Andy Warhol (1928-1987) flew to Beijing (via Hong Kong) in 1982, recording his impressions in brief journal entries while also photographing with his typical fanatical diligence. He encountered a capital virtually untainted by advertising and commerce, but nonetheless on the verge of an enormous transition. Following Mao's death in 1976, an art scene was slowly beginning to emerge in China. Under Mao, art had been deployed mainly as a propaganda tool to communicate government propaganda. By the time of Warhol's visit, new artistic strategies had established themselves. The Political Pop movement, Gaudy Art and "The Stars," a group of younger artists to which Ai Weiwei belonged, were all greatly influenced by Warhol and other protagonists of Pop. For this group, Warhol's classic silkscreen print "Mao" (1972) served as a critical point of departure for their artistic reevaluation of the iconography of communism. Warhol's presence in China electrified Beijing's avant-garde, and his photographs record both his own delight in encountering the city's artists (as well as other sights--he was much impressed by the Great Wall) and their delight in him. These photographs consequently possess both artistic and documentary merit.
Published by Damiani/Standard Press/Paul Kasmin Gallery. Foreword by Jeffrey Deitch.
Published on the occasion of Kenny Scharf’s (born 1958) exhibition Kolors at the Paul Kasmin Gallery in New York, this publication presents the artist’s new body of Pop-Surrealist work, which includes monochrome paintings and large-scale sculptures. An in-depth photo essay explores Scharf’s world, while Jeffrey Deitch’s text provides an insider’s view of the artist’s influence in contemporary art. Scharf’s use of airbrush-like oil and acrylic paint embodies the presence of street culture within contemporary art that he helped establish. In his sculptures, Scharf makes use of his iconic imagery, freezing expressive cartoon-like faces in curvilinear three-dimensional reflective forms. Scharf presents larger-than-life versions of three seminal characters from his pantheon of cartoon-like creatures. Two sculptures, “Squirt” and “Red Scary Guy,” embody (respectively) happiness and anger, whereas the “Totem” towers 12 feet to the ceiling, stacking characters that showcase the range and interconnectedness of human emotions.
Published by Damiani/Alleged Press. Edited by Aaron Rose. Text by Jeffrey Deitch, Michael Mann.
Self-taught Italian photographer Gusmano Cesaretti (born 1944) was one of the very first photographers to document the street culture of East Los Angeles, and The Thrill Is Gone is a retrospective history of his celebrated photographic work of the 1970s. Chapters include “Bikers,” “East L.A. Diary,” “Folsom Prison,” “Maria Sabina,” “Muscle Beach” and “Street Writers,” along with selected other iconic images from this important time in the photographer’s creative history. As a boy growing up in Italy, Cesaretti listened to jazz and rock ’n’ roll on the radio, and was drawn to the worlds of Marlon Brando and James Dean in Hollywood movies. But when he arrived in the U.S.--Cesaretti has lived in Los Angeles since 1970--it was the raw energy, graffiti, culture and people of East L.A. that seduced him. His early work--featured here in the chapter “East L.A. Diary”--documents his immersion in the low-rider subculture of the Klique car club. Cesaretti credits his poor English with allowing him to earn the trust of local residents--he found it hard to understand their graffiti on his own and had to ask for help. Independent curator Aaron Rose describes him as “one of the few true artists documenting outlaw cultures in the tradition of Robert Frank.”
Published by Damiani/OHWOW. Text by Jeffrey Deitch, Al Moran.
This volume compiles all of the photographs from Terry Richardson’s wildly successful 2012 show Terrywood, held at the OHWOW gallery in Los Angeles. Terrywood is the photographer’s vision of everything that Hollywood has meant and continues to mean in the public imagination: grand-scale glitz, big-budget glamour—and of course the awards ceremonies, in homage to which Richardson produced a series of ten award statuettes for the show, fashioned in his own bespectacled likeness. These works and all of the photographs included in the exhibition are reproduced here, alongside documentation of the year-long process of planning the exhibition, and coverage of the opening night, which was attended by celebrities such as Tom Ford, James Franco, Odd Future, Sasha Grey, Paris Hilton, Paz de la Huerta, Jared Leto, Lindsay Lohan and Frank Ocean, and which has already become legendary as one of the glitziest opening nights in recent memory. Terrywood also includes texts by Jeffrey Deitch and Al Moran. Born in New York City and raised in Hollywood, Terry Richardson took up photography while attending Hollywood High School and playing in a punk rock band. His work has been the subject of numerous group and solo shows throughout the world, and he has published several monographs, beginning with Hysteric Glamour in 1998, followed by the print retrospective Terryworld and most recently, Lady Gaga x Terry Richardson.
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.
Selections from the Dakis Joannou Collection Curated by Jeff Koons
Published by New Museum. Text by Lisa Phillips, Massimiliano Gioni. Conversation with Jeff Koons.
Skin Fruit: Selections from the Dakis Joannou Collection accompanies the first exhibition in the United States of the Athens-based Dakis Joannou Collection, renowned as one of the leading collections of contemporary art in the world. This is also the first exhibition curated by artist Jeff Koons, whose work inspired Joannou to start his collection in 1985. Koons has selected sculptures, works on paper, paintings, installations and videos by a group of artists that includes Janine Antoni, Matthew Barney, Maurizio Cattelan, Nathalie Djurberg, Robert Gober, Mike Kelley, Terence Koh, Mark Manders, Paul McCarthy, Tim Noble and Sue Webster, Kiki Smith, Christiana Soulou, Jannis Varelas, Kara Walker and Andro Wekua, among others. This catalogue contains more than 100 full-color illustrations of works from Joannou's collection, and features Koons in conversation with Lisa Phillips; an essay by Massimiliano Gioni; full spreads from such classic (and rare) publications as Post Human; and an anthology of previously commissioned essays for Joannou's DESTE Foundation publications by Nicolas Bourriaud, Jeffrey Deitch, Peter Halley, Nancy Spector and Lynne Tillman.
PUBLISHER New Museum
BOOK FORMAT Paperback, 8.5 x 11.5 in. / 208 pgs / 120 color.
PUBLISHING STATUS Pub Date 4/30/2010 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2010 p. 116
PRODUCT DETAILS ISBN 9781935202196TRADE List Price: $45.00 CDN $55.00
Published by DESTE Foundation for Contemporary Art. Text by Jeffrey Deitch. Designed and edited by Urs Fischer with Cassandra MacLeod.
A culture's body image, as refracted through its art, will usually provide a more telling account of its preoccupations than the most explicit political art; it seems that cultural symptoms leak more readily into depictions of the body than into more overt statements. This is especially true in periods of heightened alienation, when the solitary figure gains poignancy, but bodies register their eras in many ways: the signifiers of opulence, imperialism, fashion, social decay, sexual convention and anxiety can all be readily inscribed onto the human form in art--and indeed, always have been. Fractured Figure projects our millennial moment as one of fragile bodies pitched against a restless, dysphasic backdrop, in which terrorism and global warming impinge as daily realities. It draws on the world-renowned contemporary collection of Dakis Joannou, who, in collaboration with Jeffrey Deitch, has previously organized shows such as Artificial Nature and Post Human, in which similar concerns have arisen. Here, in works by Chris Ofili, David Altmejd, Richard Prince, Urs Fischer, Pawel Althamer, Ashley Bickerton, Barnaby Furnas and others, the figure is shown as un-idealized and compellingly mortal--situated in a realm that we will immediately recognize as our own.
Published by Deitch Projects. Edited by Urs Fischer.
Jeffrey Deitch, curator of the groundbreaking Deste Foundation exhibition Fractured Figure, describes the concept thus: "If every period in art can be characterized by an approach to figuration that reflects the prevailing sense of the human condition, Fractured Figure represents a sense of cultural dysphoria, a state of dissatisfaction and anxiety, the opposite of euphoria. The new figural form is ruptured and deteriorating. It is fragile, just like real people... A search for truth, after years of being derided as an anachronistic and misguided pursuit in a world where there is no absolute truth, might actually be coming back to art. This truth is a different kind of truth, however. It is fragmented, complicated and multi-sided, not absolute... The Fractured Figure bears artistic witness to a fractured world and calls for a renewed embrace of humanity." This second volume is a compendium of the first edition of Fractured Figure, put together by Urs Fischer and Cassandra MacLeod. While the first volume was more of an artist's walkthrough, this new volume is a more traditional look at the works in the exhibition, which included such contemporary luminaries as Pawel Althamer, assume vivid astro focus, John Bock, Maurizio Cattelan, Paul Chan, Nathalie Djurberg, Barnaby Furnas, Robert Gober, Martin Kippenberger, Terence Koh, Jeff Koons, Nate Lowman, Paul McCarthy, Wangechi Mutu, Cady Noland, Tino Sehgal, Dana Schutz and Andro Wekua.
Published by Charta/ Deitch Projects. Introduction by Jeffrey Deitch. Interviews with Fred "Fab 5 Freddy" Brathwaite, Arto Lindsay, Annina Nosei, Diego Cortez, Glenn O'Brien, Text by Suzanne Mallouk, Gerard Basquiat, Michael Holman. Chronology by Franklin Sirmans.
In 1981 Jean-Michel Basquiat made the momentous transition from the street to the studio. He had attracted considerable attention with his Times Square Show the summer before, and reinforced that nascent notoriety with a wall of phenomenal works in Diego Cortez's New York/New Wave at P.S. 1, which opened the following winter. A few months later, the dealer Annina Nosei offered Basquiat an independent space in which to prepare work for her September group show, Public Address. He was only 20. Between the world of spray-painted poetry and what critic Peter Schjeldahl called "New York big-painting aesthetics" lies a fantastic coming-of-age: Jean-Michel Basquiat: 1981: The Studio of the Street includes paintings and drawings on everything from note cards to sheet metal to a leather jacket and conventional canvas. In them, as throughout his career, Basquiat married an exuberant spontaneity and art-brut sensibility with a firm command of not only art materials but art history. He would go on to define the 80s Neo-Expressionist idiom, and to remain its most compelling representative. The Studio of the Street examines this charged point of contact in works that show the artist's progression from text to text-and-image, from found materials to traditional canvasses, and from pure drawing to his uniquely evocative hybrid of drawing and painting.
PUBLISHER Charta/ Deitch Projects
BOOK FORMAT Hardcover, 9.5 x 12 in. / 248 pgs / 146 color / 14 bw.
PUBLISHING STATUS Pub Date 2/1/2007 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 117
PRODUCT DETAILS ISBN 9788881586257TRADE List Price: $70.00 CDN $85.00
Published by Charta/Deitch Projects. Text by Jeffrey Deitch, Dean Sobel, Mariuccia Casadio.
Brad Kahlhamer fuses exuberant Expressionist painting with the visionary tradition of Native American art, resulting in what the critic Michael Cohen describes as "a new narrative of how the West was won that allows the original inhabitants to live to tell the tale." Kahlhamer draws in part from visual sources in the country western and Native American rock-music scenes, and his landscapes swirl with an atavistic energy; they seem to have a sound that accompanies their visual rhythm. Their unruly cast of characters, dead and alive, from the artist's life and from his imagination, are visited by the great American bald eagle, who sweeps though the frame as the artist's surrogate. Kahlhamer's immersion into his personal American landscape finds him mixing representations of the real into what he calls a visionary "third place," counted out from the "first place" of his Native American heritage, and the "second place" of his more conventional American upbringing with his adoptive parents. This, his own personal third America, gleefully mingles the real and the imaginary. This volume is the first complete survey of Kahlhamer's work to date, covering more than 10 years of material.
PUBLISHER Charta/Deitch Projects
BOOK FORMAT Paperback, 9.5 x 11 in. / 184 pgs / 179 color/ 5 bw.
PUBLISHING STATUS Pub Date 3/1/2007 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 129
PRODUCT DETAILS ISBN 9788881586295TRADE List Price: $55.00 CDN $65.00
Published by Deitch Projects. Edited by Jeffrey Deitch and Kathy Grayson. Essays by Cory Arcangel, Jeffrey Deitch, Philip Guichard and Lawrence Rinder.
Live Through This brings together more than 30 of the most exciting art, music and fashion personalities who are changing art making in New York. New art practice is now intimately tied to the lived experience of the artists themselves, and this book, through more than three hundred color photographs of artists, artworks, studios, off-duty behaviors, zines, concerts, openings and parties, illustrates and examines the nature of this relationship. Thoughtful criticism is provided by five essays: Larry Rinder writes about the groundbreaking nature of Fort Thunder and Providence scene, Jeffrey Deitch offers an historical and personal look at New York's underground, musician Philip Guichard describes the past five years of music in the city, digital artist Cory Arcangel talks about collectives and new media, while Kathy Grayson provides a behind-the-scenes thesis. Major attention is paid to artists working in New York City, but also in Providence and San Francisco. The list includes several major names in art, fashion and music, but some decidedly underground ones, thus emphasizing community affiliations and working collaborations. This is a most authentic look at what New York's art scene truly is, organized and produced by the members themsleves through extensive collaboration.
Published by DESTE Foundation for Contemporary Art. Edited by Jeffrey Deitch. Essays by Dan Cameron, Alison Gingeras, Massimiliano Gioni and Nancy Spector. Introduction by Dakis Joannou.
Greek collector Dakis Joannou is one of the preeminent collectors of contemporary art in the world, with a collection that stands as a virtual who's who of artists from the 1980s through today. 85 of those artists are represented in Monument to Now--the most utterly relevant to today, of course. Leading curators from New York, Milan and Paris have contributed essays and selected the included artists. Designed by acclaimed graphic artist Stefan Sagmeister, the hardcover edition features a three-dimensional monument affixed to the front cover; the paperback retains some trace of the monument, perhaps a footprint of the monument on the front cover, a pop-up monument inside, or some other invention. The follow-up to Everything That's Interesting Is New, an earlier book on the Joannou collection, Monument to Now strictly includes work dating from 1985 and later, with a focus on the artists who are most relevant now. Among many new acquisitions featured are works by Vanessa Beecroft, Maurizio Cattelan, Gregory Crewdson, Anna Gaskell, Mariko Mori, Chris Ofili, Tom Sachs, Fred Tomaselli and Kara Walker. Other included artists are Janine Antoni, Matthew Barney, Ashley Bickerton, Rineke Dijkstra, Olafur Eliasson, Robert Gober, Andreas Gursky, Peter Halley, Mike Kelley, Toba Khedoori, Jeff Koons, Paul McCarthy, Takashi Murakami, Shirin Neshat, Tim Noble & Sue Webster, Cady Noland, Gabriel Orozco, Charles Ray, Cindy Sherman, Kiki Smith, Wolfgang Tillmans, Gillian Wearing, Christopher Wool and Chen Zhen.
During the last five years of his life, Chen Zhen expended his energies to create a body of work that poetically articulated his knowledge of traditional Chinese culture and Western avant-garde art. Born in Shanghai in 1955, Chen grew up during the tumultuous years of the Cultural Revolution. When China transitioned out of that era, he became interested in combining traditional Chinese philosophy (forbidden under Maoist rule) and Western practices as an alternative to the government's official cultural ideology. The resulting body of work held as a central theme the creation of harmony through difference, taking the human body, illness and medicine as metaphors, mixing cross-cultural social dynamics before multiculturalism and globalization had ever been articulated. Exploring the intricate and often paradoxical relationship between the material and the spiritual, the community and the individual, interior and exterior, Chen used sound and everyday materials such as candles, beds, chairs, and even chamber pots, linking the physical world to the spiritual, ritualistic one. The result was an aesthetic immersed in the traditional past but aligned with the present. This catalogue accompanies an exhibition held at P.S.1 Contemporary Art Center in tribute to the artist, who died from a rare medical condition known as autoimmune hemolytic anemia in 2000, in Paris, where he had emigrated as an art student in the mid-80s.
As elements of our life move closer to art, and as art moves directly into life, the differences between the artificial and real are becoming progressively blurred. Form Follows Fiction focuses on a generation of artists who can no longer follow the modernist dictum "form follows function"; as our model of reality becomes more layered and less concrete, that decree morphs inevitably into "form follows fiction." Some of these artists create structures that intersect with everyday life, while others construct elaborate fictional systems that fuse elements of reality and fantasy. Some fashion elaborate invented worlds where past, present, and future are collapsed into one and where art historical icons and the debris of contemporary pop culture have equal relevance. All have developed new models of contemporary reality that are as fictional as they are real. Form Follows Fiction was conceived as a sequel to the 1992 exhibition Post Human, also curated by Jeffrey Deitch, which explored a new model of the human condition, pushing deep into the confusion between the artificial and the real.
BOOK FORMAT Paperback, 9.5 x 11 in. / 252 pgs / 143 color / 5 bw.
PUBLISHING STATUS Pub Date 1/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9788881583577TRADE List Price: $39.95 CDN $50.00
Published by Charta. Introduction by Ida Gianelli. Essays by Jeffrey Deitch, Mauro Ferraresi, Giorgio Verzotti.
Perhaps the most important artist in the history of Italian graphic design, Armando Testa has explored the most diverse languages of visual communication for over a half-century, inventing new ways of expressing ideas and designing enormously innovative works for television. Armando Testa documents Testa's activity from the beginning of his career to his last works, collecting many of his most important pieces: advertising posters, sketches, book illustrations and covers from the 40s and 50s; photographic work for advertising from the 70s; posters and trademarks created for social causes and cultural events during the 80s; and work done outside of the field of advertising and publicity, for Testa's own creative purposes, from the 80s right up to his death. This attractive and exciting new monograph also includes a detailed biography and bibliography as well as an "imography": a catalogue, with commentary, of every one of Testa's amazing images.
BOOK FORMAT Paperback, 9.5 x 11 in. / 208 pgs / 200 color / 35 bw.
PUBLISHING STATUS Pub Date 3/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9788881583126TRADE List Price: $40.00 CDN $50.00
Published by Cantz/Deste Foundation for Contemporary Art. Edited by Jeffrey Deitch.
Here, Jeffrey Deitch, author of Artificial Nature, draws on both contemporary art and the mass media to explore the profound philosophical implications of genetic engineering, plastic surgery and other forms of body alteration. By juxtaposing the figurative art of Robert Gober, Jeff Koons, Charles Ray and 30 other young artists with images drawn from cutting-edge technologies and consumer culture, Deitch gives us a sobering glimpse of the post-human world to come. Are we creating a new kind of “person” that will replace the previous construction of self? And when the self goes, what will remain?