Published by Modern Art Museum of Fort Worth. Edited with text by Andrea Karnes. Preface by Marla Price. Text by Michael Auping, Dieter Buchhart. Interview by Pharrell Williams.
A major survey of KAWS and his eye-popping work, from collectible art toys to UNIQLO T-shirts, from grafitti to museum exhibitions
Appropriating characters, images and effects from pop culture, the work of KAWS blurs the lines between high and low art, and between art and fashion. Deploying film and television favorites for his toys, large-scale sculpture and bold, nearly abstract painting, KAWS recasts the familiar colors and forms of popular entertainment in cheeky and often poignantly human terms. Influenced by Andy Warhol and other Pop artists, hard-edge abstract painting and graffiti, KAWS’ work deftly straddles consumer culture and artistic innovation, and his distinctive style is as much at home in his toys as in his monumental sculpture.
KAWS: Where the End Starts explores the artist’s prolific career in depth, featuring key paintings, sculptures, drawings, toys, and fashion and advertising designs. This extensive monograph, including contributions from Andrea Karnes, Michael Auping, Dieter Buchhart and Pharrell Williams, reveals critical aspects of KAWS’ formal and conceptual development over the past 20 years, as his career has shifted from graffiti to fine art and collaborations with designers and brands such as Comme des Garçons, SUPREME, Nigo (A Bathing Ape) and Nike.
Published in a hardcover edition with more than 150 color reproductions by the Museum of Modern Art, Fort Worth in conjunction with the major 2016 Fall exhibition on KAWS.
Brooklyn-based KAWS (born in 1974) is widely considered one of the most relevant artists of his generation. Within the Pop art tradition, he has created a prolific body of influential work, which both engages young people with contemporary art and straddles the worlds of art and design to include both product and graphic design, paintings, murals and sculpture.
Marla Price is Director of the Modern Art Museum of Fort Worth.
Michael Auping is Chief Curator at the Modern Art Museum of Fort Worth, Texas, and the author of books on abstract expressionism, Clyfford Still, and Arshile Gorky.
PUBLISHER Modern Art Museum of Fort Worth
BOOK FORMAT Hardcover, 8.25 x 11 in. / 240 pgs / 150 color / 30 bw.
PUBLISHING STATUS Pub Date 6/27/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2016 p. 15
PRODUCT DETAILS ISBN 9780929865362TRADE List Price: $55.00 CDN $72.50
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by David Zwirner Books. Text by Michael Auping. Contributions by Alexandra Whitney.
Published on the occasion of the eponymous exhibition at David Zwirner in 2015, Corners, Barriers and Corridors takes as its point of departure Dan Flavin’s (1933–96) influential corners, barriers and corridors in fluorescent light from Dan Flavin show, presented at the Saint Louis Art Museum in 1973. The volume brings questions of architecture to the fore, exploring how this particular body of light works function in space. Mining early explorations in Flavin’s practice, the book includes many works reproduced for the first time in plates that accurately capture their colors. Above all, the photography reveals the unexpected and powerful interplay between the light of Flavin’s constructions and the surrounding space; these works not only function as color experiments but as structural explorations in light. This catalogue presents an especially significant body of work, along with new scholarship by Michael Auping, offering a vital historical perspective on Flavin’s practice.
From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold, fluorescent lamp that is installed on a diagonal on the wall—a work which marks the artist’s first use of fluorescent light alone, until his death in 1996, Dan Flavin (1933-1996) produced a singularly consistent and prodigious body of work that utilized commercially-available fluorescent lamps to create installations, or “situations” as he preferred to call them, of light and color. Through the construction of light, Flavin was able to literally establish and redefine space.
Michael Auping is chief curator at the Modern Art Museum of Fort Worth in Texas.
Alexandra Whitney is Director of Research and Exhibitions at David Zwirner.
Published by Hatje Cantz. Text by Michael Auping, Ursula Ströbele.
Terry Haggerty (born 1970) creates large-format, abstract paintings and drawings on canvas or paper that combine the principles of Minimalism with the visual effects of Op art. Transcend presents the artist's oeuvre from the late nineties to the present, tracing an ingenious synthesis of abstract art's spiritual aspirations and Op art's playfulness.
Published by Hatje Cantz. Text by Michael Auping, Pascal Gielen, Jeremy Lewison.
Michelangelo Pistoletto (born 1933) is one of Arte Povera's most significant protagonists. It is with the Mirror Paintings that Pistoletto's name is mostly closely identified, an ongoing series begun in 1962 that has earned him rapid and enduring international recognition. These works are made from sheets of mirror-finished stainless steel, fitted with a full-length portrait photograph that has been meticulously traced and painted onto its surface (after 1971 the image was silkscreened on). The inclusion in the work of the viewer, his or her surroundings and his or her interaction with the photographed person in the mirror is the key to the boggling reflexivity that drives this work. This book evaluates the Mirror Paintings of the past four years. It includes an interview with the artist and a fully illustrated chronology of Mirror Paintings from 1962 to the present.
Published by University of California, Berkeley Art Museum and Pacific Film Archive. Edited by Elizabeth Thomas. Contributions by Bill Arning, Jens Hoffmann, Michael Auping, Jordan Kantor, Constance Lewallen, Lawrence Rinder.
MATRIX is published on the occasion of the thirtieth anniversary of this groundbreaking contemporary art exhibition series at the UC Berkeley Art Museum. Originally conceived in 1978 as a rotating program of single-artist exhibitions, it continues as a space of active engagement with contemporary art and ideas. MATRIX has presented the work of more than 240 international artists, including Doug Aitken, Michael Asher, Louise Bourgeois, James Lee Byars, Sophie Calle, Bruce Conner, Brian Eno, Eva Hesse, Robert Irwin, Zoe Leonard, Chris Marker, Julie Mehretu, Shirin Neshat, Adrian Piper, Cindy Sherman and Richard Tuttle. At more than 500 pages, this volume--designed collaboratively with New York's Project Projects--presents the history of UC Berkeley Art Museum's innovative program and includes newly commissioned conversations between some of the most important voices in contemporary art, including Michael Auping, Lawrence Rinder, Jens Hofmann and Jordan Kantor.
Published by Hatje Cantz. Edited by Fiona Bradley. Interview by Paul Bonaventura. Text by Fiona Bradley, Michael Auping, Eric de Chassey, Richard Cork.
Callum Innes's paintings are rhythmically meditative, the result of a process that involves the repeated removal of paint as well as its application. While calm and authoritative, they nevertheless bear the traces of the controlled chaos of their production, of the creative and destructive interaction of paint and turpentine. Combining extensive illustrations and analysis, From Memory brings together the major themes and preoccupations of Innes's practice over the last 15 years. Paintings from his earliest Cento series join Quotations, Agitated Verticals, Isolated Forms, Repetitions, Formed Paintings, Identified Forms, Monologues, Resonances and Shellac Paintings. A substantial body of Exposed Paintings, from the earliest to the most recent, allow readers to trace the development of Innes's artistic language from one work to the next, over time and space, with works speaking to one another.
Published by Hatje Cantz. Contributions by Michael Auping, Martin Hentschel, Christoph Schreier.
Focusing on Philip Guston's mature production in abstraction and his later figuration, this book argues for Guston as a consistent artist whose generic shift in the late 60s, from Monet-like abstract hatchings to the cartoonish forms of his final decade and a half, reminded artists everywhere that courage is what it's all about. Here, well-known experts on Philip Guston's oeuvre such as Michael Auping and Christoph Schreier discuss the scope of Guston's sizeable body of work.
Published by Hatje Cantz. Text by Michael Auping, Richard Prince. Interview by Michael Auping.
Since his first road trip in 1956, driving from Oklahoma City to Los Angeles, Ed Ruscha has continued to muse on America as seen from the road: "I like being in the car, and seeing things from that vantage point," he has said. "Sometimes I give myself assignments to go out on the road and explore different ideas. My books are an example of that." Consisting of around 75 works spanning the artist's entire career, Ed Ruscha: Road Tested includes many of the famous aforementioned artist's books, including Twenty-Six Gasoline Stations, Real Estate Opportunities, Some Los Angeles Apartments, Thirty-Four Parking Lots and the groundbreaking artist's book Every Building on the Sunset Strip; some of Ruscha's most iconic paintings, such as the "Standard Stations" and the "Hollywood Signs," as well as paintings inspired by street names and road signs; and his exploration of the topography of greater Los Angeles in paintings that depict aerial grids of the city, as well as various southern California horizons and sunsets. Also examined here is the rarely seen Ruscha film Miracle (1975), which tells the story of a mechanic whose obsessive repair of the carburetor on a 1965 Mustang dooms his date with a beautiful woman. The first-ever treatment of a primary theme in the artist's career, Road Tested at last gives Ed Ruscha his own road show. Ed Ruscha (born 1937) has made pioneering work in the media of painting, printmaking, drawing, bookmaking, photography and film since 1958. Associated in the early 1960s with the Ferus Gallery, Ruscha was included in Walter Hopps' landmark Pop art show New Painting of Common Objects, at the Pasadena Art Museum in 1962. His painting career was recently surveyed in Ed Ruscha: Fifty Years of Painting (D.A.P., 2010).