Introduction by Germano Celant. Text by Jo Applin, Luciano Chessa, Chiara Costa, Christoph Cox, Geeta Dayal, Patrick Feaster, Christoph E. Hänggi, Bart Hopkin, Douglas Kahn, Alan Licht, Andrea Lissoni, Noel Lobley, Deirdre Loughridge, Mario Mainetti, Simone Menegoi, Holly Rogers, Jonathan Sterne, David Toop, John Tresch, Eric de Visscher, Rob Young. Preface by Miuccia Prada, Patrizio Bertelli.
Flexi, 8.25 x 11.5 in. / 520 pgs / 146 color. | 9/30/2014 | In stock ISBN 9788887029567 | $95.00
Edited by Germano Celant. Introduction by Miuccia Prada. Preface by Miuccia Prada, Patrizio Bertelli. Text by Gwen L. Allen, Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert. Interviews with Thomas Demand, Rem Koolhaas.
Clth, 8.75 x 11.5 in. / 700 pgs / illustrated throughout. | 9/30/2013 | In stock ISBN 9788887029550 | $120.00
Essays by Francesco Bonami, Giorgia Bottinelli, Germano Celant, Carolyn Christov-Bakargiev, Corinna Criticos, Judith Kirshner, Robert Lumley, Karen Pinkus. Artists include Giovanni Anselmo, Alighiero e Boetti, Giorgia Bottinelli, Pier Paolo Calzolari, Lu
Hardcover, 8 x 10 in. / 304 pgs / illustrated throughout. | 7/2/2001 | Out of stock ISBN 9780935640694 | $50.00
Published by Gregory R. Miller & Co.. Introduction byTom Eccles, Beatrix Ruf, Hans Ulrich Obrist. Text by Johanna Burton, Germano Celant. Interview with Hans Ulrich Obrist, Tom Eccles, Beatrix Ruf.
Primarily known for his paradigmatic "shelves" displaying everyday objects, Haim Steinbach (born 1944) has developed a practice that evolved from early minimalist painting with grids and monochromes to later large-scale installations that have seldom been seen in the US. Growing out of a traveling exhibition that features works drawn from throughout Steinbach's career, as well as archival materials and new site-specific installations, Object and Display urges readers to take a closer look at this seminal artist's works. Hundreds of full-color illustrations document the exhibition, which included photographs, models and recreations from past works, along with photography of the site-specific installations that appeared at each institution. New essays by writers Johanna Burton and Germano Celant explore the evolution of Steinbach's practice and his investigations into what constitutes an art object and how art and objects are displayed.
Published by Fondazione Prada. Introduction by Germano Celant. Text by Jo Applin, Luciano Chessa, Chiara Costa, Christoph Cox, Geeta Dayal, Patrick Feaster, Christoph E. Hänggi, Bart Hopkin, Douglas Kahn, Alan Licht, Andrea Lissoni, Noel Lobley, Deirdre Loughridge, Mario Mainetti, Simone Menegoi, Holly Rogers, Jonathan Sterne, David Toop, John Tresch, Eric de Visscher, Rob Young. Preface by Miuccia Prada, Patrizio Bertelli.
Art or Sound examines the rich overlap and areas of ambiguity between musical instruments and works of art. Looking at examples spanning the seventeenth century to the present, this gorgeously produced book, with its thick vinyl cover, offers a fascinating reinterpretation of the musical instrument and the ways in which it can become a sculptural-visual entity (and vice versa). It opens with instruments made from precious materials in the seventeenth century, eighteenth-century musical automata by Pierre Jaquet-Droz and various customized instruments from the Victorian and early modern eras. Research in the field of synesthesia is presented along with works from the historical avant-gardes, such as Luigi Russolo's celebrated Intonarumori (1913). Also included are scores by John Cage, works by Robert Morris and Nam June Paik, sound installations such as Robert Rauschenberg's Oracle (1962–65) and Laurie Anderson's Handphone Table (1978). Examples of artistic appropriations of musical instruments (by the likes of Arman, Richard Artschwager and Joseph Beuys) and hybrid instruments by Ken Butler and William T. Wiley are considered alongside the more recent research of artists such as Christian Marclay, Janet Cardiff, Martin Creed and Doug Aitken, and a younger generation, represented by Anri Sala, Athanasios Argianas, Haroon Mirza, Ruth Ewan and Maywa Denki, among others. Esteemed writers, musicians and scholars such as Christoph Cox, Douglas Kahn, Alan Licht, David Toop and Rob Young contribute contextualizing essays.
Published by Kerber. Edited by Martin Engler, Max Hollein. Text by Martin Engler, Germano Celant, Massimiliano Gioni, Francesca Pola, Dominique Laporte, Franziska Leuthäusser.
Few artists have combined conceptual ingenuity with devastating critique as deftly and wittily as Piero Manzoni (1933–1963). Fifty years after his death at the tender age of 29, Manzoni remains unsurpassed as a provocateur: his Artist's Breath and Artist's Shit editions, which now sell for hundreds of thousands of dollars, are unanswerable satirical attacks on art-world economics and values, and his designations of various persons (such as Umberto Eco and Marcel Broodthaers) as "living artworks" prefigure many strains in performance art. Manzoni thus effected some of the most decisive paradigm shifts in postwar art, something for which he is only rarely given full credit. This comprehensive survey accompanies a major retrospective at the Städel in Frankfurt (the first major Manzoni retrospective outside Italy in more than two decades), and is published on the occasion of what would have been his eightieth birthday. It reproduces more than 100 works from all phases of the artist's brief but massively influential career, from his early Klein-influenced monochromes (or "Achromes") and the Art Informel years to his role as a leading member of the Zero group (alongside Mack, Piene, Tinguely, Klein, Fontana) and beyond.
Published by Fondazione Prada. Edited by Germano Celant. Introduction by Miuccia Prada. Preface by Miuccia Prada, Patrizio Bertelli. Text by Gwen L. Allen, Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert. Interviews with Thomas Demand, Rem Koolhaas.
In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a dialogue with the Bern Kunsthalle, and Celant has reprised its spirit by placing the works in dialogue with the Ca’ Corner della Regina--a very different building, in its Venetian grandeur, to the Kunsthalle. This publication is divided into three parts: the first reproduces photo documentation of the original exhibit, the second compiles essays and interviews on Celant’s project and the third includes the installation views of the show in Venice. The book is completed by a "Register" of works included in both shows.
Published by Progetto Prada Arte. Introduction by Germano Celant. Preface by Miuccia Prada, Patrizio Bertelli. Text by Beatriz Colomina, Charles Esche, Nicholas Fox Weber, Elena Gigli, Constance W. Glenn, Maria Gough, Magdalena Holzhey, Adina Kamien-Kazhdan, Karen Koehler, Liz Kotz, Tatyana Vasilevna Kumzerova, Ulrich Lehmann, Annette Malochet, Marie Rebecchi, Julia Robinson, Gianni Emilio Simonetti, Antonio Somaini, Anne Thurmann-Jajes.
From Futurism to Fluxus, virtually every twentieth-century avant-garde produced art multiples of some kind, whether to defuse the auratic power of the unique artwork, or to foster a more democratic art culture. The Small Utopia provides a thorough overview of this tendency, looking at Malevich’s tea sets, Bauhaus textiles and toys, early audio multiples, Duchamp’s readymades, films by Fischinger and Moholy-Nagy, Maciunas’ Fluxus kits, Minimalist and Pop art multiples, artist’s books and small press magazines, among other examples. Some of the field’s finest scholars contribute to this volume, including Maria Gough on Russian Productivism; Elena Gigli on Giacomo Balla; Annette Malochet on Sonia Delaunay’s Atelier Simultané; Karen Koehler on Bauhaus; Antonio Somaini on early sound art; Adina Kamien-Kazhdan on readymades; Marie Rebecchi on abstract cinema; Nicholas Fox Weber on Josef and Anni Albers; and Julia Robinson on Nouveau Realisme and Fluxus multiples. A superbly illustrated chronology rounds out this essential and handsome publication.
Published by D.A.P./University of California, Berkeley Art Museum and Pacific Film Archive. Edited by Lawrence Rinder, Dena Beard. Text by Alex Baker, Natasha Boas, Germano Celant, Jeffrey Deitch.
Published on the occasion of the first major survey of Barry McGee’s work, this monumental volume records more than two decades of incredible fecundity, over the course of which McGee has pioneered a new iconography of sharp street vitality and graphic snap. McGee began as a graffiti artist on the streets of San Francisco, working under such tags as Ray Fong, Twist and Twisto, and his work since then has hugely expanded the terms of both street art and contemporary art. The freshness of McGee’s work stems in part from his virtuoso handling and consolidation of a whole panoply of influences, from hobo art, sign painting and graffiti to comics, Beat literature and much else. His extraordinary skill as a draughtsman is energized by his insistence on pushing at the parameters of art--his work can be shockingly informal in the gallery and surprisingly elegant on the street--and by his keen nose for social malaise. This volume revisits McGee’s most influential installations in art spaces, and considers the evolution of his aesthetic within institutional settings. Previously unseen photographs by Craig Costello document the artist’s work on the streets of San Francisco in the early 90s, highlighting the contributions of his friends and mentors. Also included are images from the artist’s famous slide lecture, compiled and refined over the past 20 years, and an oral history of the Bay Area’s Mission School by McGee’s friends, mentors and collaborators. Featuring 450 images, including many never before published, the book is designed by the artist in collaboration with Conny Purtill.
Barry McGee (born 1966) began exhibiting his work in the 1980s--not in a museum or gallery setting but on the streets of San Francisco. In the early 90s he was closely associated with the Mission School and the San Francisco Bay Area’s graffiti boom. In 2001 his work was included in the Venice Biennale.
Published by Progetto Prada Arte srl. Edited by Germano Celant.
The Fondazione Prada vigorously supports the contemporary arts through exhibitions, installations and publications. This volume documents the breadth of its activities, from its preservation work on the eighteenth-century building housing its Venice exhibition space, to collaborations with artists such as Thomas Demand, to its special collection, including works by Louise Bourgeois, Donald Judd, Jeff Koons, Frank Stella, Damien Hirst and many more.
Published by Damiani. Introduction by James Frey. Text by Germano Celant.
This signed and numbered limited edition of Holy Works, the culmination of Andres Serrano's reinterpretation of Christian iconography, comes in a cloth box and includes a print. Serrano's intention with his newest works is not to recreate specific medieval or renaissance religious paintings, nor to invest them with the iconoclasm that made his name in the 1980s, but rather to renew the genre of sacred portraiture: "Rather than destroy sacred icons," says the artist, "I reinvent and reinforce them." Serrano's subjects for this series are selected from among his friends and acquaintances, emphasizing (like Caravaggio before him) the ordinariness of human features. The genres and themes are familiar, and Holy Works includes a "Last Supper" and a "Stations of the Cross" (rendered as a triptych panel), as well as bolder portrayals typical of Serrano-a "Blood Madonna" and a "Chinoise Madonna," for example. This volume is Serrano's major statement of his religious and artistic belief.
Published by Walther König, Köln/Koenig Books. Edited by Sophie O’Brien, Melissa Larner, Rosalind Furness. Text by Germano Celant, Julia Peyton-Jones, Hans Ulrich Obrist, Michelangelo Pistoletto.
For his 2011 exhibition at the Serpentine Gallery, recorded in this volume, Arte Povera veteran Michelangelo Pistoletto (born 1933) devised a chest-high labyrinth made of cardboard, to draw visitors through the galleries and steer them into encounters with various sculptures.
Published by Damiani. Introduction by James Frey. Text by Germano Celant.
Holy Works is the culmination of Andres Serrano’s vision of Christian iconography, reinterpreted photographically for the present. Serrano’s intention with these works is not to recreate specific medieval or renaissance religious paintings, nor to invest them with the iconoclasm that made his name in the 1980s, but rather to renew the genre of sacred portraiture: “Rather than destroy sacred icons,” says the artist, “I reinvent and reinforce them.” Serrano’s subjects for this series are selected from among his friends and acquaintances, emphasizing (like Caravaggio before him) the ordinariness of human features. The genres and themes are familiar, and Holy Works includes a “Last Supper” and a “Stations of the Cross” (rendered as a triptych panel), as well as bolder portrayals typical of Serrano--a “Blood Madonna” and a “Chinoise Madonna,” for example. This volume is Serrano’s major statement of his religious and artistic belief.
Nearly three decades after its first printing, Book as Artwork 1960-1972 remains a widely-cited landmark in the critical literature on artists' books. Penned by the critic and curator Germano Celant to accompany an exhibition at Nigel Greenwood Gallery in London, it was the first critical consideration of the artist's book. A bibliography lists over 300 historic artist-produced publications from this golden age of the medium.
PUBLISHER 6 Decades Books
BOOK FORMAT Paperback, 5.5 x 7 in. / 104 pgs.
PUBLISHING STATUS Pub Date 1/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 135
PRODUCT DETAILS ISBN 9780982969403TRADE List Price: $20.00 CDN $25.00
Published by Fondazione Prada. Text by Germano Celant.
Over the course of 40 years, New York-based Pop painter John Wesley has created a singular body of work with a cast of characters including Dagwood Bumstead, birds and bears all rendered in the same flat sky blue, flesh beige and candy pink palette. Employing a comic strip style and a compositional rigor, Wesley makes warm, sexy paintings with a frequent twist of the bizarre. "When post-global-warming anthropologists begin paddling through the streets of Manhattan in search of visible evidence that this republic was... the cosmopolitan democracy that it purported to be," writes Dave Hickey of this work, "one can only hope that the earnest scientists will stumble across a trove of Wesley's paintings in some tenth-floor loft. If they do, they will almost immediately begin to think better of us. They will think, Hey! These weren't such bad dudes! How could they be? They were cool, generous, and urbane; they encouraged high spirits and valued sex enough to make it elegant and funny."
Published by Charta. Text by Germano Celant, David Vaughan, Barbara Frost, Yvonne Rainer, Paul Taylor, Lucinda Childs, John Cage, Karole Armitage, Nam June Paik, Jasper Johns, Merce Cunningham, et al.
Merce Cunningham (1919–2009) pioneered the contemporary conception of dance as a moving image of life. His innovations in the field date back to the 1940s, when, after meeting composer John Cage, he proposed the separation of music and dance and applied chance procedures to the structure of his dances; later, he used technology to further extend and blur the medium's boundaries. Collecting testimonies from Cunningham's friends and collaborators, this volume surveys the milestones in Cunningham's career, from 1944 to 1999. Composers such as Gordon Mumma, Earle Brown and John Cage, artists such as Jasper Johns, Robert Rauschenberg and Nam June Paik and dancers such as Yvonne Rainer, Douglas Dunn and Carolyn Brown describe their collaborations with Cunningham over the past half-century, in interviews, essays and memoirs, alongside Cunningham's own writings and a wealth of illustrations.
BOOK FORMAT Paperback, 6.75 x 9.5 in. / 320 pgs / 57 bw / 21 duotone.
PUBLISHING STATUS Pub Date 9/30/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2010 p. 81
PRODUCT DETAILS ISBN 9788881582587TRADE List Price: $45.00 CDN $55.00
Published by Fondazione Prada. Edited by Germano Celant.
After more than 15 years--during which it exhibited work by such artists as Louise Bourgeois, Dan Flavin, Carsten Höller, Barry McGee, Tom Friedman, Francesco Vezzoli, Tom Sachs and Nathalie Djurberg and hosted numerous lectures, panels and film festivals of unusual sophistication--Milan's Prada Foundation is widening its exhibition spaces and broadening its cultural perspective with a new compound designed by the renowned Dutch architecture firm, the Office of Metropolitan Architecture (OMA), led, of course, by its Pritzker-Prize-winning founder, Rem Koolhaas. The new art center and permanent exhibition space will be situated in a location that includes early twentieth-century buildings that originally belonged to one of Milan's first spirits manufacturing companies. Preserved in their original condition, the seven preexisting buildings include warehouses, laboratories, brewing silos and workers' residences--surrounded by a large courtyard. OMA/Koolhaas' project adds an exhibition building, an auditorium and a tower to the existing structures, which will house works from the permanent collection. This accessible volume documents the Foundation's past events and future developments, highlighting the ways that contemporary architecture can coexist with a regenerated historic site.
Published by Fondazione Prada. Text by Rem Koolhaas, Germano Celant.
Describing the work of the rising Berlin-based Swedish artist Nathalie Djurberg, Miuccia Prada and Patrizio Bertelli write in their introduction to this substantial new volume, "Her videos are characterized by small, animated clay figures that she uses to create surreal atmospheres and often grotesque stories. The rudimentary but ingenious staging of these narrations is created by the artist herself. Sexual reminiscing, references to the macabre, violent and subtle pleasures of cruelty and the vaguely depraved give rise to an ambiguous sense of anxiety and unease." Featuring in-depth documentation of Djurberg's work, an essay by Germano Celant, an interview with the artists and a DVD of "The Prostitute," which was created expressly for this publication, this volume is the most substantial study yet of Djurberg's work. Nathalie Djurberg was born in Lysekil, Sweden, in 1978 and she currently lives and works in Berlin. Her work was the subject of a recent one-person show at Vienna's esteemed Kunsthalle Wien.
Published by Mitchell-Innes & Nash. Edited by Germano Celant.
Alberto Burri (1915-1995) is a key early figure of the art informel and arte povera movements. This survey of work from the 1940s through the 90s highlights the artist's use of unorthodox materials like burlap, sackcloth, ceramic, plastic and tar and features a new essay by renowned scholar Germano Celant.
Published by Progetto Prada Arte. Foreword by Miuccia Prada and Patrizio Bertelli. Edited by Antonella Soldaini. Text by Germano Celant, Ina Blom.
This instantly collectible exhibition catalogue for German artist Tobias Rehberger's exhibition at Milan’s Fondazione Prada includes two brightly colored volumes bound together by four colored, custom-made elastic bands. Once these are pulled from the set, two very independent pieces are revealed. The first is an exhaustive reconstruction of Rehberger's solo exhibitions from 1990 to 2007, reproduced in glossy color, with installation views and details of his architecture-based sculptures and other works. The second volume is a more concise artist's book, including an interview with prominent curator and art historian Germano Celant. In this second, slimmer book, which presents his audacious film and installation project, On Otto (featuring work by Kim Basinger, Willem Dafoe, Danny DeVito, Ennio Morricone and others), Rehberger investigates the dynamics of filmmaking by reconstructing the process itself, going backwards. This book, imaginatively designed by Double Standard, includes texts by Miuccia Prada, Celant and Ina Blom.
Published by Progetto Prada Arte. Foreword by Miuccia Prada and Patrizio Bertelli.Text by Germano Celant, Alex Farquharson, Robert Storr, Carlo Bonini.
This elegant, boxed set introduces two new works by Thomas Demand, both presented during the 2007 Venice Biennale. The first volume presents “Processo Grottesco,” a life-sized paper model of a grotto--complete with stalagmites and stalactites--that was exhibited along with other source materials and Demand’s final photographic images. With a section of its pages cut in two, so that one can flip through old cave postcards on top or details of the finished artwork on the bottom, this volume contains rich, exhaustive documentation of the project, including historical documents, working drawings, models in progress, close-up details and final artworks, as well as an essay by Germano Celant. The second, slimmer, silver-edged volume presents the Yellowcake photographs, which portray the Nigerian Embassy in Rome--famous for “sparking” the United States’ 2003 invasion of Iraq. It includes essays by Robert Storr and Alex Farquharson, as well as a summary of “Nigergate” by investigative journalist Carlo Bonini.
Published by Aperture. Text by Germano Celant. Preface by William Eggleston. Notes by Paola Ghirri.
Luigi Ghirri was an extraordinary photographer, as well as a writer and curator whose career was so rich and varied that it seems like a lesson in the contemporary history of the medium. Although well known in his native Italy, Ghirri does not yet have the international audience his work merits--perhaps because he died so young. It's Beautiful Here, Isn't It...--the first book published on Ghirri in the U.S.--will establish him as the seminal artist he was. Uncannily prescient, Ghirri shared the sensibility of what became known in the U.S. as the New Color and the New Topographics movements before they had even been named. Like his counterparts in Italian cinema, Ghirri believed that the local and the universal were inseparable and that life's polarities--love and hate, present and past--were equally compelling. Not surprisingly, his interests encompassed all the arts: he worked in Giorgio Morandi's studio and with architect Aldo Rossi, while influencing a generation of photographers, including Olivo Barbieri and Martin Parr. This dynamic new book includes a selection of Ghirri's essays published in English for the first time, as well as a selected chronology.
BOOK FORMAT Hardback, 11 x 8.5 in. / 152 pgs / 95 color / 30 bw.
PUBLISHING STATUS Pub Date 6/1/2008 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781597110587TRADE List Price: $55.00 CDN $65.00
Published by Fondazione Prada. Artwork by Andreas Slominski. Foreword by Miuccia Prada, Patrizio Bertelli. Edited by Germano Celant.
This collection of Andreas Slominski's recent work includes Christmas ornaments and all kinds of constructions, including traps, made in a host of materials and techniques. They range from large, aggressive-looking boxes for fighting dogs to toys, like Van for Mice, that let the underdog off the hook. Once arranged on the floor of an exhibition space, these snares create a bit of a minefield, an environment where visitors tread with care. Some experiential pieces share the traps' lighthearted focus on practical matters and working professions: the hiring of frogmen to rescue keys thrown from a bridge, of a skyscraper painter to work on a high window, and of seamstresses to take apart and put back together viewers' pants--after which they sew in a label marking them as part of a limited edition. With a preface by Miuccia Prada and Patrizio Bertelli.
Published by Fondazione Prada. Edited by Germano Celant. Essays by Patrizio Bertelli.
Francesco Vezzoli's Trilogia della Morte (Trilogy of Death) explores video and embroidery, an unconventional combination unified by both passion and effectiveness. The 120 Seats of Sodom, inspired by the Italian director and poet Pier Paolo Pasolini's The 120 Days of Sodom, aligns 120 black Charles Rennie Mackintosh chairs with embroidered seats before a tapestry showing erotic scenes from other Pasolini films. Non-Love Meetings, conceived as a reinvention of Pasolini's documentary Love Meetings, in which the director traveled through Italy interviewing people about love and sex, is set in a television studio and evokes Blind Date as much as its titular reference. Like Love Meetings, it seeks to create a psychological territory in which the public speaks openly about sex and love; like reality TV, it stars a showgirl, as well as actresses from the film world, MTV and soap operas, all of whom are courted by unlikely suitors. A fetching and thought-provoking mix of both formal and colloquial entertainment.
Published by Fondazione Prada. Edited and with essay by Germano Celant. Preface by Miuccia Prada and Patrizio Bertelli.
This comprehensive survey of the work of the young and influential American sculptor Tom Sachs is the first of its kind, and long overdue. Sachs appropriates elements from American popular culture, including fast food, skateboarding and hip-hop music, and mixes them with overt references to luxury fashion labels, as well as icons of Modernist art and design. Even as Sachs's work maintains an overt antagonism toward consumerism and globalization, it reveals an inherent idealism, championing transparency of production and homespun craftsmanship. Produced on the occasion of the artist's solo exhibition at the Fondazione Prada, Milan, this book illustrates the prolific and innovative nature of Sachs's career, highlighting his fascination with weapons, conformity, cultural imperialism and craft.
Published by Guggenheim Museum. Essays by Germano Celant, Jennifer Blessing, and Arkady Ippolitov.
Robert Mapplethorpe never concealed his interest in and passion for the human figure in all its sensuous manifestations. His celebrated black-and-white photographs from the later part of the 20th century reveled in the athletic body, the nude body, the exquisite body. This groundbreaking exhibition and its accompanying catalogue explore the relationship between the photography of Robert Mapplethorpe and Classical art, in particular through Mannerist engravings and sculpture. The pairing of works is among the first collaborations between the Guggenheim Museum and the State Hermitage Museum. Robert Mapplethorpe and the Classical Tradition exemplifies the artist's rapport with the elongated and elaborate forms of Mannerist art, namely the study of the human body, highlighting the underlying classicism evident in the clarity and potency of all Mapplethorpe's subjects as well as their explosive energy. The classical ideal was not only a poetic inspiration but also an ethical model and, in his creative quest, Mapplethorpe described photography as "the perfect way to make a sculpture." The potency of love and Eros, which electrifies many of the Mannerist works shown here, is articulated again in the work of Mapplethorpe. The vital anatomical forms of his portraits of models such as bodybuilder Lisa Lyons and the statuesque Derrick Cross find their roots in Antiquity, and here they find their mirror in the likes of Jan Harmensz Muller's Sabine woman and Jacob Matham's Apollo.
The Hermitage's superb collection of Italian painting and sculpture amply illustrates the course of Italian art from the Middle Ages to the 18th century and includes an impressive collection of Mannerist works. Approximately 50 Mannerist works from the Hermitage collection are paired with the same number of works by Mapplethorpe from the Guggenheim's collection, are several Italian, French and Flemish bronze sculptures from the late 16th and early 17th centuries.
Essays by the curators are included: Addressing the return to Classicism at the end of the 16th, 19th, and 20th centuries, Arkady Ippolitov discusses the obsession that defines both the work of Mapplethorpe and the Mannerists. Germano Celant's text further explores the influence this 16th-century style had on Mapplethorpe's artistic practice and sensibility, illuminating the artist's interest in the study of pure form as well as allegorical imagery. Articulated in both word and image, the catalogue also traces Mapplethorpe's complex relationship to the history of art more broadly, ranging from Neoclassicism to Surrealism, with comparisons to the work of Jacques-Louis David, Antonio Canova, Auguste Rodin, Man Ray, and more. A third essay by Guggenheim Curator Jennifer Blessing traces allegorical representations in 19th- and 20th-century photography, with references to Mapplethorpe's oeuvre.
Published by Fondazione Prada. Essays by Germano Celant and Herzog & de Meuron. Introductions by Miuccia Prada and Patrizio Bertelli.
In the Aoyama district of Tokyo, a mixed-use neighborhood of low-rise buildings where not a square meter of land has been left unoccupied, the Swiss architecture team of Herzog & de Meuron has built a new store for Prada. In this chunky, silvery book, they meticulously illustrate the creative process that led to the realization of “a house and a plaza,” a tall and narrow kaleidoscope-like structure that houses a two-story retail space and multiple levels of offices, backed by an outdoor space for the public--a rarity in crowded Tokyo. The finished structure, encased in a visually porous shell or skin, is as decorative as it is architectural--or as architectural as it is decorative--and is both metaphorically and literally linked to its surrounding environment, and to the idea of the garment. Here is the story of a theoretically and structurally complex building told lovingly and simply by its architects, through words, models, sketches, photographs and architectural renderings.
Published by Richter Verlag. Essays by David Batchelor, Lynne Cooke, Germano Celant, Danilo Eccher, Carla Schulz-Hoffmann, Mark Francis, Peter Schjeldahl and Ulrich Wilmes.
Tony Cragg embarked on his fine art education in 1969, a time when Minimalism, Land Art, Conceptual Art, and Arte Povera were fresh and present. Those movements marked his artistic beginnings, and thus in his earliest works Cragg started out with found materials, which he stacked, heaped, or spread on to the floor so as to study and analyze their properties. To capture the receptacle forms of vessels and cells--understood as a metaphor for any biological organism--he used traditional materials such as cast iron, bronze, glass, or stone. More recently, his interest has been increasingly directed at converting one idea into numerous variations. For instance, in the Early Forms series, the inner and outer forms become ever more complex; in Rational Beings, the sculptural form becomes ever more volumetric and statuesque. In the end, Cragg's sculptures can never be unambiguously classified; they appear as sensual, poetic creatures, mutable and paradoxical. This present scholarly survey of Cragg's work distinguishes systematic and chronological aspects, reflects on ways of working and material resources, and makes apparent associations, interconnections, and evolutionary strands.
Published by Fondazione Prada. Edited by Germano Celant. Introduction by James Sanders.
The Tribeca Film Festival brings together film lovers from around New York City and around the world to watch and discuss the newest U.S. and international independent and studio films. In addition to the film program is the Tribeca Talks panel series that includes one-on-one discussions with influential filmmakers. This publication is a collection of transcripts from the Tribeca Talks panels of 2002 and 2003. Featured are documents from nine panels, including: New York, New York: A Movie Maker's Muse with Martin Scorsese, Jay Cocks, and Richard Price, moderated by Nick Davis; In Love, in the Movies with Lauren Bacall, James Harvey, Paul Rudnick, and Jennifer Westfeldt, moderated by Nora Ephron; What's So Funny? Laughter in the Movies with Jay Roach, Paul Rudnick, Trey Parker, and Matt Stone, moderated by Lisa Birnbach; and Actors on Acting with Roger Bart, Edie Falco, Helen Hunt, Holly Hunter, and Paul Rudd, moderated by Peter Bart. The introduction by James Sanders explores the history and urban character of Tribeca, including the arrival of the film community in the 1990s, the impact of September 11th, and the subsequent birth of the Tribeca Film Festival under the auspices of the Tribeca Film Institute (founded in 2002 by Robert De Niro, Jane Rosenthal, Martin Scorsese, and Craig Hatkoff). Also included are special selections of favorite New York films by Martin Scorsese and Peter Scarlet, plus quotes from New York filmmakers like Ron Howard, Sydney Lumet, Harold Ramis, and Nora Ephron, as well as a brief glossary and an index of the films shown in the festival's first two years.
Published by Guggenheim Museum. Edited by Edward J. Sullivan. Essays by Germano Celant, Nelson Auguilar and Emanoel Arajo.
New Lower Price This magnificent volume is a soaring tribute to the harmonious nature of Brazilian art and culture. Juxtaposing Baroque masterpieces from the 17th and 18th centuries with essential works of Modern and contemporary art as well as indigenous and Afro-Brazilian arts, the book's editors explore the integration of sensorial and spiritual experience in Brazilian art--the union of body and soul. Included are some 350 paintings, sculptures, and decorative objects, ranging from a monumental Baroque altarpiece to contemporary photographic works and installations. Throughout, the text reveals the deep cultural links between the different periods, tracing the indigenous, African and European influences in Brazilian art from the Baroque era to the present.
Published by Guggenheim Museum. Edited by Germano Celant and Clare Bell. Interview by Julia Blaut.
Jim Dine is one of America's best-known image-makers. This book, published to accompany the first major exhibition of Dine's work from the 1960s, reproduces a broad selection of his early mixed-media works, paintings and sculptures. Many of the works featured in this volume contain elements of the now-familiar themes of Dine's career: tools, robes, hearts, palettes and domestic interiors. Bringing together fascinating performance photographs with vivid full-color reproductions, the book is the first to explore the complex relationship between Dine's mixed-media works and his environments and theater pieces.
Published by Guggenheim Museum. Edited by Germano Celant and Harold Koda. Essays by Susan Cross and Karole Vail.
Armani has been universally credited with both radically changing the rules of contemporary fashion and, by removing excess ornament and translating traditional sportswear looks into business and evening wear, creating a timeless version of modern dress. A wealth of illustrations, including editorial and advertising shots and new, specially commissioned photographs, charts the evolution of Armani's designs from the earliest sketches to their carefully orchestrated presentation as finished work. Celebrated authors from the worlds of fashion, film, art and design analyze the scope of Armani's achievement and his cultural and sociological impact on the ways both women and men dress today. In addition, personal photographs of Armani's houses and travels offer an intimate look at the man behind the fashion legend. Elegant and unprecedented, this lavish volume accompanies a major exhibition at the Solomon R. Guggenheim Museum, New York, exploring the life and work of the highly influential fashion designer Giorgio Armani.
Published by Fondazione Prada. Essays by Germano Celant, Darian Leader. Foreword by Miuccia Prada.
Through his use of such unorthodox materials as bread, blood, excrement, silicon, ice, and, more recently, plants and flowers, Marc Quinn works with the fundamental constituents of our existence. His analysis of the physical nature of the body and the mysteries associated with it are expanded in this novel kaleidoscope of a book. Containing images of classical sculptures, old paintings, scenes of war, disasters, car and plane crashes, portraits of disabled people, works by other contemporary artists, scientific photographs, and a selection of works and photographs by Quinn himself, this book constitutes a fascinating, associative approach to a body of work which concerns questions that often have no answers. Included are critical essays, an interview with the artist, and conversations between him and the people portrayed in his sculptures.
Published by Fondazione Prada. Artwork by Barry McGee. Edited by Germano Celant, Miuccia Prada. Text by Patrizio Bertelli.
A graffiti artist and tagger by nature, Barry McGee has in the last few years taken a stealth, guerilla art form, one that is typically the subject of complaint, arrest, and general unappreciation, and transformed it into a well-received medium for display in museum and commercial gallery spaces. His drawings, paintings, and mixed-media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray-paint cans, tagged signs, wrenches, and scrap wood or metal into overwhelming, space-transforming interior worlds. Though McGee views graffiti as a vital method of communication, one that keeps him in touch with a larger, more diverse audience than can be reached through the traditional spaces of galleries or museums, he makes fine use of traditional exhibition spaces, using them not only to communicate a subcultural point of view to gallery goers but also to point out ways in which space can be reclaimed. Barry McGee brings together the artist's graffiti work, paintings, installations, and photography, and is published on the occasion of his exhibition at the Fondazione Prada, in Italy. Included is an interview with McGee by Germano Celant, senior curator of contemporary art at the Solomon R. Guggenheim Museum, New York.
Published by Gagosian Gallery. Artwork by Jim Dine, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Mel Ramos, Robert Rauschenberg, Larry Rivers, James Rosenquist, Tom Wesselmann. Edited by Germano Celant. Contributions by Bob Monk. Text by Scott Rothkopf, Jeremy Gilbert-Rolfe, Judith Goldman, Linda Norden, Lane Relyea, Petrus Graf Schaesberg, Rainer Crone, Dave Hickey, David Shapiro.
A giant, soft drum set by Claes Oldenburg, a white alphabet by Jasper Johns, a combine painting with radio attached by Robert Rauschenberg, a composition with a halved peach, a Buick and a naked lady by James Rosenquist, rows of Campbell's soup cans by Andy Warhol, pin-up girls by Mel Ramos, and a graphic explosion by Roy Lichtenstein: the works gathered here pack more of a big bang than a pop. With signature pieces by the movement's stars, the John and Kimiko Powers Collection of Pop Art is considered one of the most extensive in private hands. Accompanied by individual essays on each of the represented artists.
PUBLISHER Gagosian Gallery
BOOK FORMAT Hardcover, 10.75 x 12.25 in. / 144 pgs / 28 color / 15 bw.
PUBLISHING STATUS Pub Date 3/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9781880154526TRADE List Price: $80.00 CDN $95.00
Published by Fondazione Prada. Essay by Germano Celant. Introduction by Miuccia Prada.
In an effort to implicate a wider public in the experience and production of art, Carsten Höller employs strategies of direct involvement that help to abolish the barrier between the work of art and the spectator. Sculptures and installations designed for the Fondazione Prada insist on visitor interaction, and the act is reciprocated: the works change progressively through intermittent lights that transmit vibrations to the visitor's body. A hallucinatory subversion of private sensation results, in accord with Höller's aspiration to sabotage the complacencies of everyday life. Complete with a biography and bibliography, this catalogue is the most exhaustive documentation of Höller's challenging work to date.
Published by Charta. Edited by Germano Celant. Essays by Assumpta Bassas, Michael Heizer, Nick Kaye, Willoughby Sharp, Robert Smithson, Steve Wood, Olivier Zahm, Lynn Hershman-Leeson.
One of the most adventurous American artists working today, Dennis Oppenheim has centered his artistic investigations on the dialogue between art and the self. An active innovator since the sixties, Oppenheim has pioneered both body art and so-called land art. Most famous for his whimsical, large-scale installation pieces, Oppenheim has worked with a variety of mediums: from performance and video art, to three dimensional moving machine pieces, and sculptural works employing unorthodox materials. This book is a comprehensive compendium of Oppenheim's art, his most complete monograph to date, and includes an interview with the artist. From a giant metallic upside-down church, to a group of human-sized hot dogs in sleeping bags gathered around a campfire, Oppenheim's work is alternately strange, humorous, and fascinating.
BOOK FORMAT Hardcover, 9.5 x 11.5 in. / 416 pgs / 204 color / 136 bw.
PUBLISHING STATUS Pub Date 3/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9788881582686TRADE List Price: $70.00 CDN $85.00
Published by Walker Art Center. Essays by Francesco Bonami, Giorgia Bottinelli, Germano Celant, Carolyn Christov-Bakargiev, Corinna Criticos, Judith Kirshner, Robert Lumley, Karen Pinkus. Artists include Giovanni Anselmo, Alighiero e Boetti, Giorgia Bottinelli, Pier Paolo Calzolari, Lu
Zero to Infinity: Arte Povera, 1962-1972 focuses on one of the most innovative and influential art movements of the postwar era. Arte Povera came of age in the context of the ''Italian miracle'' economic boom and the subsequent student and workers revolts of 1968, motivated by an urge to revolt not only against the primacy of painting in the postwar period, but also against the emerging consumer culture. This exhibition and its accompanying catalogue provide a highly comprehensive retrospective of the Arte Povera movement as a historical and aesthetic phenomenon that crossed a wide range of disciplines, including sculpture, installation, drawing, photography, film and performance. The exhibition traces Arte Povera's genesis within the artistic and political context of Italy to its positioning within the broader international context of postwar artistic practices, a moment marked by the participation of the Arte Povera group in the 1972 Documenta V exhibition in Kassel. This essential new catalogue is designed by the Walker Art Center's award-winning design department, and includes a wide range of essays by international scholars and curators, as well as rare historical documentation, in an unprecedented re-examination of the Arte Povera movement.
Published by Charta. Edited by Ida Gianelli. Contributors include Jean-Christophe Ammann, Germano Celant. Artists include Giovanni Anselmo, Alighiero e Boetti, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto.
The Arte Povera movement, similar to other movements of its time such as Conceptual Art and Process Art, brought about a radical redefinition of art itself, and provided an alternative to the increasingly hegemonic art trends of the day. Arte Povera: In Collection examines a significant nucleus of historical works of the Arte Povera movement from three important collections: the Museum of Contemporary Art Castello di Rivoli, the Galleria d'arte Moderna in Turin, and the recent acquisitions of the Fondazione CRT in Turin. Included here are 90 works by the protagonists of the Arte Povera movement: Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto and Gilberto Zorio. The book focuses on these artists' classic works from the 60s and 70s, but also includes some recent work from each artist. In addition, the book features new, unpublished essays by each of the artists (except for the deceased Boetti), and historical texts by major art critics Tommaso Trini, Harold Szeemann, Jean Christophe Amman, and of course Germano Celant, who coined the term ''Arte Povera'' in 1967.
BOOK FORMAT Paperback, 9.5 x 11 in. / 320 pgs / 114 color / 50 bw.
PUBLISHING STATUS Pub Date 2/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9788881583164TRADE List Price: $45.00 CDN $55.00
This monograph is the first in English on a seminal artist, who, perhaps more than any other, helped to put an end to the marginalization of women in the Italian art scene, and who co-founded the Forma 1 movement in 1947. Her groundbreaking work in the use of color, and her role as a defender of abstraction during the 1950s, puts her at the forefront of Italian art of the mid-twentieth century.
BOOK FORMAT Paperback, 9.5 x 11.75 in. / 364 pgs / 144 color / 167 bw.
PUBLISHING STATUS Pub Date 11/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2001
PRODUCT DETAILS ISBN 9788881583263TRADE List Price: $50.00 CDN $60.00
Published by Charta. Artwork by Marcello Morandini. Edited by Germano Celant, Germano Celant.
Marcello Morandini has become a reference point for designers around the world. This catalogue features 40 works of art and 40 design products organized by theme, and illustrating his importance in the fields of sculpture, graphic design, industrial design and urban planning.
BOOK FORMAT Hardcover, 8.5 x 11 in. / 296 pgs / 159 color / 178 duotone.
PUBLISHING STATUS Pub Date 8/2/2000 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2000
PRODUCT DETAILS ISBN 9788881582839TRADE List Price: $55.00 CDN $65.00