also an important mentor as a teacher at the Otis Art Institute for a generation of Californian artists, including Paul McCarthy and Mike Kelley. Long esteemed by artists and critics but little exhibited until recently, his work has been the subject of considerable renewed interest over the past decade or so. This volume, published for a 2012/13 survey show at Fundación/Colección Jumex in Mexico, includes extensive documentation (playscripts, photographs) of his plays Tempo Rubato, IGLU and Tell Me, alongside relevant works on paper, archival photographs and essays by Magalí Arriola, Jay Sanders and Marie de Brugerolle.
Published by JRP|Ringier. Edited by RoseLee Goldberg. Text by RoseLee Goldberg. Contributions by Catherine Wood, Jay Sanders, Anthony Huberman, Hans Ulrich Obrist.
Assembled by the pioneering scholar of performance art, RoseLee Goldberg, this volume documents new performances by some of the world's most exciting visual artists, focusing on the relationship between contemporary dance and visual art, the ongoing legacy of "Happenings" inventor Allan Kaprow and the recent explosion of performance in China. Photographs, artists' scripts, sketches, journals and storyboards are complemented by writings from prominent curators and critics, as well as interviews with Paul McCarthy, Dan Graham, Isaac Julien, Yvonne Rainer, Nathalie Djurberg, Jérôme Bel and others.
Published by Greene Naftali/Galerie Daniel Buchholz. Edited by Christopher Müller, Jay Sanders. Text by Diedrich Diederichsen, Tony Conrad.
This first monograph on the legendary artist, filmmaker and musician Tony Conrad documents his seminal Yellow Movie project of the early 1970s. Published to accompany Conrad's recent one-person exhibition at New York's Greene Naftali Gallery and Galerie Bucholz, Cologne, it includes an introductory note by Conrad, a new text by Diedrich Diederichsen and comprehensive documentation of all the Yellow Movies still in existence. Art in America's David Coggins described the project in 2007: "Yellow Movies, a series of works from the early 1970s by pioneering filmmaker Tony Conrad, initially appears to be nothing more than white squares enclosed by black borders painted on large sheets of paper. Yet these casual paintings, roughly the size of old home-movie screens, are formed by latex house paint that slowly yellows over time, creating what are essentially unhurried photographic exposures. Conrad sought to make abstract films that would last a lifetime, and there's a discreet thrill to knowing that what you're seeing is changing, invisibly, before your eyes."
BOOK FORMAT Paperback, 7 x 10 in. / 76 pgs / 45 col / 7 bw.
PUBLISHING STATUS Pub Date 7/30/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 96
PRODUCT DETAILS ISBN 9783000244322TRADE List Price: $35.00 CDN $40.00
Published by Bortolami Gallery. Text by Jay Sanders.
Richard Aldrich's abstract painting juggles delicacy of line and palette with warmth of touch, a combination that fills his works with a cheerful humanity, or what Art in Review memorably described as a "slackerish cosmopolitanism." Collage elements introduce a playful take on Whistler's famous portrait of his mother.
BOOK FORMAT Paperback, 5.5 x 8.5 in. / 95 pgs / 42 color.
PUBLISHING STATUS Pub Date 7/31/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2009 p. 135
PRODUCT DETAILS ISBN 9780615269849TRADE List Price: $25.00 CDN $30.00
Published by The Blanton Museum of Art. Edited by Annette DiMeo Carlozzi. Introduction by Annette DiMeo Carlozzi. Text by Michael Smith, Mike Kelley, Jay Sanders, Ingrid Schaffner, Regine Basha.
Mike's World takes a tightly focused view of a single Michael Smith performance persona, "Mike," as it has developed over the course of many years and through innumerable presentation formats. The character Mike functions metaphorically as a kind of ever-hopeful Candide, adrift in a world of rapid technological advances that he seems incapable of fully comprehending, and stymied by the depersonalization and isolation that have accompanied late twentieth-century life. Ironic in its sharp personification of failure, but also hilarious and poignant, Smith's work mirrors our most human concerns about competency and comfort. Underscoring the hybrid nature of Smith's art, the works reproduced in this colorful paperback book also highlight his last decade of video and installation collaborations with artist-director Joshua White. With contributions by Michael Smith, Jay Sanders, Mike Kelley, Ingrid Schaffner and Regine Basha.
BOOK FORMAT Paperback, 8.5 x 10.5 in. / 140 pgs/ illustrated throughout.
PUBLISHING STATUS Pub Date 2/1/2008 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 145
PRODUCT DETAILS ISBN 9780977145393TRADE List Price: $30.00 CDN $35.00
Published by Granary Books/Marianne Boesky Gallery. Edited by Charles Bernstein and Jay Sanders.
Accompanying a unique exhibition at the respected Marianne Boesky Gallery in New York, this book is a remarkable combination of the work of poets and artists, that explores in new ways the relationship between the visual and the verbal. In his preface, Charles Bernstein writes: "Not words and pictures but poems as visual objects. Not poems about pictures but pictures that are poems. Not works closed in a book but hanging on a wall or suspended from the ceiling or rising from the floor or sounding from inside a figure or embedded with paint on a canvas or written in the sky or flickering on a screen." Co-curator Jay Sanders explains in his introduction: "We had a gallery and we wanted to flood it with poetry. Not with "poetic" artwork, but with actual poetry, made by poets. But, we have gallery walls, not pages in a book. So we organized a show of art overrun with poetry and a show of poetry riddled with art."