Since 1984 Parkett has been an important source of literature on international contemporary art. Each biannual issue is a collaboration with four artists, in which their work is explored in fully illustrated essays by leading writers and critics. In addition, each artist creates an exclusive limited edition, available to Parkett readers. Recent artists featured in Parkett include Frances Stark, Adrián Villar Rojas, Danh Vô, Valentin Carron (no. 93), Paulina Olowska, Jimmie Durham, Damián Ortega and Helen Marten (no. 92); Yto Barrada, Monika Sosnowska, Liu Xiaodong and Nicole Eisenman (91); El Anatsui (90); Haegue Yang (89); and Paul Chan (88). Additional articles have focused on artist Daido Moriyama, the Kochi-Muziris Biennale in India and the current Berlin art scene (92); and choreographers Jérôme Bel and Xavier Le Roy (91).
Published by JRP|Ringier. Edited by Cristina Bechtler, Dora Imhof. Text by John Baldessari, Bice Curiger, Chris Dercon, et al.
Museums of contemporary art are expanding and in crisis. They attract ever-larger audiences; architects constantly redesign them; and the ever-swellling ranks of artists are producing a greater quantity of art than ever before. Meanwhile, museum funds are dwindling amid economic crisis and an overheated art market. The question of which art is to be collected has also become a more openly discussed topic. How do curators meet these challenges? How do artists view their relationships to museum? How do practitioners navigate between ideas, ideals and realities? This publication gathers interviews with artists, architects and curators of the contemporary art world, such as John Baldessari, Ute Meta Bauer, Suzanne Cotter, Bice Curiger, Chris Dercon, Charles Esche, Liam Gillick, Michael Govan, Jacques Herzog, Thomas Hirschhorn, Philipp Kaiser, Rem Koolhaas, Lars Nittve, Hans Ulrich Obrist, Thierry Raspail, Tobias Rehberger and Beatrix Ruf, among others.
Since 1984, Parkett has been an important source of literature on international contemporary art. Each biannual issue is a collaboration with four artists, in which their work is explored in fully illustrated essays by leading writers and critics. In addition, each artist creates an exclusive limited edition, available to Parkett readers. Recent artists featured in Parkett include Frances Stark, Adrián Villar Rojas, Danh Vô, Valentin Carron (no. 93), Paulina Olowska, Jimmie Durham, Damián Ortega and Helen Marten (no. 92); Yto Barrada, Monika Sosnowska, Liu Xiaodong and Nicole Eisenman (91); El Anatsui (90); Haegue Yang (89); and Paul Chan (88). Additional articles have focused on artist Daido Moriyama, the Kochi-Muziris Biennale in India, and the current Berlin art scene (92); and choreographers Jérôme Bel and Xavier Le Roy (91).
Since 1984, Parkett has been an important source of literature on international contemporary art. Each biannual issue is a collaboration with four artists, in which their work is explored in fully illustrated essays by leading writers and critics. In addition, each artist creates an exclusive limited edition, available to Parkett readers. Recent artists featured in Parkett include Paulina Olowska, Jimmie Durham, Damián Ortega and Helen Marten (no. 92); Yto Barrada, Monika Sosnowska, Liu Xiaodong and Nicole Eisenman (91); El Anatsui (90); Haegue Yang (89); and Paul Chan (88). Additional articles have focused on artist Daido Moriyama, the Kochi-Muziris Biennale in India, and the current Berlin art scene (92); and choreographers Jérôme Bel and Xavier Le Roy (91).
Since 1984, Parkett has been an important source of literature on international contemporary art. Each biannual issue is a collaboration with four artists, in which their work is explored in fully illustrated essays by leading writers and critics. In addition, each artist creates an exclusive limited edition, available to Parkett readers. The long list of artists who have collaborated with Parkett includes John Baldessari, Sophie Calle, Fischli/Weiss, Isa Genzken, Mike Kelley, Cady Noland, Meret Oppenheim, Gerhard Richter, Cindy Sherman, Rosemarie Trockel, Andy Warhol, and many more.
Published by FUEL Publishing. Edited by Rebecca Warren, Damon Murray, Stephen Sorrell. Text by Bice Curiger.
Rebecca Warren's first monograph is chronological review of her career to date. Showing both key works and installation shots, (including the Turner Prize, Serpentine Gallery, the 54th Venice Biennale and numerous interntional solo exhibitions) her work is further contextualised with an essay by Bice Curiger, editor of Parkett. Warren's sculptures in clay, bronze and steel, ebb from figuration to abstraction, ranging from the amorphous to more clearly recognizable forms. Always evident in Warren's work is the negotiation between thought and process. Ideas and influences are filtered, distorted and often discarded as they find three-dimensional form. Her sculptures can be tender and droll, yet also aggressive in their depiction of the female form. Yet while she often manages to both invoke and skewer the work of familiar male artists such as Willem de Kooning, Alberto Giacometti and cartoonist R. Crumb, individually and collectively Warren's works form an entirely modern, complex and distinctive visual language. "She is no pasticher of the past," wrote Jonathan Jones in The Guardian, "but an original and formidable talent."
Parkett 91 features collaborations with Yto Barrada, Nicole Eisenman, Liu Xiaodong and Monika Sosnowska. In photography and video, Yto Barrada interrogates borders, both geographic and economic. Here her work is discussed by Nuria Enguita Mayo and Urs Stahel, and in a conversation with Eyal Weizman. Nicole Eisenman paints portraits of her community of artists and writers; Jess Arndt and Litia Perta take their turn portraying Eisenman, while Erica Kaufman, Matt Longabucco and Ariana Reines contribute poetic responses. Monika Sosnowska examines the promises and failures of modernist architecture. Here, Francesco Bonami, Brian Dillon and Joanna Mytkowska consider her projects. Liu Xiaodong depicts marginalized groups in a realist style. Hou Hanru and Charles Merewether offer their views on the artist, who also engages in a dialogue with Philip Tinari.
Parkett 90 presents direct collaborations with important international artists, each of whose oeuvre is explored in several essays by leading writers and critics. Each artist also creates a special signed and numbered artwork exclusive to Parkett. In addition to this central collaboration element, Parkett includes various articles on contemporary art within a series of playful guiding rubrics such as “Cumulus,” “Insert” or “Les Infos du Paradis.” The long list of artists that have collaborated with Parkett features Laurie Anderson, Richard Artschwager, Georg Baselitz, Matthew Barney, Louise Bourgeois, Francesco Clemente, Peter Fischli/David Weiss, Gilbert & George, Rebecca Horn, Ilya Kabakov, Jeff Koons, Brice Marden, Bruce Nauman, Meret Oppenheim, Raymond Pettibon, Sigmar Polke, Gerhard Richter, Cindy Sherman, Andy Warhol and many more.
Parkett 88 contains special features on four contemporary artists: painter, designer and performance artist Kerstin Brätsch (born 1976), with essays by Massimiliano Gioni, Fionn Meade and Beatrix Ruf; artist and film-maker Paul Chan (born 1973), with essays by Carrie Lambert Beatty, Alan Gilbert and Boris Groys; the pioneer of appropriationism Elaine Sturtevant (born 1930), with essays by Roger Cook, Paul McCarthy and Stéphanie Moisdon; and the photographer and sculptor Andro Wekua (born 1977), with essays by Daniel Baumann, Douglas Fogle and Claire Gilman. Also in the issue are an essay by Juri Steiner and conversations between art historians Herbert Lachmeyer and Jacqueline Burckhardt, and poet Marcella Durand and painter Suzan Frecon.
Published by Hatje Cantz. Edited by Bice Curiger. Text by Milovan Farronato, Robert Fleck, Susanne Hudson.
Known for her enormous sculptures, whose disorienting effects the viewer feels instantly, German artist Katharina Fritsch plays on primeval desires and fears. This volume includes 80 works from throughout Fritsch's career.
Published by JRP|Ringier. Edited by Massimiliano Gioni. Text by Jessica Morgan, Bice Curiger, Massimiliano Gioni.
In a move that now seems prescient, Swiss artist Urs Fischer--who was born in 1973--literally pulled the floor out from under viewers for a 2007 exhibition at Gavin Brown's Enterprise, New York, by digging through the gallery foundations and exposing the dirt and rubble beneath. Best known for this kind of dramatic transfiguration of the exhibition space, as well as for his unexpected transformations of quotidian objects and his lack of allegiance to any one style, Fischer consistently projects a sense of transience and existential uncertainty. This volume--which includes newly commissioned essays by Massimiliano Gioni and Jessica Morgan, as well as over 200 images of Fischer's work, including installation views and studio shots--functions like a search engine, cross-referencing Fischer's thought processes. Published concurrently with his solo exhibition at New York's New Museum, it was conceived by designer Scipio Schneider in close collaboration with the artist.
Parkett 85 celebrates the revered nonagenarian Austrian painter Maria Lassnig with new writing by Manuela Ammer, Robert Storr and Ludmila Vachtova; the Brazilian painter of carnival-inspired tropical plants and patterns, Beatriz Milhazes, with texts by Tanya Barson, Arto Lindsay and Barry Schwabsky; the strangely compelling French photographer of birds and bird habitats, Jean-Luc Mylayne, with writing by Josef Helfenstein and Fionn Meade; and the rising New York painter, Josh Smith, with texts by Christophe Cherix, Anne Pontegnie and Ira Wool. Also in this issue: Gabriel Kuri and Damian Ortega in conversation; Mark Godfrey on Sharon Lockhart; texts by Mark Von Schlegell, Andrew Weiner, Rainer Michael Mason and Rachel Price. Insert is by Matthias Uhr and spine is by Josh Smith.
In this issue of Parkett, Jan Verwoert describes Tomma Abt's abstractions as "defined by a kind of retroactive temporal logic: the movement that leads to the finished picture is a movement that keeps flowing back on itself in the process of overpainting." Julien Fronsacq calls Mai-Thu Perret's work "a product of a different persona" and suggests that it revolves "around the structure of the novel." According to Johanna Burton, Zoe Leonard uses the predominantly male photographic lineage to "speak in tongues," and to play with expectations--even as she expresses the metaphysical loneliness inherent to the medium: "There is no such thing as a truly entwined gaze," writes Burton, "only ever the promise of one and the deep breach that results from its impossibility." Also: Philipp Kaiser on Richard Hawkins, Josef Strau on Ei Arakawa, Charles Bernstein on art criticism, texts by Philip Ursprung and Jens Hoffmann, insert by John Stezaker and spine by Paulina Olowska.
In this issue of Parkett, Richard Flood writes, "Christopher Wool hasn't left much of the American angst and anger out of his art. The terse staccato of his language--rushing between noir wise guys, Burma Shave teasers, Punk rants, Lenny Bruce riffs and Zen smack downs--is a mad imploded sampler of rage, denial and brutal pragmatism." Scott Rothkopf takes on Wade Guyton's latest inkjet paintings in bull's-eye prose. And writing on Robert Frank, Eileen Myles claims: "Pull My Daisy refers to a g-string being dropped away, but the emotional underpinnings of this film make it more like a red flag being waved at a bull." Also, Paul Chan on Paul Sharits, Max Wechsler on Félix Vallotton, Thomas Eaton on Kenneth Anger, Burkhard Meltzer on Susan Philipsz and Victor Tupitsyn. Insert by Kerstin Brätsch, spine by Paulina Olowska.
Parkett 82 features sculptor, diarist and preeminent Feminist Louise Bourgeois; the theatrical, shamanistic Polish artist Pawel Althamer and New York sculptor Rachel Harrison. Essayists on Bourgeois include Robert Storr, whose text is aptly called "Mother of Them All/Sister of Some," Tracey Emin and Griselda Pollock, while Althamer's collaborators are Massimiliano Gioni, Catherine Wood and Adam Szymczyk. Harrison's work is discussed by Ina Blom, Richard Hawkins, George Baker and Alison Gingeras. Also in the issue are texts by Burkhard Meltzer on Susan Philipsz, Jan Verwoert on WACK, Jeremy Sigler on Brock Enright, Kenneth Goldsmith on UbuWeb and Suzanne Hudson on the 60s hippie retreat Esalen. The Cumulus texts are by Mark von Schlegell and Catherine Chevalier. There is an insert by Sadie Benning and the spine is by Paulina Olowska.
Published by JRP|Ringier. Edited by Lionel Bovier. Introduction by Bice Curiger. Text by Bob Nickas, Julien Fronsacq, Katia Garcia-Anton.
Though his works evoke 60s Op art, Swiss-born artist Philippe Decrauzat’s first reference is more likely to be the film Tron than Bridget Riley. Decrauzat works in a variety of media--wall painting, shaped canvases, sculpture, installations and works on paper, all of which evidence flat chromatics and complex geometric compositions. Stating, “I am not trying to build up a new theory about ideological issues regarding the historical content of abstraction. I am strongly involved in investigating the status of the image, in other words, indebted to practices trying to outline the critical tools developed by Conceptual and Op art,” Decrauzat clues us in to how his seemingly simple mix of appropriated imagery and techniques works. This is Decrauzat’s first monograph and includes an essay by critic and curator Bob Nickas.
Parkett 81 features Christian Jankowski, Cosima von Bonin and Ai Weiwei. Texts on German-born Jankowski are by Cay Sophie Rabinowitz, Jörg Heiser and Harald Falckenberg--who sees the artist as a sort of chameleon: a blend of "actor, performer, magician, seducer, thief, knave, and charlatan." Cologne-based cult figure Cosima von Bonin, "expresses control, domination, subordination, and freindship" in her large-scale stuffed animal sculptures and colorful wall-hung fabric collages, according to Bennett Simpson, who writes along with Dirk von Lowtzow and Diedrich Diederichsen. Ai Weiwei--celebrated internationally for his mutant table and bicycle sculptures and collaborative urban architectural projects--is discussed in this issue by Philip Tinari, Jaques Herzog and Charles Merewether. Other contributions by Thomas Eaton, Jan Verwoert, Christian Scheidemann, Jeremy Sigler, Tim Griffin, Jennifer Higgie, Heimo Zobernig, Nico Baumbach, Adam Sczymczyk and Ulla von Brandenburg.
Published by JRP|Ringier. Edited by Daniel Kurjakovic. Text by Bice Curiger, Klaus Theweleit, Philip Ursprung, Tim Zulauf.
Beautifully designed, text-heavy and smart, Album is a deliberately unrepresentative compilation of genre-hopping textual and visual material placed in orbit around the work of the influential young Swiss artists Urs Fischer, Yves Netzhammer, Ugo Rondinone and Christine Streuli--all of whom were born in the early- to mid-1970s, and all of whom represented Switzerland at the 2007 Venice Biennale. Finely printed on uncoated paper, the book includes specially commissioned critical texts, conversations, reports and visual essays that address, sometimes straightforwardly, sometimes obliquely, the larger issues implied in this group's work--such as notions of time, the animal and the human, shock and materiality. With a similarly eclectic mix of historical analysis, literary tableau and art-world journalism, the book imagines a psycho-geography of Switzerland, from its Alps to its art-filled bunkers. Sensitive to the nature of its context, informative and discursive rather than promotional, the book is rounded off with a survey on the future of biennials in relation to the present-day "fair mania" and a selection of critical views.
Volume 80 of Parkett features Dominique Gonzalez-Foerster, Mark Grotjahn and the team of Allora & Calzadilla. Lyotard spoke of the philosopher who gives us something to look at. Dominique Gonzalez-Foerster's "chambers" do just that--providing a sort of real-life mise-en-scène expressed in open-ended rooms with sparse furniture arrangements. In Los Angeles painter Mark Grotjahn's suave strokes of frozen color, "bands and chevrons jostle for control of the surface plane like fractured tectonic plates poised to rupture..." according to essayist Gary Garrels. Grotjahn's surfaces boldly hold the wall with an intense physicality that harkens back to Abstract Expressionism, where the proportions of the canvas and the physicality of the paint itself fully engaged the viewer. Sculptor-interventionists Allora & Calzadilla create politically charged works for the gallery as well as the street. In one recent work, we encounter a life-sized concrete military bunker with a trombone slide poking through one of its embrasures. The hidden musical ensemble performs a host of classic war songs, marches and battle hymns as well as an odd rendition of Twisted Sister's "We're Not Gonna Take It." With texts and contributions by Hamza Walker, Patricia Falguières, Pamela Echeverria, Philippe Parreno, Daniel Birnbaum, Gary Garrels, Douglas Fogle, Hans Rudolf Reust, Yates McKee and Jaleh Mansoor, Christian Rattemeyer, Lyle Rexer and Adrian Notz and an insert by Ryan Gander.
Published by Hatje Cantz Publishers. Edited by Bice Curiger. Essays by Ina Blom, Bice Curiger, Diedrich Diederichsen, Kurt W. Forster, Al Rees and Rdiger Wehner.
The eye is the dominant sensory organ of our age, with more and more information received in still and moving images, and more and more information mined visually from spatial dimensions that are ever smaller and ever greater. The use of a wide variety of optical devices has long been second nature to us, and their methods of extending the reach of our sight--virtually and really--have instigated fundamental, far-reaching changes in our understanding of reality. The Expanded Eye takes a concerted look at an experimental side of art, where seeing means insight. It presents paintings, objects, film and video installations from the 1950s to the present, a spectrum that takes into equal account the playful experiments of postwar art and the radically altered premises of recent artistic practice. Artists include Bridget Riley, Robert Smithson, Jonas Mekas, Olafur Eliasson and Jules Spinatsch.
Published by Dumont. Edited by Bice Curiger. Essays by Hartmut Bàhme and Ulli Seegers.
One of the most important artists of our time, Sigmar Polke has devoted much of the past quarter century to works that explore alchemical themes, and this catalogue is the first to focus on that golden thread in his paintings. With his characteristic exuberance, intelligence, and fearlessness, he has drawn upon such diverse sources as the cultures of the Far East and the Pacific Islands, the eighth-century Book of Kells, and the mythical pseudo-science of Hermes Trismegistus. In his 1982 painting Gold Nuggets, Polke went so far as to use highly poisonous paints containing arsenic, and in other works, he has employed precious minerals such as lapis lazuli to evoke both the mysticism and physicality of color. Older paintings here join with brand new ones, including a comprehensive group of large-format compositions painted especially for the exhibition at Kunsthaus Zrich. This group is complemented by other works from recent years, such as the magnificent four-part piece from 1995, Hermes Trismegistos. Overall, the air of an artist's book infuses the publication due to an intense collaboration between designer Trix Wetter, editor Bice Curiger, and the artist.
Published by Parkett. Edited by Mirjam Varadinis. Foreword by Christoph Becker. Interviews Bice Curiger, Jacqueline Burckhardt and Dieter
A rare, behind-the-scenes look at one of the art world's most respected magazines, Parkett: 20 Years of Artists' Collaborations portrays and explores the 20 years of Parkett since 1984. Focused particularly on the making of the journals' signature artists' collaborations and editions, this book features unpublished artist interviews, statements and other background information. Included as well are artists' documents on the making of Parkett editions with some 30 full-page color drawings and comments by artists Doug Aitken, Laurie Anderson, Louise Bourgeois, Maurizio Cattelan, Gilbert & George, Roni Horn, Cindy Sherman, Gerhard Richter, Jeff Wall and others. Parkett co-founders Bice Curiger, Jacqueline Burckhardt and Dieter von Graffenried provide insightful interviews which are interspersed with pictures, historical material and reproductions of Parkett covers. Approximately 30 artists, curators and authors give statements, and 12 color double pages feature Parkett editions in private collections, a special large size fold-out poster, and a group picture of all editions. Also included is an index of the past 20 years that includes all 200 artists, 150 editions, 700 authors, 60 Parkett inserts and 15 spines.
BOOK FORMAT Paperback, 7.5 x 9 in. / 240 pgs / 30 color / 90 bw.
PUBLISHING STATUS Pub Date 2/15/2005 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005
PRODUCT DETAILS ISBN 9783907582244TRADE List Price: $40.00 CDN $50.00
AVAILABILITY In stock
in stock $40.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Hatje Cantz Publishers. Edited by Bice Curiger. Essays by Bice Curiger, Carter Ratcliff, Peter J. Schneimann and Robert Storr.
One of the greatest American painters of the twentieth century, Georgia O'Keeffe is beloved by a broad audience that ranges from the most erudite art historian to the twelve-year-old girl next door. Her monumentally sensuous oil paintings of flowers hang in the best museum collections but are known as well via mass-produced posters, greeting cards and calendars; her weathered, elegant, fierce self has long been mythicized through Alfred Stieglitz's classic black-and-white photographs of his wife. This large-format monograph on O'Keeffe renews her place in the modern canon and encourages an intensive encounter with her work. Her radical departures from imitative realism, the style that was prevalent when she began to study art making, eventually led to an idiosyncratic painting style characterized by a state of suspension. Over the course of her lengthy career--she worked up until two years before her death at age 98--she discovered and developed a personal language through which to express her own feelings and ideas, creating bold picture conceptions and spatial designs that hover somewhere between the real and the abstract, the close-up and the monumental, natural representation and artificiality.
Published by The Museum of Modern Art, New York. Edited by Margit Rowell. Essays by Bice Curiger, Michael Semff and Margit Rowell.
One of the most significant artists of his generation, Sigmar Polke came of age creatively around 1963 in Dsseldorf. His earliest expressive idiom was crude and humorous, its images outrageous, and its content seemingly trivial, but embedded in these works were subversive and parodic commentaries on consumer society, German postwar politics, and classic artistic conventions. Few of Polke's works demonstrate more vividly his imagination, sardonic wit, and eclectic creative process than the drawings, watercolors, and gouaches of the 1960s and early 70s. More than 300 works are illustrated, including small sketches in ballpoint and felt-tipped pen, larger sheets in watercolor and gouache, and still others stamped with a dot screen process, as well as pages from over a dozen small sketchbooks and several monumental works on paper. This books was published to accopany the first American exhibiton of these drawings shown at The Museum of Modern Art, New York in 1999.
Published by Kunsthaus Zurich. Contributions by Bice Curiger, Christoph Heinrich, Sibylle Berg, Norman Bryson, Paul D. Miller, Griselda Pollock, Thomas Tode, Gero von Randow, Peter Weibel.
Hypermental tracks, with unprecedented insight, the unfinished project of surrealism, exploring the visual art of the modern era not in terms of genres, schools, or media, but through the lens of subjectivity. This new catalogue explores how the modernist critique of the subject--exemplified by the art and philosophy of the Surrealists--has continued on through the postwar period and through to the present day. From Merit Oppenheim and Yayoi Kusama in the 1950s and 60s to Cindy Sherman and Matthew Barney in the 90s, we find works that interrogate the construction of the subject, and the body, through sexual difference. From the Pop-era pieces of Richard Hamilton and James Rosenquist to the more recent work of Richard Prince and Barbara Kruger, we find a narrative of the production of desire, one that refers explicitly to the elevated status of the commodity. Hypermental presents work by these artists and many more, juxtaposing their work with that of the original surrealists, and the resulting book is an exceptionally unique history of the most radical trends in the history of 20th century art.
PUBLISHER Kunsthaus Zurich
BOOK FORMAT Paperback, 10.5 x 13.5 in. / 194 pgs / illustrated throughout
PUBLISHING STATUS Pub Date 1/2/2001 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9783906574110TRADE List Price: $39.95 CDN $50.00
Published by Independent Curators International, New York. Edited by Carin Kuoni. Essays by Jean-Christophe Ammann, Carlos Basualdo, René Block, Francesco Bonami, Dan Cameron, Lynne Cooke, Bice Curiger, Donna De Salvo, Richard Flood, Thelma Golden, Yuko Hasegawa, Jean-Hubert Martin, Gerardo Mosquera, Hans Ulrich Obrist.
A modern update of the Medieval trade manuals--the 'come-along-with-me' (vade mecum) of Medieval craftsmen--Words of Wisdom: A Curator's Vade Mecum is an invaluable guidebook for anyone interested in contemporary art and the practice of curating. In over fifty short essays, this compendium offers advice to a new generation of curators from veterans of contemporary art exhibitions who, over the past 25 years, have played a crucial role in shaping what we see today, and how we see it. While providing an intimate look at the minds of these master curators, Words of Wisdom also establishes the curator's craft as an important vocation that has changed tremendously over the past quarter-century. In the course of their musings, the curators offer behind-the-scenes insights into influential exhibitions and institutions and the contemporary art world they represent. Among the contributors are Jean-Christophe Amman, director of the Museum of Modern Art, Frankfurt, Germany; Donna de Salvo, curator at the Tate Gallery, London; Richard Flood, chief curator at the Walker Arts Center, Minneapolis; independent curator Hans Ulrich Obrist; and Marcia Tucker, founding director of the New Museum of Contemporary Art, New York.
Published by Sammlung Goetz. Essays by Bice Curiger, Patrick Frey, Boris Groys, Mike Kelley, Daniel Kothenschulte.
This volume considers the work of Mike Kelley alongside the collaborations of Peter Fischli and David Weiss. Kelley's works are firmly anchored in an ironic, detached attitude towards his Irish Catholic upbringing; he makes use of the pictorial language of specific subcultures and the aesthetics of ‘low culture,’ to probe such concerns as the representation of childhood and the social construction of sexual behavior and cultural identification. Peter Fischli and David Weiss have been making art together since 1979, addressing various theoretical and philosophical explanations of the world with their subtle and humorous manipulations of common objects. The work of the American Kelley and the Swiss Fischli and Weiss resonate with each other in curious ways, most significantly in their exploration of everyday consciousness and ‘low' materials. This publication documents the work of Peter Fischli and David Weiss in the Goetz Collection during a recent exhibition, along with interviews, essays and two texts by Kelley himself.
PUBLISHER Sammlung Goetz
BOOK FORMAT Hardcover, 7 x 9.75 in. / 135 pgs / 100 color / 3 bw.
PUBLISHING STATUS Pub Date 1/2/2001 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9783980526753TRADE List Price: $40.00 CDN $50.00
Published by Parkett. Essays by Gerardo Mosquera, Sara Arrhenius, Jeremy Gilbert-Rolfe, Regina Hasslinger, Laura Hoptman, Francine Prose, Hans Rudolf Reust, Richard Shiff.
Presenting unique and in-depth collaborations and editions with leading international artists, Parkett No. 60 features Chuck Close, Diana Thater and Luc Tuymans, three artists from very different backgrounds. Contributing writers include Francine Prose and Richard Shiff on Close; Sara Arrhenius, Jeremy Gilbert-Rolfe and Regina Hasslinger on Thater; and Laura Hoptman, Gerardo Mosquera and Hans Rudolf Reust on Tuymans. This issue also contains essays on David Bunn, Jeremy Deller and Paul Etienne Lincoln, as well as a conversation between Chuck Close and Elizabeth Peyton and an interview with Close by Bice Curiger.
Published by Independent Curators International, New York. Artwork by Meret Oppenheim. Edited by Bice Curiger. Text by Jacqueline Burckhardt.
This landmark volume examines the life and work of the extraordinary Swiss Surrealist Meret Oppenheim. Although she became famous at the age of 23 for her fur-covered teacup, she subsequently suffered years of critical neglect, and her subversive work has only recently begun to receive the acclaim it deserves. This beautiful catalogue covers the full range of her art, embracing sculpture, painting, drawing, collage, assemblage, photography, fashion and jewelry design, and a selection of Oppenheim's poems. Now available to the trade in a paperback edition.
Published by Hatje Cantz Publishers. Edited by Bice Curiger.
Birth of the Cool presents art that developed in subtle deviation from the familiar movements of 20th century American painting through retaining their main characteristics as points of reference. The accentuation of the surface, the breaking up of illusionistic space, the opening up of the painting's format to new dimensions in space and time are the lasting constants of American painting. The American tradition in painting is a tradition that is both sensual and severe, intellectual and emotional and above all open to modern society.
Published by Dia Art Foundation. Artwork by Alighiero e Boetti, Frédéric Bruly Bouabré. Edited by Bice Curiger. Contributions by Ramon Alejandro. Text by Lynne Cooke.
Worlds Envisioned brings into dialogue the works of the Italian artist Alighiero e Boetti and Ivoirian artist/author Frédéric Bruly Bouabré, who share a fascination with taxonomy and the inversion of epistemological conventions.