Douglas Fogle

ACTIVE BACKLIST

THE LUMINOUS WEST
KERBER
ISBN: 9783866784321 | US $65.00
Pub Date: 2/28/2011
Active | In stock

MARK MANDERS: PARALLEL OCCURRENCES, DOCUMENTED ASSIGNMENTS
Text by Douglas Fogle, Peter Eleey, Heidi Zuckerman Jacobson, Yasmil Raymond.
ASPEN ART MUSEUM AND THE HAMMER MUSEUM
ISBN: 9780934324489 | US $50.00
Pub Date: 5/31/2011
Active | In stock

THOMAS RUFF: SURFACES, DEPTHS
VERLAG FüR MODERNE KUNST NüRNBERG
ISBN: 9783941185500 | US $60.00
Pub Date: 11/30/2009
Active | Awaiting stock

LIFE ON MARS
Edited by Douglas Fogle. Text by Daniel Birnbaum, Richard Flood, Eungie Joo, Chus Martínez.
CARNEGIE MUSEUM OF ART
ISBN: 9780880390514 | US $39.95
Pub Date: 8/1/2008
Active | In stock

ANDY WARHOL: SUPERNOVA
Edited by Douglas Fogle. Essays by Francesco Bonami, Douglas Fogle and David Moos.
WALKER ART CENTER
ISBN: 9780935640830 | US $39.95
Pub Date: 11/15/2005
Active | In stock

THOMAS SCHEIBITZ: SCULPTURES 1998-2003
Edited by Anna-Catharina Gebbers. Essays by Katya Garcia-Anton and Douglas Fogle.
WALTHER KöNIG, KöLN
ISBN: 9783883758077 | US $45.00
Pub Date: 6/15/2005
Active | Awaiting stock

WADE GUYTON & KELLEY WALKER: THE FAILEVER OF JUDGEMENT
Edited by John Rasmussen. Essays by Joanna Burton and Fabrice Stroun.
JRP|RINGIER/MMCA
ISBN: 9783905701050 | US $29.00
Pub Date: 8/15/2005
Active | Awaiting stock

THOMAS DEMAND: B&K+
Essays by Douglas Fogle, Helmut Friedel and Bart Lootsma.
WALTHER KöNIG, KöLN
ISBN: 9783883758763 | US $20.00
Pub Date: 3/15/2005
Active | Awaiting stock

THE LAST PICTURE SHOW
WALKER ART CENTER
ISBN: 9780935640762 | US $44.95
Pub Date: 11/2/2003
Active | In stock

OUT OF PRINT LISTING

THE ABSENCE OF MARK MANDERS
HATJE CANTZ
ISBN: 9783775720311 | US $55.00
Pub Date: 2/1/2008
Out of Print | Not available

JULIE MEHRETU
Artwork by Julie Mehretu. Edited by Douglas Fogle. Contributions by Olukemi Ilesanmi.
WALKER ART CENTER
ISBN: 9780935640748 | US $24.95
Pub Date: 10/2/2003
Out of print | Not available

CATHERINE OPIE: SKYWAYS AND ICEHOUSES
Introduction by Douglas Fogle.
WALKER ART CENTER
ISBN: 9780935640724 | US $24.95
Pub Date: 6/2/2002
Out of print | Not available

PAINTING AT THE EDGE OF THE WORLD
WALKER ART CENTER
ISBN: 9780935640670 | US $29.95
Pub Date: 3/2/2001
Out of print | Not available

NO PLACE (LIKE HOME)
Edited by Douglas Fogle. Contributions by Deepali Dewan. Text by Richard Flood.
WALKER ART CENTER
ISBN: 9780935640557 | US $29.95
Pub Date: 3/2/1997
Out of print | Not available

Douglas Fogle

The Luminous West

Edited by Stefan Gronert, Stephan Berg. Text by Douglas Fogle, Barbara Engelbach, Stephan Berg, Jürgen Harten, Jürgen Rüttgers.
Published by Kerber

The Luminous West unites 33 artists from two generations to define the artistic landscape of Germany's Rhineland and North Rhine-Westphalia regions. Among them are Bernd and Hilla Becher, Joseph Beuys, Tony Cragg, Isa Genzken, Andreas Gursky, Imi Knoebel, Albert Oehlen, Blinky Palermo, Sigmar Polke, Gerhard Richter, Rosemarie Trockel and others.

Mark Manders: Parallel Occurrences, Documented Assignments

Text by Douglas Fogle, Peter Eleey, Heidi Zuckerman Jacobson, Yasmil Raymond.
Published by Aspen Art Museum and The Hammer Museum

Since 1986, Dutch artist Mark Manders (born 1968) has been developing an ongoing project titled Self-Portrait as a Building. Taking the form of sculptures, installations, drawings and projections, these works map Manders' artistic persona through the conceptual model of a built edifice, in the fashion of the Renaissance memory theater. Inspired by writings on this subject and by other literature, Manders' earliest works in this project were primarily written, but over time, Manders found ways to deploy everyday three-dimensional objects--epoxy figures, animals, teabags, pencils, household furniture--to build a portrait of his own mind as an architectural space. As the artist explains, "this imaginary building, being composed of discrete objects, can shrink or expand at any moment. In this building, all words created by mankind are on hand." This publication accompanies the first North American touring exhibition of Manders' work.

Thomas Ruff: Surfaces, Depths

Edited by Gerald Matt. Text by Catherine Hug, Douglas Fogle, Kurt W. Forster, Gerald Matt. Interview by Gerald Matt with Thomas Ruff.
Published by Verlag für moderne Kunst Nürnberg

Surfaces, Depths is a representative selection of Thomas Ruff's works, over a period that already spans about 25 years, with projects ranging from portraits and interiors to telescope and space probe pictures and "nightsight" photography. Ruff incorporates an extremely wide range of everyday subjects into his experiments--people, architecture, planets, the Internet--and subjects them to all forms of camera technology, so that his work often seems to embody the history of the art as it develops. Ruff has a particular fascination with photographic techniques that appear to erase or leave out the artist's hand, techniques often designed for military or scientific purposes. In a recent series titled Zycles, for example, Ruff constructs his images with the help of mathematical formulas and computer technology, twisting two-dimensional surfaces into the three-dimensional space of vector graphics. Surfaces and Depths focuses on ten of Ruff's total of 18 projects to address this particular ongoing preoccupation with artistic detachment, and the polarities of surface and depth vision in the construction of images. In doing so, it makes the broadest assessment to date of the oeuvre of this tireless innovator.

Life On Mars

The 55th Carnegie International

Edited by Douglas Fogle. Text by Daniel Birnbaum, Richard Flood, Eungie Joo, Chus Martínez.
Published by Carnegie Museum of Art

Are we alone in the universe? Do aliens exist? Or are we, ourselves, the strangers in our own worlds? Conceived around the title Life on Mars, the 2008 Carnegie International, curated by Douglas Fogle, explores the increasingly relevant yet perplexing proposition of what it means to be human in the world today. The question, "Is there life on Mars?" is a rhetorical one, posing a metaphorical quest to explore humanity's response to a world where global events challenge and seem to threaten our everyday existence. Working in a range of media, from micro to macro levels of experience, from tragedy to comedy, the 40 artists from 17 countries in the exhibition explore the alien inside each of us. They include Doug Aitken, Kai Althoff, Vija Celmins, Bruce Conner, Peter Fischli and David Weiss, Daniel Guzmán, Mike Kelley, Barry McGee, Wilhelm Sasnal, David Shrigley, Rudolf Stingel, Paul Thek, Wolfgang Tillmans and Andro Wekua, among others. In questioning the absurdity of our lives while demonstrating hopeful aspirations for the future of humankind, these artists foreground the poetic over the monumental and the intimate over the heroic. In the end, the exhibition asks if we ourselves are already on Mars.

The Absence of Mark Manders

Edited by Stephan Berg, Solveig Øvstebo, Philippe Van Cauteren, Mirjam Varadinis. Text by Stephan Berg, Douglas Fogle, Mark Manders, Mirjam Varadinis.
Published by Hatje Cantz

Dutch artist Mark Manders, born in 1968, has been devising sculptural installations since the late 1980s and exhibiting them as a fragmented self-portrait in the form of imaginary rooms. A veteran of solo exhibitions at such respected American venues as The Drawing Center in New York, the Berkeley Art Museum and The Art Institute of Chicago, he has established himself as one of the most distinctive and independent artists on today’s international sculpture scene. Beginning with the exemplary piece "Self-Portrait as a Building," created in 1986, Manders’ entire oeuvre can be understood as a large-scale attempt to translate his own existence and development into wordless, associative memory spaces. Chimneys, brick walls, oversized model rats, tables, chairs, newspapers and a plethora of small, personal objects are tweaked in scale and amassed as “still lives with broken moments.” This is the most significant appraisal of his work to date.

Andy Warhol: Supernova

Stars, Deaths and Disasters 1962-1964

Edited by Douglas Fogle. Essays by Francesco Bonami, Douglas Fogle and David Moos.
Published by Walker Art Center

In the age of mass media, American culture has displayed an unequaled fascination with both celebrities and disasters. Andy Warhol was one of the first artists to investigate these twin obsessions, beginning in the mid-1960s, as he shifted his practice from hand-painting to the mechanical photo silkscreen process. Andy Warhol/Supernova brings together more than 50 examples of the artist's early silkscreen work, juxtaposing his iconic serial images of Marilyn Monroe, Elizabeth Taylor and Elvis Presley with his evocative and often disturbing appropriations of car crashes, electric chairs, and other "disasters," appropriated from photojournalism and made side by side. The combination provides a glimpse into a prevailing condition of American modernity--this dual fascination with fame and tragedy--that remains a key component of our national identity. Looking back at this body of masterworks, now some 40 years old, it becomes clear that if some things have changed, more have stayed the same.

Thomas Scheibitz: Sculptures 1998-2003

Edited by Anna-Catharina Gebbers. Essays by Katya Garcia-Anton and Douglas Fogle.
Published by Walther König, Köln

Known for his colorful paintings that transmute source imagery into geometric near-abstractions, Thomas Scheibitz, one of the hottest young German artists working in Berlin, here presents painted sculptures that explore a dynamic range of form, texture and colors. Jutting from the walls, hanging from the ceiling, or sitting on the floor, the works distill figural forms to an angular essence.

Wade Guyton & Kelley Walker: The Failever Of Judgement

Edited by John Rasmussen. Essays by Joanna Burton and Fabrice Stroun.
Published by JRP|Ringier/MMCA

The first publication to feature these two up-and-coming New York artists originally from Tennessee focuses on their recent collaborations. Call Guyton and Walker “neo-formalists” or “appropriationists” or just remarkably accomplished, but their photo-label paint-can pyramids, their use of Ketel One Gothic-lettered ad copy and their serrated knife serial paintings seem Warholian without being derivative.

Thomas Demand: B&K+

Bienal de Sao Paulo 2004

Essays by Douglas Fogle, Helmut Friedel and Bart Lootsma.
Published by Walther König, Köln

Conceptualized by Thomas Demand himself, this book includes three components: a newspaper, a magazine and a book--each of them published on different paper. The newspaper presents the artist's older works; the magazine, printed on glossy paper, introduces new photo works in color and stills from the film Trick; the book portion documents the exhibition architecture. B&K + is a small book, but one of the most comprehensive views of Demand's work per square footage.

The Last Picture Show

Artists Using Photography 1960-1982

Edited by Douglas Fogle. Essays by Douglas Fogle, Kate Bush, Richard Flood, Geoffrey Batchen, Stefan Gronnert and Pamela Lee. Foreword by Kathy Halbreich.
Published by Walker Art Center

Photography has become an increasingly pervasive medium of choice in contemporary art practice and is even employed at times by artists who do not necessarily consider themselves to be photographers. How did this come to be? The Last Picture Show will address the emergence of this phenomenon of artists using photography by tracing the development of conceptual trends in postwar photographic practice from its first glimmerings in the 60s in the work of artists such as Bernd & Hilla Becher, Ed Ruscha and Bruce Nauman, to its rise to art-world prominence in the work of the artists of the late 70s and early 80s including Sherrie Levine, Richard Prince and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the checklist will include a wide array of works examining a range of issues: performativity and photographic practice; portraiture and cultural identity; the formal and social architectonics of the built environment; societal and individual interventions in the landscape; photography's relationship to sculpture and painting; the visual mediation of meaning in popular culture; and the poetic and conceptual investigation of visual non-sequiturs, disjunctions and humorous absurdities. Bringing together a newly commissioned body of scholarship with reprints of important historical texts, The Last Picture Show seeks to define the legacy that has produced a rich body of photographic practice in the art world today.

Julie Mehretu

Artwork by Julie Mehretu. Edited by Douglas Fogle. Contributions by Olukemi Ilesanmi.
Published by Walker Art Center

Incorporating the dynamic visual vocabulary of maps, urban planning grids, and architectural forms, alternating between historical narratives and fictional landscapes, Julie Mehretu's beautifully layered paintings and drawings combine abstract forms with the familiar, pairing the Roman Coliseum with floor plans from international airports, Le Corbusier's unbuilt megacity with blueprints from Zaha Hadid and Tadao Ando, and dashing it all together with a color field full of abstract geometry. What does a city in motion look like? The closest picture of it exists in Mehretu's semiabstractions, their maelstroms of color and line, power, history, globalism and personal narrative frozen, swirled and encased in coats of accumulated resin.

Catherine Opie: Skyways And Icehouses

Introduction by Douglas Fogle.
Published by Walker Art Center

Since the late 1980s, Catherine Opie's interest in the motif of the visual road trip has resulted in photographs that sumultaneously document and question the self-constructed identities of the people and places that characterize America. From the freeways of Los Angeles to the downtown of St. Louis and the Wall Street district of New York, Opie now turns her camera to the skyways and icehouses of the Twin Cities. The culmination of a year-long commission from the Walker Art Center, Skyways and Icehouses provides a meditative portrait of a locale, at once a straight-forward documentation and an inquiring social psycho-geography, an exploration of those symbolic architectures often taken for granted. Personal anecdotes, memories, and stories fron Minnesota residents animate Opie's haunting landscapes.

Painting At The Edge Of The World

Essays by Daniel Birnbaum, Andrew Blauvelt, Jörg Heiser, Paulo Herkenhoff, Reinaldo Laddaga, Midori Matsui, Frances Stark, Yve-Alain Bois, Introduction by Douglas Fogle.
Published by Walker Art Center

With the hotly discussed resurgence of painting at the dawn of the new century, it is clear that reports of the medium's death have been greatly exaggerated. Painting at the Edge of the World explores the possibilities of a redefinition and ''hybridization'' of painting begun in the 1960s, examining the manifestations of these new artistic vistas in the present day. This full-color catalogue features illustrations and a variety of critical texts by some of the most exciting established and emerging critical voices working today, in addition to work by an international and intergenerational group of artists hailing from places as diverse as Brazil, Ethiopia, Germany, South Africa, Scotland, Japan, Belgium, Iran, Italy, and the United States. Designed in two sections--a gatefold plate section containing reproductions of the work, and a french-folded section containing critical essays--the book brings together a wide range of contemporary views on painting from a diverse array of disciplines, including the visual arts, film, architecture, design, and music in an attempt to assess the relevance of painting in the contemporary global context. In addition, Painting at the Edge of the World includes documentation of each artist's work and an examination of their artistic methodology.

No Place (Like Home)

Edited by Douglas Fogle. Contributions by Deepali Dewan. Text by Richard Flood.
Published by Walker Art Center