Published by Gregory R. Miller & Co.. Introduction byTom Eccles, Beatrix Ruf, Hans Ulrich Obrist. Text by Johanna Burton, Germano Celant. Interview with Hans Ulrich Obrist, Tom Eccles, Beatrix Ruf.
Primarily known for his paradigmatic "shelves" displaying everyday objects, Haim Steinbach (born 1944) has developed a practice that evolved from early minimalist painting with grids and monochromes to later large-scale installations that have seldom been seen in the US. Growing out of a traveling exhibition that features works drawn from throughout Steinbach's career, as well as archival materials and new site-specific installations, Object and Display urges readers to take a closer look at this seminal artist's works. Hundreds of full-color illustrations document the exhibition, which included photographs, models and recreations from past works, along with photography of the site-specific installations that appeared at each institution. New essays by writers Johanna Burton and Germano Celant explore the evolution of Steinbach's practice and his investigations into what constitutes an art object and how art and objects are displayed.
Published by Gregory R. Miller & Co.. Edited with text by Joan Simon. Text by Joan Jonas, Douglas Crimp, Johanna Burton, Barbara Clausen, Richard Serra, Susan Rothenberg.
One of the most continuously influential figures of the past half century, Joan Jonas was among the first artists to embrace the forms of video, performance and installation. From her beginnings as a sculptor, and her emergence in the New York art and performance scenes of the 1960s and 70s (including the seminal "Vertical Roll" video piece of 1972, in which the titular television malfunction enacted a memorably fractured female identity), up through her six appearances at Documenta and her performance at the Performa 13 biennial, her work has always been surprising, groundbreaking and necessary. This extensively illustrated volume, containing hundreds of full-color photographs, drawings, scripts and diagrams, presents the definitive collection of Jonas' work. The first and authoritative career-spanning monograph of the multimedia pioneer, it covers more than 40 years of performances, films, videos, installations, texts and video sculptures. Art writer Joan Simon has painstakingly researched every one of Jonas' works and includes notes on each piece, along with new and never-before-published writings by the artist that provide extensive background. In the Shadow a Shadow also contains essays by Douglas Crimp, Barbara Clausen and Johanna Burton, and unpublished photographs and drawings from Jonas' archives. With a detailed production and exhibition history of the video and performance works, as well as the first comprehensive bibliography and biography of the artist, this intensively researched and authoritative book documents the range, breadth and depth of one of the most prolifically original artists of the twentieth and twenty-first centuries. New York–born and based, Joan Jonas (born 1936) has taught at UCLA School of the Arts, in Stuttgart, Germany and at the Massachusetts Institute of Technology, where she is a professor emerita. She has lived and worked in Greece, Morocco, India, Germany, Holland, Iceland, Poland, Japan, Italy, Hungary and Ireland.
Published by JRP|Ringier. Edited by Lionel Bovier. Text by Johanna Burton, Douglas Eklund.
A member of the so-called “Pictures Generation,” Troy Brauntuch (born 1954) makes appropriated works that, by removing or adding context, can, on one hand, empty out culturally charged icons, and on the other hand, supply seemingly innocuous material with massive charge. Brauntuch's work 1 2 3 provides a useful example of the tactics he likes to employ; it consists of screenprints of a set of fairly unremarkable sketches—a tank, a vestibule, a stage set—which turn out to have been drawn by one Adolf Hitler. This semiotic standoff between innocuous artwork and not-so-innocuous author compels the viewer to ponder the constructions of significance one so often unthinkingly performs when looking at art—constructions that Brauntuch has consistently sabotaged throughout his 30-year career. This first survey of Brauntuch's work includes essays by Johanna Burton and Douglas Eklund, curator of the Metropolitan Museum of Art's critically acclaimed 2009 Pictures Generation exhibition.
Published by JRP|Ringier. Text by Hilton Als, Johanna Burton.
This comprehensive monograph illuminates Wilcox's work in collaged movie and television footage and handmade animation--mythical romantic mini-narratives--with essays from Johanna Burton and New Yorker critic Hilton Als. Wilcox shoots in Super 8, both original footage and preexisting film from a video monitor, transfers his work to video for editing, and then to 16 millimeter for presentation. When it is shown, the sound of the projector dominates the gallery space, while the silence of the film itself indexes the impossibility of hearing the silent voices. There is no illusion of transparency, of believing one might share any kind of simple present with the characters on the screen. Instead, the transfers between formats give the collected imagery a sort of patina, suggesting not only temporal distance--the weight of history--but also a shift in the equilibrium of the senses. As seen at The Museum of Modern Art and the 2004 Whitney Biennial in New York.
Published by Gregory R. Miller & Co.. Interviews by Mary Heilmann, Matthew Higgs. Text by Johanna Burton.
Marilyn Minter is the first book published about the work of the highly respected and influential contemporary artist Marilyn Minter. This retrospective publication features work from every period of Minter's career spanning nearly forty years. Minter is considered one of today's most important artists. Her perennially expanding reputation was widely established during the 1980s, when her work engaged formal aspects of painting as well as subject matter that remain central to her practice today. This comprehensive book reproduces in full color nearly every painting Minter has made along with a wide selection of her painterly photographs of the last several years. The book also includes the seminal and haunting Coral Ridge Towers series of black-and-white photos Minter took of her mother in 1969. Art historian Johanna Burton contributes a substantial essay that analyzes and elucidates all aspects of Minter's work. Burton's text is complemented by a lengthy "conversation" between Minter and painter and friend Mary Heilmann, as well as by "Twenty Questions," a project assembled by Matthew Higgs and posed by a wide range of artists, curators, friends and others with a unique connection to Minter. The book's concept, design, and production have been vividly realized by the award-winning New York- and Amsterdam-based design studio, COMA. This publication-with its combination of beautiful reproductions of Minter's work, Burton's powerfully argued essay, and revealing interviews-firmly establishes Minter's important and central position in contemporary art history.
Art and Writings by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne
Published by Bard College. Edited by Rhea Anastas, Michael Brenson. Foreword by Tom Eccles. Text by Adrian Piper, Kara Walker, Daniela Rossell, Mona Hatoum, Cady Noland, Jenny Holzer, Monika Sprüth, Rhea Anastas, Michael Brenson, Norton Batkin, Johanna Burton, Aruna D'Souza, Pamela Franks, Janet Kraynak, David Levi Strauss, Cuauhtémoc Medina, Ann Reynolds, Hamza Walker.
This radical new study aims to change the way that some of the most influential artists of the past 40 years are seen--all of them women. Emphasizing questions of autonomy, critical intelligence and artistic intention, Witness to Her Art presents works by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne, a magazine published by gallerist Monika Sprüth. The artworks are accompanied by original writings by the artists, contemporaneous criticism and newly commissioned essays by Pamela Franks, Aruna D'Souza, Johanna Burton, David Levi Strauss, Hamza Walker and Cuauhtémoc Medina. The ambitious works presented and interpreted herein invite us to consider the impact of the feminist revolution across generations while rendering obsolete any stigma associated with shows or catalogues limited to women artists. Taking its lead from Conceptualism, feminism, and from its included artists, Witness to Her Art reaches for art history's capacity as a medium of world-making.
PUBLISHER Bard College
BOOK FORMAT Paperback, 8 x 10 in. / 336 pgs / 240 color / 76 bw.
PUBLISHING STATUS Pub Date 3/1/2007 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 67
PRODUCT DETAILS ISBN 9781931493550TRADE List Price: $40.00 CDN $50.00
Published by Hirshhorn Museum and Sculpture Garden. Introduction by Olga Viso. Text by Anne Ellegood, Johanna Burton.
This thematic selection of recent work from nine established and emerging international sculptors--the eldest born in 1947 and the youngest in 1974--collects the ways they are giving shape to the fleeting, ephemeral, theoretical and difficult-to-explain. From Charles Long's delicate, poetic and personal debris assemblages to Björn Dahlem's quirky, elegant models of black holes and Andrea Cohen's styrofoam and packing-peanut networks, their works are inspired by and address the history of their medium, as they explore how it can continue to challenge and expand our ways of seeing. The Uncertainty of Objects and Ideas is not only a look at current trends, but a tool in placing this new work within the history of Modern sculpture. It notes responses to the formal and material concerns of groundbreaking twentieth-century experiments such as Cubist collage, Dada and Fluxus, from 1960s California's "junk" sculptures to Robert Rauschenberg's postmodern Combines. Includes work from Isa Genzken, Mark Handforth, Rachel Harrison, Evan Holloway, Mindy Shapero, Franz West, as well as Cohen, Dahlem and Long.
PUBLISHER Hirshhorn Museum and Sculpture Garden
BOOK FORMAT Hardcover, 8 x 10.5 in. / 128 pgs / 95 color / 5 bw.
PUBLISHING STATUS Pub Date 1/1/2007 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 85
PRODUCT DETAILS ISBN 9780978906306TRADE List Price: $37.95 CDN $45.00
Published by Artimo. Essays by Heidi Zuckerman and Joanna Burton.
Airports, bridges, corridors, architectural models, icebergs--Carla Klein paints non-places. She makes quick work of the border between painting and photography, straddling the worlds of fiction and reality, illusion and transparency, abstraction and representation. Carla Klein documents five years of the artist's work, from 2000 forward.
BOOK FORMAT Hardcover, 12 x 8.5 in. / 180 pgs / 80 color.
PUBLISHING STATUS Pub Date 3/1/2006 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2006 p. 153
PRODUCT DETAILS ISBN 9789085460565TRADE List Price: $55.00 CDN $65.00
Published by JRP|Ringier/MMCA. Edited by John Rasmussen. Essays by Joanna Burton and Fabrice Stroun.
The first publication to feature these two up-and-coming New York artists originally from Tennessee focuses on their recent collaborations. Call Guyton and Walker “neo-formalists” or “appropriationists” or just remarkably accomplished, but their photo-label paint-can pyramids, their use of Ketel One Gothic-lettered ad copy and their serrated knife serial paintings seem Warholian without being derivative.
Published by University Art Museum, University at Albany. Introduction by Corinna Ripps Schaming. Text by Johanna Burton.
For more than 20 years, the photographer Dana Hoey (born 1966) has explored what it means to be female. Using both staged and directed photography, her meticulously constructed pictures often combine the sunny daylight and saturated color of commercial, digitally enhanced film stock with the iconography and framing of religious painting. Her early work claims influences as diverse as Bernini’s “Ecstasy of St. Teresa” and Philip Roth’s American Pastoral and reveals a fascination with corrupted idealism and the power of heedless actions. More recently, Hoey has explored scenarios in which older women play central roles and typically female activities take on elevated status. In her latest pictures, resin casts of her own and friends’ bodies, found sculptures and plastic tarps serve as stand-ins for human subjects. The Phantom Sex is the first comprehensive overview of this prominent female photographer in more than ten years.
PUBLISHER University Art Museum, University at Albany
BOOK FORMAT Paperback, 9 x 11 in. / 104 pgs / 57 color / 9 bw.
PUBLISHING STATUS Pub Date 3/31/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 96
PRODUCT DETAILS ISBN 9780910763448TRADE List Price: $29.95 CDN $35.00
Published by Gregory R. Miller & Co./The Bronx Museum of the Arts. Introduction by Holly Block, Carey Lovelace. Text by Johanna Burton, Jennifer Egan.
Sarah Sze (born 1969) has earned deserved acclaim since the late 1990s for her intricate assemblages of everyday consumer products, painstakingly arranged by hand into immense, site-specific installations that engage the viewer in a dizzying play of perspective and scale. Often every crevice of an architectural space is utilized in her complex constructions, composed of thousands of objects, works that converge at the intersection of drawing, sculpture and architecture. Sarah Sze: Triple Point is a major new publication on the work of this celebrated artist, documenting Sze’s ambitious, large-scale exhibition at the U.S. Pavilion of the 2013 Venice Biennale, with 64 pages of full-color plates and several significant new texts on Sze and her practice. Included is a conversation between the artist and Pulitzer Prize winning author Jennifer Egan, along with a short story by Egan entitled “Black Box.” Curator and scholar Johanna Burton contributes a compelling new examination of Sze’s practice, and 2013 Biennale Co-Commissioners Holly Block and Carey Lovelace provide an introduction to the project and artist. Elegantly realized by award-winning designer Takaaki Matsumoto, Sarah Sze: Triple Point is certain to be a lasting testament to the continued development of this exciting and original artist.
Published by The Museum of Modern Art, New York. By Eva Respini. Text by Johanna Burton. Interview by John Waters.
Published to accompany the first major survey of Cindy Sherman’s work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist’s 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman’s sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal Untitled Film Stills (1977–80); centerfolds (1981); history portraits (1989–90); head shots (2000–2002); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An essay by curator Eva Respini provides an overview of Sherman’s career, weaving together art historical analysis and discussions of the artist’s working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman’s work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provides an enlightening view into the creative process.
Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.
Eva Respini is a former Curator in the Department of Photography at The Museum of Modern Art, New York where she contributed to numerous publications including Robert Heinecken: Object Matter (2014); Cindy Sherman (2012); and Into the Sunset: Photography’s Image of the American West (2009); Fashioning Fiction in Photography since 1990 (2004).
John Waters is an American filmmaker, actor, writer, and visual artist best known for his cult films, including "Hairspray", "Pink Flamingos", and "Cecil B. DeMented". He lives in Baltimore, Maryland.
Johanna Burton has served as the director of the graduate program at the Center for Curatorial Studies at Bard College.
Published by Gregory R. Miller & Co.. Text by Johanna Burton, Matthew Higgs, Mary Heilmann, Sonia Campagnola.
This expanded edition of Gregory R. Miller's hugely successful first-ever monograph on Marilyn Minter from 2007 brings her public up to speed with the inclusion of works created over the past three years, including images from Minter's 2009 video “Green Pink Caviar,” shown in New York's Times Square and featured in Madonna's recent Sticky and Sweet concert tour. Minter's ever-expanding reputation was established during the 1980s, when her work engaged formal aspects of painting as well as subject matter that remain central to her practice today. This publication features work from every period of a career that now spans over 40 years, and reproduces in full color nearly every painting Minter has made, along with a wide selection of her painterly photographs of the last several years. It also includes the seminal and haunting Coral Ridge Towers series of black-and-white photos that Minter took of her mother in 1969. Art historian Johanna Burton contributes a substantial essay that analyzes and elucidates all aspects of Minter's work; her text is complemented by a lengthy conversation between Minter and her friend, painter Mary Heilmann, as well as by “Twenty Questions,” a project assembled by Matthew Higgs to which a wide range of artists, curators, friends and others with a unique connection to Minter have contributed. The design and production of this expanded edition have been superbly realized by the award-winning New York- and Amsterdam-based design studio, COMA. This monograph firmly establishes Minter's important and central position in contemporary art.
Published by Matthew Marks Gallery. Text by Johanna Burton.
As spacious and sleek as the work itself, this monograph reproduces two sculptures from 2004 and 2005, along with 17 new paintings dating from 2007 and 2008, eight of which consist of a black or white rectangle with a contrasting black, white or colored rectangle placed diagonally on top and extending beyond the boundary of the canvas below. In the catalogue, Johanna Burton writes, "What Kelly is producing does not end at the edge... a shadow is thrown, but rather than demarcating the shape and space of the work more clearly, it works to utterly confuse what is being looked at: these are paintings that, in places, don't end or, perhaps, refuse to show how they begin. Rather than a perceptual fluke or an experiment in phenomenology, however, this is, I think, a part of the painting." The book accompanies the exhibition held at the Matthew Marks Gallery in the Spring of 2009. All plates are full color.