Published by The Museum of Modern Art, New York. Edited by Roxana Marcoci. Text by Roxana Marcoci, Terry Eagleton.
Published in conjunction with the first solo museum exhibition of the work of Sanja Ivekovic in the United States, this volume is the most comprehensive survey on the artist available in English. A feminist, activist and video and performance pioneer, Ivekovic came of age in the early 1970s during the period known as the Croatian Spring, when artists broke free from mainstream institutional settings. This catalogue presents an overview of the artist's projects from the early 1970s to 2011 in all mediums, offering a fascinating view of gender roles, the official politics of power and the paradoxes inherent in a society's collective memory. Featured works include Ivekovic's historic single-channel videos, performances and sculptural installations as well as a selection from Double Life (1975-76), her celebrated series of 64 photocollages. Weaving together art-historical analysis and political theory, the publication offers a critical examination of the neo-avant-garde in former Yugoslavia and investigates the theme of violence in art.
Published by The Museum of Modern Art, New York. Edited by Roxana Marcoci. Text by Roxana Marcoci, Geoffrey Batchen, Tobia Bezzola.
Since its birth in the first half of the nineteenth century, photography has offered extraordinary possibilities of documenting, redefining and disseminating works of art. Through crop, focus, angle of view, degree of close-up and lighting, as well as through expostfacto techniques of dark room manipulation, collage, montage and assemblage, artists not only interpret the works they record but create stunning reinventions of them. The Original Copy: Photography of Sculpture, 1839 to Today presents a critical examination of the intersections between photography and sculpture, exploring how the one medium has become implicated in the understanding of the other. Through a selection of nearly 300 outstanding pictures by more than 100 artists from the nineteenth century to the present, The Original Copy looks at how and why sculpture became a photographic subject and how photography at once informs and challenges our knowledge of sculpture. The images range in subject from inanimate objects to performing bodies, and include major works by Manuel Alvarez Bravo, Eugène Atget, Herbert Bayer, Hans Bellmer, Constantin Brancusi, Brassaï, Claude Cahun, Ken Domon, Marcel Duchamp, Fischli/Weiss, Robert Frank, Lee Friedlander, David Goldblatt, Rachel Harrison, Hannah Höch, André Kertész, Louise Lawler, Man Ray, Bruce Nauman, Charles Nègre, David Smith, Alina Szapocznikow, Gillian Wearing, Hannah Wilke and Iwao Yamawaki, among others.
Published by The Museum of Modern Art, New York. Foreword by Glenn D. Lowry. Text by Roxana Marcoci.
In recent years, a number of artists have abstracted images culled from slapstick, comic strips and films, cartoons and animation into a new representational mode to address perplexing issues about war and global conflicts, the loss of innocence and ethnic and cultural stereotyping. From Julie Mehretu’s intricately layered paintings and Arturo Herrera’s psychological collages made of Walt Disney coloring books to Ellen Gallagher’s seductively Minimalist paintings, permeated by “blackface” signs culled from minstrel performances, to Rivane Neuenschwander’s wiped-out cartoon characters, the world of comic abstraction reflects the intensely personal relationship that many contemporary artists maintain with political currents. This publication, which accompanies a Spring 2007 exhibition of the same name at The Museum of Modern Art, presents the first major investigation into this new model of representation. It features recent work by 13 artists and a selection of 30 large-scale works and installations that bridge the rift between abstraction and comics in ways that are at once critical and playful. It also includes a critical essay, interviews with the artists, and a selected exhibition history and bibliography. Features work by Polly Apfelbaum, Inka Essenhigh, Ellen Gallagher, Arturo Herrera, Michel Majerus, Julie Mehretu, Juan Muñoz, Takashi Murakami, Rivane Neuenschwander, Philippe Parreno, Gary Simmons, Franz West and Sue Williams.
Published by The Museum of Modern Art, New York. Essay by Roxana Marcoci. Short story by Jeffrey Eugenides.
German artist Thomas Demand occupies a singular position in the world of photography. Initially he took up photography to record his ephemeral paper constructions, but in 1993 he turned the tables by making constructions in order to photograph them. Demand begins by translating a preexisting image, usually culled from the media, into a life-size model he makes out of colored paper and cardboard. He recreates a room, a parking lot, a staircase, a landscape--then he photographs the model and destroys it. Demand's photographs appear at once compellingly real and strangely artificial. Since their subjects--handcrafted facsimiles of both architectural spaces and natural environments--are themselves built in the image of other images, the photographs are three times removed from the scenes they seek to depict. Combining craftsmanship and conceptualism in equal parts, Demand pushes the medium of photography toward uncharted frontiers. Given the cinematic quality of many of his photographs, it is not surprising that he has set some of them in motion, producing five 35 mm films. This comprehensive publication presents all of Demand's major works from 1993 to the present. It includes previously unpublished archival documentation, and offers compelling insight into his working process and the stories behind his pictures.
Published by The Museum of Modern Art, New York. Artwork by Keith Haring. Edited by Miriam Basillio, Terence Riley. Contributions by Anne Umland. Text by Paulo Herkenhoff, Roxanna Marcoci, Kynaston McShine, Glenn Lowry.
To mark the opening of its temporary galleries in a converted staple factory in Queens--the museum's home until the renovations to its Manhattan space are completed--The Museum of Modern Art has issued this commemorative limited-edition box set. The set features three volumes: To Be Looked At: Painting and Sculpture from The Museum of Modern Art, New York, Tempo, and MoMA QNS: Looking Ahead.
Published by Cleveland Center for Contemporary Art. Edited by Larry Gilman. Essays by Kristin Chambers. Introduction by Jill Snyder.Interviews by Roxana Marcoci.
This book examines the shared preoccupations of five celebrated female artists from around the world, whose work mines the fertile fields of politics, patriarchy, religion and culture: Ghada Amer, Nicole Eisenman, Shahzia Sikander, Lin Tianmiao and Fatimah Tuggar.
PUBLISHER CLEVELAND CENTER FOR CONTEMPORARY ART
BOOK FORMAT Paperback, 8 x 12 in. / 64 pgs / 30 color / 10 bw.
PUBLISHING STATUS PUB DATE 10/2/2001 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2001
PRODUCT DETAILS ISBN 9781880353196TRADE LIST PRICE: $14.95 CDN $17.50
AVAILABILITY Not Available
STATUS: Out of print | 00/00/00
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Published by Museum of Contemporary Art, Chicago. Contributions by Laszlo Beke, Iaroslava Boubnova. Text by Roxana Marcoci.
Over the past 50 years, East European artists have seen the virtual breakdown of their societies and their cultures. Instead of seeking to replace their devalued ideologies with new belief systems, many have profoundly challenged the very concept of belief systems. In this provocative exhibition catalogue, artists and essayists from Poland, Hungary, the Czech Republic, Romania, Bulgari and Slovakia confront Eastern Europe's cultural watershed head on. In addition to the excellent illustrations, the book includes a foldout timeline of noteworthy events since 1945, plus regional maps and a statistical profile of each country.