Essays by Jan Avgikos, Bridget Alsdorf, Daniel Abadie, Ivy Barsky, Jennifer Blessing, Marek Bartelik, Tracey Bashkoff, Susan Cross, Matthew Drutt, Cornelia Lauf, Ingrid Schaffner, Fiona J. Ragheb, Nancy Spector, Joan Young, et al.
Paperback, 8.25 x 12 in. / 174 pgs / 53 color / 40 bw. | 2/2/2004 | In stock ISBN 9780892072989 | $25.00
Published by Damiani/Fondation Beyeler. Edited by Karen Marta. Text by Philippe Parreno, Nancy Spector.
In his latest project, Philippe Parreno (born 1964) used the mediums of landscape and film as a vehicle for playing with the conventions of time and space. According to NASA, any planet hospitable to life will likely orbit a pair of dwarf stars in a Continuously Habitable Zone (CHZ). The effect of orbiting multiple stars is black vegetation. With this in mind, Parreno, with the help of landscape architect Bas Smets, created a garden on a hillside in Porto, Portugal that is futuristic yet primordial: black plants grow where images fade, and we travel to a new fantastical world. Fashioned from earth, black minerals and vegetation, this real garden tells a topographical story that comes from the world of science fiction. C.H.Z. features the artist’s dark, impasto ink drawings, which functioned as a storyboard for the cinematographer Darius Khondji, as well as stills of the seven stages of the film.
Published by Guggenheim Museum Publications. Text by Nancy Spector.
Gabriel Orozco’s Asterisms is a two-part sculptural and photographic installation comprising thousands of items of detritus he gathered at two sites--a coastal wildlife reserve in Baja California, Mexico, and a playing field near his home in New York City. The first component of the installation, Sandstars, draws on the voluminous amounts of waste deposited on the shores of the wildlife reserve by Pacific currents. Orozco’s monumental sculptural carpet of nearly 1,200 objects is accompanied by 12 large-scale gridded photographs of the individual objects in a studio setting, organized typologically by material, color and size. An additional grid documents the landscape from which the objects were retrieved, along with incidental compositions made in situ from the castaway items. The second component, Astroturf Constellation, also explores taxonomic classification, but on a completely different scale. It comprises a collection of miniscule bits of debris--again numbering around 1,200 items--left behind by athletes and spectators in the Astroturf of a playing field in New York City. As with Sandstars, the objects are displayed alongside 13 photographic grids. This volume highlights Orozco’s subtle practice of subjecting the world to personal, idiosyncratic systems while invoking several of the artist’s recurrent motifs, including the effects of erosion, the poetry of the mundane, the relationship between the macro and the micro and the tension between nature and culture.
Published by Guggenheim Museum Publications. By Nancy Spector.
Hailed simultaneously as a provocateur, prankster and tragic poet of our times, Italian artist Maurizio Cattelan has created some of the most unforgettable images in recent contemporary art--most notoriously with “The Ninth Hour,” his 1999 sculpture of Pope John Paul II struck by a meteorite. Cattelan's subjects range widely, being derived from popular culture, history and organized religion; while bold and irreverent, the work is also deadly serious in its scathing cultural critique. Maurizio Cattelan: All accompanies the Guggenheim Museum's retrospective survey of the artist. For the exhibition, the museum has devised a site-specific installation intended to sidestep the totalizing effect of a retrospective, and for this catalogue the museum has produced an equally unique response to this dilemma and to the conventions of the catalogue format. All is a faux-leather-bound hardcover with gold stamping and thin paper that is designed to resemble an old textbook or bible. The volume catalogues almost every work of Cattelan's from the late '80s to the present within a double-column page format, reproducing them in full color with accompanying entries. One of the wittiest and most beautiful art books of recent years, All includes a detailed critical overview by Nancy Spector, documenting not only Cattelan's artistic output but also his ongoing activities as a curator, editor and publisher, plus a comprehensive exhibition history and bibliography. Needless to say, All is indeed the definitive Cattelan bible. Maurizio Cattelan (born 1960) began his career as a furniture designer, transitioning to art through his realistic sculptures. He has had solo exhibitions at some of the most distinguished museums in the world, such as The Museum of Modern Art, New York and the Museum of Contemporary Art, Los Angeles. He has also founded and edited magazines such as Charley, Permanent Food and Toilet Paper.
Published by Guggenheim Museum. Text by Nancy Spector, Simon Critchley, Jamieson Webster, Brian Sholis.
The Luminous Interval accompanies the Guggenheim Museum's eponymous exhibition of works drawn from the D. Daskalopoulos collection. Daskalopoulos' collecting practices are inspired in part by the writings of the Greek philosopher Nikos Kazantzakis, who envisioned life as the "luminous interval" bridging the twin abysses of birth and death. Balancing renderings of chaotic fragmentation with forms defined by geometric containment and restraint, the works explore the coexistence of hope and despair within the human condition. Encompassing works in various media by more than 30 artists, including Steve McQueen, Wangechi Mutu, Rivane Neuenschwander and Walid Raad, the result is a survey of some of the most salient artistic developments of recent decades. This fully illustrated catalogue features an interview with Daskalopoulos and critical essays by philosopher Simon Critchley with Jamieson Webster and art critic Brian Sholis.
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 The Museum of Modern Art, New York. Edited by Klaus Biesenbach. Text by Arthur C. Danto, Chrissie Iles, Nancy Spector, Jovana Stokic.
Since the beginning of her career, in Belgrade in the late 1960s, Marina Abramovic has been a pioneer of performance art, creating some of the most important works in the field. Marina Abramovic: The Artist Is Present accompanies an exhibition at The Museum of Modern Art that documents approximately 50 of the artist's ephemeral time- and media-based works from throughout her career. The book also discusses a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by Abramovic herself; and re-creations of the artist's works by other performers—the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Essays by Klaus Biesenbach, Chief Curator of Media and performance art at MoMA, and four distinguished scholars examine Abramovic's ideas of time, duration and the reperformance of performance art as a way to extend it into posterity. The Artist Is Present also includes a CD with audio commentary by the artist that guides the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.Born in Belgrade just after the end of the Second World War, Marina Abramovic was raised in the Serbian Orthodox Church (her great uncle was a Patriarch and a canonized saint in the Church) and left Yugoslavia in 1976, having already established herself as a performance artist, living in Amsterdam and eventually New York, where she presently lives.
Published by Guggenheim Museum Publications. Edited by Jennifer Blessing, Nat Trotman. Text by Jennifer Blessing, Peggy Phelan, Lisa Saltzman, Nancy Spector, Nat Trotman.
Much of contemporary photography and video seems haunted by the past, by ghostly apparitions that are reanimated in reproductive media, as well as in live performance and the virtual world. By using dated, passé or quasi-extinct stylistic devices, subject matter and technologies, these arts can embody a melancholic longing for an otherwise unrecuperable past. Haunted: Contemporary Photography/Video/Performance examines the myriad ways by which photographic imagery is incorporated into recent art practices, and in the process underscores the unique power of reproductive media—while documenting a widespread contemporary obsession with accessing and retrieving the past. The works included in Haunted range from individual photographs and photographic series, to sculptures and paintings that incorporate photographic elements, to videos, film, performance and site-specific installations. Drawn primarily from the Guggenheim collection and its recent acquisitions, Haunted features major artists such as Marina Abramovi?, Bernd and Hilla Becher, Christian Boltanski, Sophie Calle, Gregory Crewdson, Tacita Dean, Stan Douglas, Felix Gonzalez-Torres, Anthony Hernandez, Roni Horn, Pierre Huyghe, Joan Jonas, Zoe Leonard, Sally Mann, Ana Mendieta, Annette Messager, Richard Prince, Robert Rauschenberg, Cindy Sherman, Hiroshi Sugimoto, Sara VanDerBeek, Jeff Wall and Andy Warhol. A significant part of the survey is dedicated to work created since 2001 by younger artists such as Walead Beshty, Spencer Finch, Ori Gersht and Idris Khan.
Published by Guggenheim Museum. Text by Hilary Ballon, Luis Carranza, Pat Kirkham, Neil Levine, Scott Perkins, Nancy Spector, Angela Starita.
Published on the occasion of the Solomon R. Guggenheim Museum's fiftieth anniversary, and in association with the Frank Lloyd Wright Foundation, this fascinating, beautifully designed volume is the first to fully explore the process behind one of the greatest, most iconic Modern buildings in America-and the world. The Guggenheim: Frank Lloyd Wright and the Making of the Modern Museum examines the history, design and construction of Wright's masterwork with preliminary drawings, models and photographs, as well as three major essays that consider the building in three important contexts. Hillary Ballon discusses the obstacles Wright faced in getting the Guggenheim built, and how his complex relationship with New York City was reflected in his design; Neil Levine explores why Wright's Guggenheim had much greater impact on museum architecture than museums designed by Le Corbusier and Ludwig Mies van der Rohe; and Joseph Siry writes about the museum's novel construction and how it impacted the work of a later generation of architects including Frank Gehry, Louis Kahn and I.M. Pei. Through archival materials, letters and a richly illustrated timeline, the book also traces the relationship between the architect and his clients during the 16-year construction process.
Published by Charta/ Gagosian Gallery. Text by Herbert Muschamp, RoseLee Goldberg, Francesco Vezzoli, Nancy Spector, Michael Schulman.
Throughout his career, Francesco Vezzoli has focused on people’s fascination with celebrity. At the Solomon R. Guggenheim Museum on October 27, 2007, he restaged Right You Are (If You Think You Are), the renowned play by Italian Nobel Laureate Luigi Pirandello that examines the fundamental ambiguity of truth. Vezzoli assembled an extraordinary cast of top-billed actors, implicating his audience in an investigation of rumor and celebrity mongering as substitutes for a deeper understanding of the individual. Pirandello, like Vezzoli in his own art, points to these empty distractions as a means of drawing attention to existential and humanist concerns. Vezzoli’s visionary approach to Pirandello’s jewel of a work playfully exposes the relativity of truth, the necessity of illusion, and the instability of the human persona. Co-produced by the Gagosian Gallery of New York, the staging is fully documented in this book in which you can literally be reflected as in a mirror, thanks to the inside of the cover.
PUBLISHER Charta/ Gagosian Gallery
BOOK FORMAT Paperback 6.75 x 9.5 in. / 128 pgs / 48 color / 11 bw.
PUBLISHING STATUS Pub Date 3/4/2009 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 77
PRODUCT DETAILS ISBN 9788881586660TRADE List Price: $39.95 CDN $50.00
Published by Guggenheim Museum. Edited by Collier Schorr. Text by Nancy Spector, Dominic Eichler, Sarah Lewis.
Published to accompany the 2008 Deutsche Guggenheim survey curated by American artist Collier Schorr, Freeway Balconies unfolds more as an artist's book than a straightforward exhibition catalogue. Borrowing from Allen Ginsberg, the title refers to the meeting place of spectacle and voyeurism in American culture--expressed here through Schorr's idiosyncratic mix of 19 emerging and established artists, including Sharon Hayes, Bruce Nauman, Francesca Woodman, Rashawn Griffin and Richard Prince, among others. Her choices, arranged around selections of her own work, reveal her probing interest in slippages of identity and identification, cultural memory and forgetting and the ways in which artistic action and production engage these issues.
Published by Guggenheim Museum. Edited by Nancy Spector. Conversation with Ann Goldstein, Susanne Ghez, Amada Cruz.
This summer, Felix Gonzalez-Torres represents the United States at the 2007 Venice Biennale, only the second time in the modern history of the Venice Biennale that an artist has represented the U.S. posthumously. Published to accompany this landmark exhibition, Felix Gonzalez-Torres: America features full-color plates of each of the works presented, including one that has never before been realized: it is comprised of two adjoining reflecting pools that form a figure eight, the sign of infinity--both a silent mirror on our collective culture and a beacon of hope. Exhibition curator Nancy Spector, Curator of Contemporary Art at the Solomon R. Guggenheim Museum in New York, provides an introductory essay on the artist, and curators Amada Cruz, Susanne Ghez and Ann Goldstein discuss in conversation their proposal of Gonzalez-Torres for the 1995 Biennale.
Published by Guggenheim Museum. Introduction by Joan Young. Text by Yates McKee, Rein Wolfs, Mark Godfrey, Adam Szymczyk, Joan Young, Nancy Spector.
This oversized catalogue, with deluxe flocking on the cover and throughout, collects representative works by the finalists for the 2006 Hugo Boss Prize: Jennifer Allora and Guillermo Calzadilla, John Bock, Tacita Dean, Damián Ortega, Aïda Ruilova and Tino Sehgal. The winner, Tacita Dean, received a solo show at the Guggenheim Museum this spring.
Published by Guggenheim Museum. Text by Nancy Spector, Glenn O'Brien, Jack Bankowsky.
For 30 years now, the American artist Richard Prince has been considered one of the most forward-thinking and innovative artists in the world. In 1977, his deceptively simple act of re-photographing advertising images from The New York Times Magazine and presenting them as his own ushered in an entirely new, critical approach to making art--one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation, and he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility, with images stemming from the Marlboro Man, muscle cars, biker chicks, off-color jokes, gag cartoons and pulp fiction novels, among many other sources. Organized by the Solomon R. Guggenheim Museum, New York, this major traveling retrospective brings together Prince's photographs, paintings, sculptures and works on paper in the most comprehensive examination of his work to date. While previous examinations of Prince's work have emphasized its catalytic role in Postmodernist criticism, this volume also focuses on the work's iconography and how it registers prevalent themes in our social landscape, including a fascination with rebellion, an obsession with fame and a preoccupation with the tawdry and the illicit. Highlighting key examples from the all the major series of Prince's oeuvre, this fully illustrated volume also debuts works created specifically for the exhibition. It features a critical overview by the Guggenheim Museum's Nancy Spector and an essay by Artforum Editor-at-Large Jack Bankowsky, which discusses Prince's environmental installations, including the Spiritual America Gallery, his First House and Second House, and his Library in Upstate New York. In addition, cultural commentator Glenn O'Brien contributes a series of interviews with popular culture initiators like Annie Proulx, Phyllis Diller, John Waters, Michael Ovitz, Kim Gordon and Robert Mankoff, among many others, providing a composite portrait of Prince's themes alongside an insider's view of the formation of mass-cultural taste.
In April 2006, the Department of State announced that the late Cuban-born conceptual artist Felix Gonzalez-Torres would represent the United States at the 2007 Venice Biennale (June 1-November 21). This much sought-after and long-out-of-print volume, reissued by the Guggenheim Museum for the occasion, was originally published to accompany the artist's solo exhibition at the Museum in 1995, one year before his untimely death at the age of 38. Gonzalez-Torres wanted a readable book, not a catalogue per se--something, he said, that one could take to the beach. Pleasure was an integral part of his art (and his life). While he understood that art was innately political and, by necessity, a vehicle for cultural criticism, he believed that social critique and enjoyment were not, by any means, mutually exclusive. For Gonzalez-Torres, beauty was a tool for seduction and a means of contestation. Written by Nancy Spector in close consultation with the artist and reflecting and expanding upon his ideas at the time, Felix Gonzalez-Torres presents a thematic overview of the artist's rich, many-layered practice, including the signature paper stacks, candy spills, light strings and billboards--and demonstrates his continued resonance today. Nancy Spector is Chief Curator at the Guggenheim Museum, New York, and U.S. Commissioner to the 2007 Venice Biennale.
Published by Charta. Interview by Nancy Spector. Text by Marina Abramovic, Erika Fischer-Lichte, Sandra Umathum.
This new monograph documents seven consecutive, groundbreaking nights of monumental, solo, body-art performances by the internationally renowned artist, Marina Abramovic, during the Fall of 2005 in the famous rotunda of New York City's Guggenheim Museum. It includes a new piece created by Abramovic specifically for the project, as well as Abramovic's renditions of six other seminal works (by five other artists and herself) from the formative decade, 1965-1975. The works include reenactments of Vito Acconci's Seedbed (1972), in which the artist occupied the space under a false floor, masturbating and speaking through a microphone to visitors above; Valie Export's Action Pants: Genital Panic (1969) in which Export walked through a movie theater in crotchless pants, challenging the audience to turn from the images of women on the screen to a real female body; and Abramovic's own Lips of Thomas (1975), in which she ate a kilogram of honey and drank a liter of red wine before breaking her glass with her hand, incising a star in her stomach with a razor blade, whipping herself until she "no longer felt pain," then lying down on an ice cross while a space heater suspended above her caused her to bleed even more profusely. Also included, Bruce Nauman's Body Pressure, Gina Pane's The Conditioning, and Joseph Beuys's critical exploration, How To Explain Pictures of a Dead Hare. In this important series, Abramovic gives us the opportunity to recall, revive and preserve major historical performance pieces, all of which are inherently ephemeral, in a completely original way. With an interview by the esteemed Guggenheim curator, Nancy Spector.
BOOK FORMAT Paperback, 8.5 x 10.25 in. / 240 pgs / 274 color / 75 bw.
PUBLISHING STATUS Pub Date 2/1/2007 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 61
PRODUCT DETAILS ISBN 9788881586264TRADE List Price: $59.95 CDN $70.00
Published by Guggenheim Museum. Text by Nancy Spector, Mark Taylor, Christian Scheidemann, Nat Trotman.
All in the Present Must Be Transformed: Matthew Barney and Joseph Beuys examines key affinities between these two seminal twentieth-century artists, who, though separated by generation and geography, share many aesthetic and conceptual concerns. Published in conjunction with the exhibition at the Deutsche Guggenheim, Berlin, it focuses on the two artists' metaphoric use of materials, their interest in metamorphosis, their employment of narrative structures and the relationship between action and documentation in their work. The exhibition, whose content is drawn largely from the Guggenheim's substantial permanent collection, pairs a selection of drawings and vitrines by both artists, as well as Barney's multipart sculpture, "Chrysler Imperial" (2002) from Cremaster 3, with Beuys' installation "Terremoto" (1981). The book examines the performative side of both artists' practices, as evidenced by the way each has theatricalized his own sculptural production. In addition, it documents both artists' one-person exhibitions at the Solomon R. Guggenheim Museum in New York and includes an extensive selection of drawings and key comparative works.
Published by Guggenheim Museum Publications. Edited by Jennifer Blessing. Essays by Nancy Spector, Judith Halberstam, Carole-Anne Tyler and Sarah Wilson.
The Guggenheim's classic study of photo-based artworks that question gender identity is back in print at last. This important volume, whose title combines Gertrude Stein's famous motto, "Rose is a rose is a rose is a rose," with the name of Marcel Duchamp's feminine alter ego, Rrose Selavy, features portraits, self-portraits and photomontages in which the gender of the subject is highlighted through performance for the camera or through technical manipulation of the image. In many of the works, photography's strong aura of realism and objectivity promotes a fantasy of total gender transformation. In other pieces, the photographic representation articulates an incongruity between the posing body and its assumed costume. Features work by Cecil Beaton, Brassa‘, Claude Cahun, Marcel Duchamp, Hannah Hàch, Man Ray, Janine Antoni, Matthew Barney, Nan Goldin, Lyle Ashton Harris, Robert Mapplethorpe, Annette Messager, Yasumasa Morimura, Catherine Opie, Lucas Samaras, Cindy Sherman, Inez van Lamsweerde and Andy Warhol.
Published by D.A.P./Museum of Contemporary Art, Chicago. Essays by Francesco Bonami, Carol Becker, Alain de Boton, Lucy Lippard, Susan Sontag and Nancy Spector. Foreword by Robert Fitzpatrick.
Drawing from such disciplines as anthropology, sociology, economics, art criticism and travel writing, Universal Experience is both a sizeable illustrated catalogue of the exhibition at the MCA, Chicago and a companion to the experience of contemporary travel and tourism. This volume draws on the proliferation of research surrounding the social, geographic and cultural dimensions of mobility and outputs this information as an anthology of articles, essays and excerpts. The primary focus of the exhibition, however, is on artworks created by a group of international visual artists who create work in response to travel among multiple cultures--both high and low, and local and foreign. While serving as a “travel guide” to the latest sociological and political research and commentary on tourism and travel, Universal Experience also features a compelling mix of text and more than 170 images in an engaging format that will appeal to high scholars and popular audiences alike. Artists range from well knowns like Rem Koolhaas, Andy Warhol, Vito Acconci, Jeff Koons, and Ilya and Emilia Kabakov, to emerging artists such as Franz Ackermann, Mathias Muller, Shirana Shahbazi, Yukata Sone, Pascale Marthine Tayou and Piötr Uklanski. Complimenting and illuminating the works of these artists is a collection of written works by Francesco Bonami, Carol Becker, Alain de Botton, Nancy Spector, Susan Sontag, Lucy Lippard, Robert Fitzpatrick and others.
Published by Guggenheim Museum. Essays by Nancy Spector, Francis Mckee and Alison Gingeras.
Douglas Gordon is an inveterate storyteller. The fictions that he weaves extends outward from the objects of his art--film, video, sound installations, photographs and text works--to encompass his own artistic persona. Douglas Gordon's Vanity of Allegory, an exhibition conceived specifically for the Deutsche Guggenheim, Berlin, explores the notion of the veiled self-portrait as an art-historical trope, a literary device and a cinematic strategy while it examines the intersection of vanitas as a meditation on the ephemeral nature of life itself, and a ploy to remain immortal. For Douglas Gordon's Vanity of Allegory, Gordon turned to the history of art for source material. His installation includes loans from the Guggenheim and private collections, as well as examples of his own work and that of his peers. By combining historical and contemporary art and film, Gordon has created a visual collage that narrates issues of self-representation and double identity. This catalogue illustrates each object in the show along with Gordon's rationale for its inclusion.
Published by Hatje Cantz. Essays by Okwui Enwezor, Laurie Firstenberg and Nancy Spector.
As early as 1978, critics have compared the striking works of French photo artist Touhami Ennadre to the intensity of Van Gogh, and others have since identified affinities with Caravaggio and the poetry of Rimbaud. In the words of author Tilman Spengler, "Ennadre presents images that appear and disappear at the same time. Often insistent to the point of obsession, these works imitate Creation in their own unique fashion, posing the question of how light and shadow become form and figure in a dialogue of equals." Author Fran¡ois Aubral coined the term "black light" with reference to this aspect of Ennadre's work. If You See Something Say Something features an impressive selection of Ennadre's beautifully modeled photographs, and presents for the first time his recent Danse series, shot on the New York City club scene.
Published by Guggenheim Museum. Essays by Lisa Dennison, Nancy Spector, Deyan Dudjic, Andrea Codrington, John Hanhardt, Mark Taylor, Gia Kourlas and Drew Daniel.
Singular Forms (Sometimes Repeated) examines the impulse toward reduction, restraint, and lucidity in postwar art. Drawing on the Guggenheim's exceptional holdings of minimalist painting and singular sculpture, Singular Forms begins with Robert Rauschenberg's historic White Painting (1951), a stark, monochrome canvas. This seminal work establishes twin trajectories in the development of contemporary art: the elimination of all extraneous details to achieve an art of pure, essential form, and the attention to issues of perception. After a prologue including other examples of radical, monochrome paintings by Ellsworth Kelly, Frank Stella, and Ad Reinhardt, Singular Forms explores how these parallel artistic strategies were manifest in Minimalist and Conceptual art of the 1960s and 70s through the work of Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin, and Lawrence Weiner, among others. Minimalism's impact on subsequent generations of contemporary artists begins with Postminimalism, which utilized the movement's deliberate paucity of formal means to explore a range of concerns including process, the dematerialization of the object, the performative nature of art, and the structural properties of light. Artists such as Bruce Nauman, Richard Serra, James Turrell, and Richard Long are included in this section. What follows are artists schooled in the deconstructivist tendencies of Postmodernism--such as Robert Gober, Felix Gonzalez-Torres, and Roni Horn--who resuscitated Minimalism as a style, infusing its unitary, nonreferential forms with content to bring to the fore trenchant cultural issues. Singular Forms concludes with recent work that shares the look of classic Minimalist art, but uses it to communicate deeply personal, political, or poetic messages. Also examined is the reach of Minimalism and Conceptualism beyond the visual arts into film, choreography, music, design, and architecture.
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.
Published by Guggenheim Museum Publications. Essays by Jan Avgikos, Bridget Alsdorf, Daniel Abadie, Ivy Barsky, Jennifer Blessing, Marek Bartelik, Tracey Bashkoff, Susan Cross, Matthew Drutt, Cornelia Lauf, Ingrid Schaffner, Fiona J. Ragheb, Nancy Spector, Joan Young, et al.
From Picasso to Pollock highlights the history of the aesthetic vanguard from early Modernism through Abstract Expressionism. With distinctive focus yet remarkable comprehensiveness, From Picasso to Pollock unites the major artists and developments of the first half of the twentieth century through significant examples of non-objective, Cubist, Surrealist, Expressionist and Abstract Expressionist painting and sculpture. A deep and broad assembly of masterpieces has been chosen from the Guggenheim's formative collection, and through it the viewer may perceive the era of Modern art emerging in all its diversity and complexity. Included here are reproductions of and short texts on seminal works by Brancusi, Braque, Chagall, de Kooning, Delaunay, Ernst, Fontana, Kandinsky, Klee, Léger, Malevich, Matisse, Miró, Modigliani, Mondrian, Popova and Schiele. Narrative biographies on a number of these artists are included, as well as a short, illustrated history of the collection by Lisa Dennison. From Picasso to Pollock is the second in a trilogy from the Guggenheim which highlights the greatest strengths of the museum's collection. The first title, Moving Pictures, showcased contemporary photography and video, and the third, Primary Forms, considered Minimalism, Conceptualism and their more contemporary progeny.
Published by Guggenheim Museum. Edited by Nancy Spector and Tracey Bashkoff. Essays by Norman Bryson, Thomas Kellein and Carol Armstrong.
New Lower Price Hiroshi Sugimoto here turns to the wax figures he first explored in his Dioramas series. Combining poetic imagination and noble elegance, this body of work presents life-size black-and-white portraits of historical figures--Henry VIII, each of his six wives and Oscar Wilde, among others--photographed in wax museums and dramatically lit so as to create haunting images. Featuring an interview with the artist by Tracey Bashkoff and essays by Carol Armstrong, Norman Bryson, Thomas Kellein and Nancy Spector, this book offers fresh insights into the work of this important contemporary artist. Portraits was created specially for the Deutsche Guggenheim Berlin and was exhibited at the former Guggenheim Soho.
Published by Guggenheim Museum. Essays by Nancy Spector and Neville Wakefield.
Now in Paperback The definitive user's guide and then some to Matthew Barney's epic five-part film series, The Cremaster Cycle is filled with hundreds of Barney's fantastical images and surveys the project, which uses the biological model of sexual difference as its conceptual departure point. Three essays by Barney experts articulate the series' diverse themes and explore the artist's innovative aesthetic vocabulary; interviews with key collaborators, a composer, costume designer, make-up artist, technicians, and actors reveal his working process. A trailblazing essay by Curator of Contemporary Art Nancy Spector charts Barney's work from the 1990s to the present and provides critical insights into the aesthetic vocabulary of his five Cremaster films, while Neville Wakefield's "Cremaster Glossary" illuminates the films' most far-flung references with citations from sources as diverse as Freud's psychoanalytic studies, Mormon law and lore, and hardcore music fanzines. In addition to stills from the five films--including the final episode, Cremaster 3--the book features related sculptures, photographs, drawings, and storyboards. For anyone intrigued by the Wagner of contemporary art, this is an atlas to his enticingly hypnotic worlds. Barney himself collaborated on all aspects of this extraordinary publication, including the selection of over 700 images, most of them never before published.
Published by Guggenheim Museum. Edited by Nancy Spector. Essays by Nancy Spector and Neville Wakefield.
The definitive user's guide and then some to Matthew Barney's epic five-part epic film series, The Cremaster Cycle is filled with hundreds of Barney's fantastical images and surveys the project, which uses the biological model of sexual difference as its conceptual departure point. Three essays by Barney experts articulate the series' diverse themes and explore the artist's innovative aesthetic vocabulary; interviews with key collaborators, a composer, costume designer, make-up artist, technicians and actors reveal his working process. A trailblazing essay by Curator of Contemporary Art Nancy Spector charts Barney's work from the 1990s to the present and provides critical insights into the aesthetic vocabulary of his five Cremaster films, while Neville Wakefield's “Cremaster Glossary” illuminates the films' most far-flung references with citations from sources as diverse as Freud's psychoanalytic studies, Mormon law and lore, and hardcore music fanzines. In addition to stills from the five films--including the final episode, Cremaster 3--the book features related sculptures, photographs, drawings and storyboards. For anyone intrigued by the Wagner of contemporary art, this is an atlas to his enticingly hypnotic worlds. Barney himself collaborated on all aspects of this extraordinary publication, including the selection of over 700 images, most of them never before published.
Published by Guggenheim Museum. Edited by John G. Hanhardt and Nancy Spector. Essays by John G. Hanhardt, Nancy Spector, Maria-Christina Villase“or and Joan Young
During the late 1960s and 70s, a paradigm shift occurred within visual culture: photography and the moving image were absorbed into critical art practices. In particular, these mediums were used to record ephemeral or performative events and to render visible conceptual systems or to question the supposed objectivity of representation itself. This volume focuses primarily on artworks from the last decade and proposes that the extensive use of reproducible mediums in today's art has its roots in an earlier formative period. By the end of the 70s, many artists turned to photography as a vehicle through which to critique photographic representation and to subvert an art system premised on the notion of the original. While this practice came to define much of the 80s postmodern art, its legacy for the 90s was essentially the license to indulge in photographic fantasy, image construction, and cinematic narrative. Artists working today freely manipulate their representations of the empirical world or invent entirely new cosmologies. They process their subject matter through conceptual systems or use digital processes to alter their images. Some directly intervene in the environment, subtly shifting components of the found world and establishing their quiet presence in it; others fabricate entire architectural environments for the camera lens. This current state of the arts and its recent history are represented via more than 150 works by 55 artists, including Nam June Paik, Kara Walker, Felix Gonzalez-Torres, Marina Abramovic, Vito Acconci, Ana Mendieta, Bruce Nauman, Robert Smithson, Christian Boltanski, Sophie Calle, Fischli & Weiss, Ann Hamilton, Robert Mapplethorpe, Annette Messager, Cindy Sherman, Bernd and Hilla Becher, Elger Esser, Andreas Gursky, Candida H‡fer, Thomas Ruff, J‡rge Sasse, Thomas Struth, Olafur Eliasson, Roni Horn, Gabriel Orozco, Hiroshi Sugimoto, Matthew Barney, Gregory Crewdson, Anna Gaskell, Sam Taylor-Wood, Oliver Boberg, James Casebere, Thomas Demand, Vanessa Beecroft, Wolfgang Tillmans, Patty Chang, Trisha Donnelly, Stan Douglas, Pierre Huyghe, William Kentridge, Steve McQueen, Shirin Neshat, John Pilson and Gillian Wearing.
Published by Guggenheim Museum. Edited by Nancy Spector. Essays by Jennifer Blessing and Bridget Alsdorf.
Revised, expanded and completely redesigned, this latest edition of the Guggenheim Museum's popular guide to its New York collection is a beautifully produced volume, not only a handy overview of the museum's holdings but a concise, engaging primer on twentieth-century art. Organized alphabetically, the book consists of entries on more than 250 of the most important paintings, sculptures and other artworks in the collection by artists from Marina Abramovic to Gilberto Zorio. Also included are definitions of key terms and concepts of modern art, from “Action” to “Non-Objective” and beyond. The Guggenheim Museum Collection is beloved for this wealth of masterpieces by leading modern artists, such as Marc Chagall, Vasily Kandinsky and Pablo Picasso. Reflecting the recent growth in the collection, this 2001 edition includes new entries on such artists as Matthew Barney, Robert Gober, Ann Hamilton, Robert Mapplethorpe and Cindy Sherman, among others. The text is by the museum's curators as well as prominent authors and scholars, including Dore Ashton, Gary Garrels and Rosalind Krauss.
Published by Guggenheim Museum Publications. Edited by Thomas Krens and Bruce Brooks Pfeiffer, Essays by Lisa Dennison, Michael Govan, Nancy Spector, Clare Bell, Andrea Feeser, Jennifer Blessing, Diane Waldman and Julia Brown.
Now in Paperback! This lavishly illustrated book explores a century of modern art through the exceptional holdings of the Solomon R. Guggenheim Museum, New York, and the Peggy Guggenheim Collection, Venice. Engaging, accessible essays introduce a range of art-historical issues, from the depiction of women in Impressionist works to the Guggenheim's influential role in presenting new artistic currents, such as Minimalist, Conceptual and site-specific art. Also recounted are the fascinating stories of Solomon R. Guggenheim, who championed abstract art in the United States, and his flamboyant niece Peggy Guggenheim, an equally important art patron, as well as the saga of the design process and building of the Solomon R. Guggenheim Museum, one of Frank Lloyd Wright's masterpieces.
Published by Palm Beach Institute of Contemporary Art/Contemporary Art Museum, Baltimore. Artwork by Miriam Backsrom, Gordon Matta Clark, Lynne Cohen, Naomi Fisher, Dara Friedman, Paul Pfieffer, Bettina Von Zwehl, Doug Aitken, Janine Antoni, Uta Barth, Thomas Demand, Stan Douglas, Olafur Eliasson, Robert Gober, Douglas Gordon, Dan Graham. Photographs by Gregory Crewdson, Rineke Dijkstra, Rineke Dijkstra, Willie Doherty, Anna Gaskell, Nan Goldin, Nan Goldin, Katy Grannan, Candida Hàfer, Catherine Opie, Thomas Ruff, Gregor Schneider, Cindy Sherman, Thomas Struth, Hellen van Meene, Hilla BecEdited by Michael Rush, Nancy Spector. Text by James Rondeau, Gary Sangster, Tacita Dean.
Janine Antoni photographs a pair of hands joined in a M‡bius strip of long, polished fingernails; John Baldessari commingles images of politics and handguns and primary-colored spheres; John Coplans offers his feet as self-portrait; Gregory Crewdson tells the cinematic, mysterious tale of a random street in some suburbia somewhere; Thomas Demand constructs the illusion of a soundproof room; Rineke Dijkstra portrays herself as a bather at an indoor pool in Amsterdam; Anna Gaskell shows a drowning Alice (or is she treading water?); Dan Graham sites New Houses behind Chain Link Fence, Jersey City, Ny; and Andreas Gursky reveals the frenzy of the Chicago Board of Trade. These photographs and many, many more form the Miami-based collection Debra and Dennis Scholl have amassed over the last two decades. Representing an important selection of the major figures in contemporary American and European photography, they are here accompanied by essays from Nancy Spector, James Rondeau, and Michael Rush, three of the most important curators of contemporary art.
PUBLISHER Palm Beach Institute of Contemporary Art/Contemporary Art Museum, Baltimore
BOOK FORMAT Paperback, 9 x 11 in. / 104 pgs / 80 color / 9 bw
PUBLISHING STATUS Pub Date 2/2/2003 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2003
PRODUCT DETAILS ISBN 9780967648033TRADE List Price: $30.00 CDN $35.00
Published by Hatje Cantz. Artwork by Lawrence Weiner. Edited by Lisa Dennison, Nancy Spector. Contributions by Rolf Breuer. Text by Thomas Krens.
Conceptual Art pioneer Lawrence Weiner has vastly extended and rewritten the notion of sculpture--language is his medium, and his sculpture is text. In Weiner's mind, it is of no importance whether or not a work is ''realized''--it is entirely up to the ''reader'' of a work of art whether and how she will implement the work in her own head. Beyond this, a work can be ''realized'' in many forms--since 1968, Weiner has been publishing his language-oriented works in book form. The artist's book After All was commissioned by the Guggenheim Berlin and features drawings, texts, and plans for an installation consisting mainly of dual language inscriptions on exhibition walls. The book is dedicated to the exploration of the microcosmic and macrocosmic levels of the world we inhabit, and draws its inspiration from the naturalist and explorer Alexander von Humboldt and his endeavor to describe and categorize the whole world. A unique and impressive artist's book from one of our great artistic visionaries, After All takes a deep look at the human urge to classify and the modern will-to-truth.
Published by Independent Curators International. 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 Hatje Cantz. Edited by Christina Bechtler. Essays by Dan Cameron, Amy Cappellazzo, Ewa Lajer-Burcharth, Rosa Martinez, Nancy Spector, Marina Warner.
Janine Antoni has played a leading role in performance and installation art during the past decade. She had placed her own body at the center of her work, exploring how the body is both absent and present, visible and invisible. Part of Antoni's groundbreaking method has been to use her body both as an art object and as a functioning tool, as canvas, palette and paintbrush--she ''draws'' with a twitch of her eyelashes, ''paints'' with her hair, and ''sculpts'' blocks of fat with her teeth. On the other hand, Antoni just as often takes as her point of departure the sleeping, resting, more or less prenatal body. In Slumber, an electric encephalograph is used to record the instinctive movements of her pupils, and the resulting graphic pattern is integrated into a weaving piece the day after, which, in turn, serves as her blanket at night. The first monograph devoted to Antoni, this brilliant new volume documents the artist's major works in full color, alongside insightful essays.