Published by Tate/D.A.P.. Edited by Guy Brett. Text by Moacir dos Anjos, Guy Brett, Okwui Enwezor, Maaretta Jaukkuri, Bartomeu Mar', Lu Menezes, Suely Rolnik, S˘nia Salzstein, Lynn Zelevansky.
Brazilian artist Cildo Meireles, born in 1948, has made some of the most politically telling and aesthetically seductive works in recent art. An important theme in the Brazilian postwar avant-garde, from which Meireles emerged at the end of the 1960s, was the relationship between the sensual and the cerebral, the body and the mind. Meireles, now acknowledged as a key instigator of international Conceptual art, has remained true to these concerns--and to a political and ethical viewpoint formed outside the cultures of plenty. At the same time, he has become a global artist, making work that deals with issues and experiences that affect us all--whatever our country of origin. Under the repressive military regime of the late 1960s and early 1970s, which controlled the Brazilian media, Meireles found different ways of reaching the public--stamping bank notes with seditious slogans and returning them into circulation, or stenciling Coke bottles with slogans before sending them back to the bottling plant. Other works play with the sense of space or scale, varying in size from that of a finger ring to an installation covering almost 750 square feet. His installations are always designed to heighten the awareness of his audience, sometimes by inducing fear, as in "Volatile" (1980/94), which includes the presence of a naked candle and the smell of natural gas. "Babel" (2001) is a contemporary take on the myth of the tower that confounded the world's languages. Lavishly illustrated, this volume includes 10 short thematic essays by leading scholars--including Moacir dos Anjos, Guy Brett, Okwui Enwezor, Maaretta Jaukkuri, Bartomeu Mar', Lu Menezes, Suely Rolnik, S˘nia Salzstein and Lynn Zelevansky--as well as previously unpublished commentaries on each work by the artist.
Published by Hatje Cantz. Edited by Hans-Michael Herzog, Katrin Steffen. Text by Alexander Alberro, Luis Camnitzer, Lynn Zelevansky, et al.
Since its emergence in the 1980s and 90s, the Daros Collection in Zurich has accumulated about 280 works by 30 outstanding North American and European artists. It possesses one of the finest collections of early Warhol, and major works by Sigmar Polke, Barbara Kruger, Alfredo Jaar and Louise Bourgeois among many others. In 2000, when the strength and integrity of this collection had been established, the museum boldly struck off in a new direction, and the Daros Latin America Collection was founded. Already comprising roughly 1,000 works by around 100 artists including Carlos Amorales, JosÚ Bedia, Alfredo Jaar, Gego, Guillermo Kuitca, Vik Muniz, among others, it is now the largest collection of Latin American art in Europe--an exciting new resource that will doubtless have interesting long-term ramifications for contemporary European art. Face to Face is the first volume to bring the two Daros Collections together, thereby engaging these works--created in different media and of various cultural origin--in a dynamic dialogue that disrupts ordinary canon-oriented perspectives. Face to Face thus not only deepens our knowledge of the respective qualities of the two collections, but also explores the common characteristics of their cultural backgrounds.
The Broad Contemporary Art Museum at the Los Angeles County Museum of Art
Published by Los Angeles County Museum of Art. Foreword by Michael Govan. Text by Lynn Zelevansky.
BCAM/LACMA/2008 marks the opening of LACMA's new three-story contemporary-art building, designed by Pritzker Prize-winning architect Renzo Piano. The centerpiece of the book is the fascinating--and hitherto largely untold--history of contemporary art at LACMA, written by Lynn Zelevansky, Curator of Contemporary Art. Zelevansky's 26,000-word essay is profusely illustrated with signature works from the collection and numerous historical and documentary photographs. In addition, an essay by LACMA's Director, Michael Govan, explores the synergetic enrichment of the museum's contemporary holdings by the world-famous collection of Eli and Edythe Broad, illustrated with 30 full-page reproductions of masterworks and recent acquisitions. A conversation with Govan, Broad and Piano provides intimate background details on the entire collaborative building process, from idea through funding, design and execution. As a unique contribution to the volume, four Los Angeles artists were commissioned to respond to the building project with a photography project. Anthony Hernandez provided a portfolio of elegant abstractions. Sharon Lockhart photographed the process of archaeological excavation from the underlying tar pits. The Center for Land Use Interpretation journeyed to the far-flung quarries and mines that were the sources of the construction materials. And Uta Barth discovered spaces of beauty and mystery within the unfinished building. BCAM/LACMA/2008 is not only a celebration of a significant moment, but also an in-depth look at a vital, growing institution.