Paul Schimmel

ACTIVE BACKLIST

ED RUSCHA: INDUSTRIAL STRENGTH
Preface by Paul Schimmel. Text by Thomas E. Crow.
THE FABRIC WORKSHOP AND MUSEUM
ISBN: 9780972455640 | US $40.00
Pub Date: 9/1/2008
Active | In stock

THIS IS NOT TO BE LOOKED AT
Text by Paul Schimmel, Ann Goldstein, Rebecca Morse.
THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES
ISBN: 9781933751078 | US $59.95
Pub Date: 4/1/2008
Active | Not available

CHRIS BURDEN
Essays by Fred Hoffman, Paul Schimmel, Kristine Stiles and Robert Storr.
LOCUS + PUBLISHING LTD.
ISBN: 9781899377183 | US $85.00
Pub Date: 11/15/2005
Active | In stock

ROBERT RAUSCHENBERG: COMBINES
Edited and introduction by Paul Schimmel.
THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES
ISBN: 9783865211453 | US $75.00
Pub Date: 11/15/2005
Active | In stock

GREGOR SCHNEIDER
Essays by Ulrich Loock and Paul Schimmel. Interviews by Hannelore Reuen and Ulrich Loock.
CHARTA
ISBN: 9788881584604 | US $49.95
Pub Date: 3/2/2004
Active | Awaiting stock

OUT OF PRINT LISTING

IRVIN TEPPER: WHEN CUPS SPEAK
SAN JOSE STATE UNIVERSITY
ISBN: 9780972198400 | US $40.00
Pub Date: 2/2/2003
Out of print | Not available

LAURA OWENS
By Thomas Lawson. Artwork by Laura Owens. Edited by Lisa Gabrielle Mark, Paul Schimmel.
THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES
ISBN: 9780914357834 | US $24.00
Pub Date: 4/2/2003
Out of print | Not available

SIGMAR POLKE: PHOTOWORKS
Artwork by Sigmar Polke. Edited by Paul Schimmel. Text by Maria Hamburg Kennedy.
SCALO PUBLISHERS/MUSEUM OF CONTEMPORARY ART, LOS ANGELES
ISBN: 9781881616658 | US $85.00
Pub Date: 2/2/1996
Out of print | Not available

Paul Schimmel

Ed Ruscha: Industrial Strength

Preface by Paul Schimmel. Text by Thomas E. Crow.
Published by The Fabric Workshop and Museum

Ed Ruscha: Industrial Strength is published on the occasion of the artist's completion of "Industrial Strength Sleep," a 23-foot by 9-foot tapestry created at The Fabric Workshop and Museum in Philadelphia and based on his 1989 painting of the same name. In his introductory essay, curator Paul Schimmel explains the artist's process: "Though Ruscha has consistently pushed the boundaries of his own iconography, which typically comprises concrete words and phrases, it is in fact his range of materials and processes that has characterized the ever-changing and restless nature of his practice." The piece--which took three years to complete--was produced at Flanders Tapestries in Wielsbeke, Belgium; Mary Anne Friel, Master Printer at The Fabric Workshop, oversaw production. The publication also includes an essay by art historian and critic Thomas E. Crow.
Over the course of his nearly 40-year career, Ruscha, who was the United States representative at the 51st Venice Biennale in 2005, has consistently used the expansive landscape of Los Angeles--where he has lived and worked since the late 1950s--in his paintings as a backdrop for the often humorous vernacular phrases with which he communicates a particular urban experience.

This Is Not To Be Looked At

Highlights from the collection of the Museum of Contemporary Art, Los Angeles

Text by Paul Schimmel, Ann Goldstein, Rebecca Morse.
Published by The Museum of Contemporary Art, Los Angeles

Featuring the work of more than 150 exemplary international artists, this first comprehensive catalogue of the permanent collection of the Museum of Contemporary Art, Los Angeles, is published to accompany the museum's major 2008 permanent collection exhibition Collecting Collections. With short texts on each artist, as well as essays by Chief Curator Paul Schimmel and Senior Curator Ann Goldstein, it is a major milestone in the museum's publishing history. Featured artists include historical figures like Ad Reinhardt, Arshile Gorky, Franz Kline, Diane Arbus, Alberto Giacometti, Morris Louis, Mark Rothko, Garry Winogrand, Barnett Newman, Andy Warhol, Willem de Kooning and Piet Mondrian; contemporary Los Angeles artists like Doug Aitken, John Baldessari, Chris Burden, Vija Celmins, Mike Kelley, Catherine Opie, Nancy Rubins, Paul McCarthy, Lari Pittman, Diana Thater, James Welling, Laura Owens, Bill Owens, Charles Ray, Raymond Pettibon, Jason Rhoades and Edward Ruscha; New York artists like Vito Acconci, Robert Gober, Nan Goldin, Brice Marden, David Salle, Claes Oldenburg, Julian Schnabel, Cady Noland, Richard Prince, Kara Walker, Robert Rauschenberg, Cindy Sherman and Kiki Smith; and international artists like Francis Alÿs, Maurizio Cattelan, Thomas Demand, Rineke Dijkstra, Peter Doig, Marlene Dumas, Olafur Eliasson, Rodney Graham, Andreas Gursky, Mona Hatoum, William Kentridge, Anselm Kiefer, Chris Ofili, Gabriel Orozco, Hiroshi Sugimoto and Rirkrit Tiravanija. The title This Is Not To Be Looked At is derived from a work in the collection by John Baldessari, dated 1966-68, which reproduces an Artforum cover that features a Frank Stella painting also owned by MOCA, titled "Union III" from the Irregular Polygon series (1966).

Chris Burden

Essays by Fred Hoffman, Paul Schimmel, Kristine Stiles and Robert Storr.
Published by Locus + Publishing Ltd.

This comprehensive overview, the first to appear in almost a decade, examines an artistic career, that now must be viewed as one of the most fascinating in the history of contemporary art. From his highly controversial and seminal performance works of the early 1970s, to his complex, imaginative installations and monumental sculptures, the art of Chris Burden uniquely informs as well as incorporates the major artistic undercurrents of the last three decades. Not only has the artist made a major contribution to the history of body-related performance art, but the artist's fascination with systems of power, societal organization, architectural structure and technological systems, have resulted in an extraordinary body of sculptural objects and environmental installations over the last 35 years. In compiling this publication the artist has worked closely with curator and long time associate Fred Hoffman, taking this opportunity to re-examine his work afresh and revealing images that are unpublished or rarely seen.

Robert Rauschenberg: Combines

Edited and introduction by Paul Schimmel.
Published by The Museum of Contemporary Art, Los Angeles

Poetic and lush, Robert Rauschenberg's Combines present layers of complex and sometimes conflicting information. This approach, first explored by Rauschenberg in the early 1950s, proved prescient and has become increasingly relevant in the current age of cascading information, when even the most ground-breaking artists are referencing and sampling disparate elements to create new forms. The Combines suggest the fragility of definitions, the fluidity of materials and the complexity of forms that are characteristic of Rauschenberg's works. The artist's handling of materials provides a precise physical evolutionary link between the painterly qualities of Abstract Expressionism and iconographical, subject-driven early Pop art. This book focuses on the works created roughly between 1954 and 1964, the most important decade in the artist's 50-year career, and constitutes the most complete survey of the Combines ever presented, as well as the most rigorous analysis of their political, social, autobiographical and aesthetic significance. An introductory essay by exhibition curator Paul Schimmel titled “Reading Rauschenberg” offers an iconographic analysis of the earlier Combines, based on in-depth conversations with the artist. Other texts help to contextualize the Combines, such as Thomas Crow's essay that calls them the major artistic statement of their time, and the one body of art that could simultaneously hold its own from de Kooning to Pop art.

Gregor Schneider

Essays by Ulrich Loock and Paul Schimmel. Interviews by Hannelore Reuen and Ulrich Loock.
Published by Charta

“Making is a higher form of thinking,” claims Gregor Schneider, who began to make art as an adolescent. So urgent was his desire to be an artist that, in order to pay for the materials he needed to make his sculptures, he even worked as a gravedigger. Introverted, self-effacing and a close observer of human behavior--with a particular passion for the lowliest of social categories--Schneider has developed an all-absorbing identification with his work, living together with it night and day in an apartment he soundproofed from the rest of the world. Schneider has tried his hand at film, painting and sculpture, but most remarkable is the installation he created between 1985 and 1994, in his home. There he built rooms within rooms, walls in front of walls, doors that led nowhere and windows that opened onto dead spaces. When asked about his motivations, he would defiantly proclaim, “I can't do anything else.” This monograph surveys his work.

Irvin Tepper: When Cups Speak

Life with the Cup-A 25 Year Survey

Artwork by Irvin Tepper. Edited by Jo Farb Hernandez, Paul Schimmel. Text by Edmund Burke Feldman, Marc Freidus, James Harithas, David Ross, Armando Surez-Cobin, Janet Koplos, Robert Milnes.
Published by San Jose State University

For the past 25 years, Irvin Tepper has been engaged in an exploration of the physical and conceptual idea of the coffee cup. Endowed with animistic qualities, Tepper's cups (made of porcelain or bronze, seen in photographs and drawings) hear, think, and even speak, commenting on the stories they overhear and the lives they witness as we drink our daily cups of coffee--with friends, business associates, or just the daily paper.

Laura Owens

By Thomas Lawson. Artwork by Laura Owens. Edited by Lisa Gabrielle Mark, Paul Schimmel.
Published by The Museum of Contemporary Art, Los Angeles

In subtly lush paintings that charm viewers equally through their application of paint and their quirky iconography, Laura Owens touches on expressive abstraction, color field painting, and the occasional decorative glimpse of a monkey. Charged as one of the contemporary artists responsible for a revival of the painting, Owens has developed an enigmatic style all her own, moving from landscape to abstraction with energetic thick brush strokes, fanciful childlike doodles, or sophisticated fine-line drawings, culling her influences from any number of visual sources, including chinese landscape painting, japanese wood block prints, and patterned textiles. This volume includes new paintings created for her upcoming solo show at the Museum of Contemporary Art, Los Angeles.

Sigmar Polke: Photoworks

When Pictures Vanish

Artwork by Sigmar Polke. Edited by Paul Schimmel. Text by Maria Hamburg Kennedy.
Published by Scalo Publishers/Museum of Contemporary Art, Los Angeles