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, 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).
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 The Museum of Modern Art, New York. Text by John Elderfield, Elizabeth Reede, Richard Powell, Michael Auping.
Over the last 30 years, Martin Puryear has created a body of work that defies categorization, creating sculpture that examines identity, culture and history. Departing from the impersonal and machined aesthetic of Minimalism, Puryear's work combines Modernist abstraction with the traditions of crafts and woodworking, in shapes informed by the natural and by ordinary objects, made with materials such as tar, wood, stone and wire. It is quiet but deliberately associative, encompassing wide-reaching cultural and intellectual experiences and drawing on a huge and varied reserve of images, ideas and information. As a high school and college student, the artist studied ornithology, falconry and archery, and in the 1960s he volunteered with the Peace Corps in Sierra Leone, where he schooled himself in the region's indigenous crafts; these are only a few of the influences and methods that have embedded themselves in his work. And the sources of his works are no less varied than the possible and open-ended interpretations: "I think there are a number of levels at which my work can be dealt with and appreciated," Puryear said in a 1978 interview. "It gives me pleasure to feel there's a level that doesn't require knowledge of, or immersion in, the aesthetic of a given time or place." This volume is published on the occasion of the artist's Fall 2007 exhibition at The Museum of Modern Art, which travels from New York to Fort Worth, Washington, D.C. and San Francisco. It follows Puryear's development from his first solo show in 1977 to new works that are presented here for the first time and contains essays by John Elderfield, Michael Auping and Elizabeth Reede, and a conversation with the artist by Richard Powell.
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 Publishers. 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.