Philippe Vergne

ACTIVE BACKLIST

ROBERT LEHMAN LECTURES ON CONTEMPORARY ART NO. 4
DIA ART FOUNDATION
ISBN: 9780944521793 | US $16.95
Pub Date: 10/31/2009
Active | In stock

MARK BRADFORD: MERCHANT POSTERS
Text by Malik Gaines, Ernest Hardy, Philippe Vergne, Heidi Zuckerman Jacobson.
GREGORY R. MILLER & CO./ASPEN ART PRESS
ISBN: 9780980024227 | US $50.00
Pub Date: 3/31/2010
Active | In stock

YVES KLEIN: WITH THE VOID, FULL POWERS
Text by Kerry Brougher, Philippe Vergne, Klaus Ottmann, Kaira M. Cabañas, Andria Hickey.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN/WALKER ART CENTER
ISBN: 9780935640946 | US $65.00
Pub Date: 7/31/2010
Active | In stock

GEDI SIBONY
Edited by Giovanni Carmine. Text by Giovanni Carmine, François Quintin, Philippe Vergne.
JRP|RINGIER
ISBN: 9783905829891 | US $35.00
Pub Date: 5/31/2009
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CAMERON JAMIE
Foreword by Kathy Halbreich. Text by Philippe Vergne. Excerpt by Charles Bukowski
WALKER ART CENTER
ISBN: 9780935640878 | US $34.95
Pub Date: 6/1/2007
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KARA WALKER: MY COMPLEMENT, MY ENEMY, MY OPPRESSOR, MY LOVE
WALKER ART CENTER
ISBN: 9780935640861 | US $49.95
Pub Date: 3/1/2007
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HEART OF DARKNESS
Foreword by Kathy Halbreich. Introduction by Philippe Vergne.
WALKER ART CENTER
ISBN: 9780935640854 | US $27.00
Pub Date: 10/15/2006
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HOUSE OF ORACLES: A HUANG YONG PING RETROSPECTIVE
WALKER ART CENTER
ISBN: 9780935640823 | US $45.00
Pub Date: 10/15/2005
Active | Awaiting stock

EXPANDING THE CENTER: WALKER ART CENTER AND HERZOG & DE MEURON
WALKER ART CENTER
ISBN: 9780935640847 | US $34.95
Pub Date: 1/1/2006
Active | In stock

OUT OF PRINT LISTING

HOW LATITUDES BECOME FORMS
WALKER ART CENTER
ISBN: 9780935640731 | US $29.95
Pub Date: 4/2/2003
Out of print | Not available

OLAF BREUNING: UGLY
Essays by Christopher Doswald, Gianni Jetzer, Markus Stegmann, Dorothea Strauss, Philip Vergne.
HATJE CANTZ PUBLISHERS
ISBN: 9783775711050 | US $45.00
Pub Date: 2/2/2002
Out of print | Not available

AMORALES VS. AMORALES
Edited by Gils Stork. Essays by Cuauhtemoc Medina, Phillippe Vergne and Rein Wolfs.
ARTIMO
ISBN: 9789075380231 | US $25.00
Pub Date: 8/2/2001
Out of print | Not available

Philippe Vergne

Robert Lehman Lectures on Contemporary Art No. 4

Edited by Lynne Cooke, Karen Kelly and Barbara Schröder. Essays by Dave Hickey, Rosalind Krauss, Ulrich Loock, Alexander Alberro, Jan Avgikos, Richard Shiff, Dirk Snauwaert, Miwon Kwon, Colin Gardner. Foreword by Philippe Vergne.
Published by Dia Art Foundation

Since 1992, the Dia Center for the Arts has presented the Robert Lehman Lectures on Contemporary Art—an example of Dia's ongoing commitment to cross-disciplinary critical discourse. This fourth volume of collected theoretical and critical essays focuses on Dia's exhibitions from 2001 through 2002, with contributions by Alexander Alberro, Jan Avgikos, Colin Gardner, Dave Hickey, Rosalind Krauss, Miwon Kwon, Ulrich Loock, Richard Shiff and Dirk Snauwaert. These writers analyze the work of internationally recognized artists such as Roni Horn, Alfred Jensen, Bruce Nauman, Max Neuhaus, Panamarenko, Jorge Pardo, Gerhard Richter, Bridget Riley, Diana Thater and Gilberto Zorio.

Mark Bradford: Merchant Posters

Text by Malik Gaines, Ernest Hardy, Philippe Vergne, Heidi Zuckerman Jacobson.
Published by Gregory R. Miller & Co./Aspen Art Press

This book gathers for the first time an extensive selection of American artist—or “builder and demolisher,” as he describes himself—Mark Bradford's gorgeous, searing and heavily textured “merchant posters.” The original printed posters, collected by Bradford from around his Central Los Angeles neighborhood, are brightly colored local advertisements that target the area's vulnerable lower-income residents. For Bradford, they serve as both the formal and conceptual underpinnings of his works on paper, décollages/collages that engage with the pressures of the cityscape. “The sheer density of advertising creates a psychic mass, an overlay that can sometimes be very tense or aggressive,” he notes; “If there's a 20-foot wall with one advertisement for a movie about war, then you have the repetition of the same image over and over—war, violence, explosions, things being blown apart. As a citizen, you have to participate in that every day. You have to walk by until it's changed.” Eagerly anticipated, this is the first large-scale publication by a major publisher about the work of this important and increasingly influential artist. Artist and writer Malik Gaines considers Bradford's play with signs in relation to literary and performative theories of African-American forms; writer and cultural critic Ernest Hardy addresses social issues, in Los Angeles and more broadly, raised by Bradford's source material; Heidi Zuckerman Jacobson examines the language in the work as it relates to Concrete poetry; and Dia Art Foundation Director Philippe Vergne looks at the surface of the work and Bradford's processes of mining and excavation.

Yves Klein: With the Void, Full Powers

Text by Kerry Brougher, Philippe Vergne, Klaus Ottmann, Kaira M. Cabañas, Andria Hickey.
Published by Hirshhorn Museum and Sculpture Garden/Walker Art Center

One of the last century's most influential artists, Yves Klein (1928–1962) took the European art scene by storm in a prolific career that lasted only from 1954 to 1962, when he suffered a heart attack at the age of 34. Klein was an innovator who embraced painting, sculpture, performance, photography, music, theater, film, architecture and theoretical writing. Self-identified as “the painter of space,” Klein sought to achieve immaterial spirituality through pure color (primarily an ultramarine blue of his own invention—International Klein Blue) and even went so far as to present white galleries emptied of all artworks for his renowned 1958 exhibition of “the Void.” His diverse oeuvre represents a pivotal transition from modern art's concern with the material object to contemporary notions of the conceptual nature of art. Yves Klein: With the Void, Full Powers is published to accompany the first major retrospective of the artist's work in the United States in nearly 30 years. It includes examples from all of Klein's major series, including his Anthropometries, Cosmogonies, fire paintings, planetary reliefs and blue monochromes, as well as selections of his lesser-known gold and pink monochromes, body and sponge reliefs, “air architecture” and immaterial works. Essays by curators Kerry Brougher and Philippe Vergne, Klein scholar Klaus Ottmann, art historian Kaira M. Cabañas and curatorial fellow Andria Hickey, as well as archival materials and translations of Klein's published and unpublished writings, offer insights into the artist's endeavors and process.
Born in Nice, France, in 1928, Yves Klein created what he considered his first artwork when he signed the sky above Nice in 1947, making his earliest attempt to capture the immaterial. The artist carved out new aesthetic and theoretical territory based on his study of the mystical sect Rosicrucianism, philosophical and poetic investigations of space and science, and the practice of Judo, which he described as “the discovery of the human body in a spiritual space.”

Gedi Sibony

Edited by Giovanni Carmine. Text by Giovanni Carmine, François Quintin, Philippe Vergne.
Published by JRP|Ringier

In Gedi Sibony's sculptural work, cardboard, wood, carpets, plastic sheets and latex paint are embedded into the exhibition rooms' architectural context. His spatial collages oscillate between objectlike appearance and installation-esque ensembles. One could describe them as low-key high art. Born in 1973 in New York, Sibony showed his work at New York's New Museum in 2007.

Cameron Jamie

Foreword by Kathy Halbreich. Text by Philippe Vergne. Excerpt by Charles Bukowski
Published by Walker Art Center

Cameron Jamie's work--a blend of video, sound, performance, photography and drawing--confronts the dysfunction of European and American society. His critical gaze often focuses on ritualistic practices in popular culture, such as hot dog eating contests and backyard wrestling. Taking suburban phenomena of this sort as his primary material, Jamie explores the dark underbelly of the American dream in drawings, film and performance. This artist-designed exhibition catalogue features more than 60 works in various media, illuminating the artist's process with selections from his personal archive of clippings and ephemera, as well as raw sketches for his projects. An essay by exhibition curator Philippe Vergne, a foreword by Walker director Kathy Halbreich and a reprint of a poem by Charles Bukowski selected by the artist provide context for this first large-scale, museum presentation of Jamie's work.

Kara Walker: My Complement, My Enemy, My Oppressor, My Love

Text by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr, Kevin Young, Yasmil Raymond.
Published by Walker Art Center

Kara Walker is among the most complex and prolific American artists of her generation. Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.

Heart of Darkness

Foreword by Kathy Halbreich. Introduction by Philippe Vergne.
Published by Walker Art Center

Heart of Darkness centers on three large-scale installations by artists Kai Althoff, Ellen Gallagher and Thomas Hirschhorn. Working with fairy tales, science fiction and sensational imagery, these artists invite us to enter an uncanny world of their own creation, where darkness is not just a representation of chaos, madness and dystopia, but an artistic strategy in the search for clarity and empathy within the insurmountable nihilism of the twenty-first century. With an introduction by curator Philippe Vergne and individual interviews with the artists.

House of Oracles: A Huang Yong Ping Retrospective

Edited by Philippe Vergne and Doryun Chong. Essays by Hou Hanru, Fei Dawei, Huang Yong Ping and Philippe Vergne. Foreword by Kathy Halbreich.
Published by Walker Art Center

This first monograph to look back over Huang Yong Ping's work to date finally brings the full range of his accomplishments to an international audience. As a contemporary artist in China working with diverse traditions and new and ancient media, Huang has built an artistic universe comprised of provocative installations that challenge the viewer to reconsider everything from the idea of art to national identity to recent history. He was once one of the leading figures of the Xiamen Dada movement--a collective of artists working to create a new Chinese cultural identity by bridging trends in Western modernism with Chinese traditions of Zen and Taoism. He continues to confront established definitions of history and aesthetics with sculptures and installations that draw on the legacies of Joseph Beuys, Arte Povera, and John Cage as well as traditional Chinese art and philosophy, juxtaposing traditional objects, iconic images, and modern references. House of Oracles echoes that blend by binding photographs, essays, and striking sketchbook pages, which are presented with translations of the artist's calligraphy, in a matte soft cover with two facing spines--it opens with the plates on one side and the essays and artist writings on the other.

Expanding the Center: Walker Art Center and Herzog & de Meuron

Edited by Andrew Blauvelt. Essays by Andrew Blauvelt, Steve Dietz, Sarah Schultz and Robin Dowden. Conversations with Philippe Vergne, Richard Flood, Doryun Chong, Pitor Szhakski and Rich Shelton. Foreword by Kathy Halbreich.
Published by Walker Art Center

The Walker Art Center recently opened its expanded space, which includes a new theater, a new restaurant and more galleries, but is best known for being Herzog & de Meuron's first public building in the United States. The project drew national coverage from media including The New York Times. Expanding the Center addresses this public interest in the building with a generous selection of images, including sketches, renderings and photographs of the construction process and the completed work. Herzog & de Meuron's shimmering but grounded design mirrors the textures and shades of the Walker's original space, and an institutional philosophy based in innovation and risk-taking, the exploration of alternative approaches to learning, the experimental use of technologies to communicate information, and the design of spaces to enhance a variety of museum experiences. The book is organized around the decisions and actions of the architects, builders, Walker staff and the audience--i.e. designing, constructing, unveiling, staging, gathering, patterning, framing, collecting--and highlights the thinking that led to the visible form of the Center as well as the innovative projects and initiatives that give it its inimitable character.

How Latitudes Become Forms

Art in the Global Age

Edited by Philippe Vergne. Contributions by Philip Büther, Vasif Kortun, Baraka Sele, Kathy Halbreich. Text by Paulo Herkenhoff, Steve Dietz, Cuauhtemoc Medina, Hidenaga Otori, Hou Hanru, Vishakha Desai.
Published by Walker Art Center

The rise of globalism has created tremendous challenges to old economic, political and cultural paradigms, changes that are increasingly reflected in diverse artistic practices across the planet. If disciplinary boundaries are now crossed as easily as geographic ones, how does the new internationalism that we are facing affect aesthetics and artistic production? Is there a link, for example, between the rise of video works and the global availability of digital media? Does the global information age facilitate an international language of art and an alternative reading of history, from art history toward art histories? From the perspective of a museum of modern and contemporary art--a purely European construct--the art institution has to overcome a major contradiction, one that exists between its mission of permanence and its mission of change. How can cultural institutions contribute to the revamping of their own structures now that the hegemony of Western modernity is being challenged? How can museums connect with new audiences through different practices, different scholarships, and different interpretive strategies that grow out of the sedimentation of their own history? To invite and encourage such dialogue, How Latitudes Become Forms looks at current scholarship on globalism and changing curatorial practices, and identifies critical models provided by artists themselves, featuring thought-provoking essays and conversations by curators, critics, and cultural programmers from across the world, as well as multidisciplinary artworks by more than 40 artists from Brazil, China, India, Japan, South Africa, Turkey and the United States.

Olaf Breuning: Ugly

Essays by Christopher Doswald, Gianni Jetzer, Markus Stegmann, Dorothea Strauss, Philip Vergne.
Published by Hatje Cantz Publishers

Films, television, advertising, video clips, and computer games--all are fair game and useful material for Swiss artist Olaf Breuning. In his photographs, videos, and installations, Breuning engages with the reality of the vast array of media that surround us incessantly, day in and day out, appropriating narratives, images, and characters to create unforgettable and eerily familiar hybrids. Through unlikely medleys that juxtapose such disparate elements as the accoutrements of occultism, new-age fads, and vampire films, mixing together disgust, sweetness, kitsch, horror, levity, and gravity, Breuning shows that nothing is too sacred or profane to warrant inclusion in one of his playful, weirdly subtle compositions.

Amorales Vs. Amorales

The Bad Sleep Well

Edited by Gils Stork. Essays by Cuauhtemoc Medina, Phillippe Vergne and Rein Wolfs.
Published by Artimo

Carlos Amorales is a Mexican artist whose work in the media of photographs, videos, installations, and performance draws on the theatrical world of professional wrestling in Mexico, where the fighters assume fictional characters and are popular heroes. Amorales takes part in this world by creating his own alter ego: a wrestler that fights under the name Amorales and wears a mask designed by the artist. The result is a fascinating, multi-layered game of changing identities, and a constant shifting of reality and fiction.