Published by Witte de With Publishers. Edited by Amira Gad, Nicolaus Schafhausen, Monika Szewczyk. Introduction by Amira Gad, Nicolaus Schafhausen. Text by Nav Haq, John Miller, Christine Lang, Christoph Dreher.
This Source Book combines critical essays and visual notes compiled by the Canadian-born, Berlin–based sculptor, installation and sound artist, over the course of a collaboration with composer and musician George van Dam and a TV script written by Christine Lang and Christoph Dreher.
Published by Hatje Cantz. Text by Susanne Pfleger, Christian Rattemeyer, Heinz Stahlhut.
Angela Bulloch's works often deal with systems of rules and viewer interaction. She first became known in the 1990s for her Pixel Boxes--cube-shaped, illuminated boxes capable of generating all sixteen million colors of a television screen using just three basic colors. Drawings make up the core of this publication, including Drawing Machines, a series begun in the 1990s, which involve observers in the production process.
Published by Walther König, Köln. Edited by Helmut Friedel. Text by Matthias Mühling.
Berlin-based Angela Bulloch's installations are inspired by well-known films like Michelangelo Antonioni's Zabriskie Point (1970). This volume focuses on Bulloch's subversion of spatial and temporal expectations, as in her Night Skies series of projections and light installations that show sections of the sky as if from a vantage far from earth.
This Canadian-born, Berlin-based Conceptual artist, often grouped with England's YBAs--she lived in the UK from 1977-1988, attended Goldsmiths College and was nominated for the 1997 Turner Prize--specializes in interactive sound and light sculpture. Her practice came to prominence in the 1990s with work that included lamps that dimmed or brightened in the presence of a viewer and "drawing machines" that were triggered by a viewer's touch, sound or movement. Since 2000, Bulloch has been creating increasingly ambitious installations based on the "pixel box," a highly innovative sculptural unit that combines a Minimalist cube with a programmable light system capable of illuminating almost 17,000,000 color permutations. Arranged in stacks, rows, or cinemascope screens, the boxes produce a sequence of changing colors and rhythms, creating space-altering environments that are captivatingly beautiful, while conceptually rigorous, referring to art history, film, music, TV and popular culture. This catalogue, which accompanied Bulloch's Fall 2006 exhibition at The Power Plant in Toronto, includes installation shots, essays, descriptive texts, interviews and a biography.
Published by Parkett. Artwork by Angela Bulloch, Daniel Buren. Edited by Pierre Huyghe.
Presenting unique and in-depth collaborations and editions with leading international artists, Parkett No. 65 features collaborations with John Currin (United States), Laura Owens (United States) and Michael Raedecker (The Netherlands), three painters who apply their individual marks and styles to the traditions and techniques of painting. Currin's accomplished and alluring paintings of distorted and disfigured women and men, including portraits, genre scenes, and still-lifes, bring back the figurative in contemporary painting with an informed nod to art history. With her capacity for color and deft mark making, Owens takes the blank canvas and makes tantalizing paintings that lie somewhere between the abstract and the representational, all the while mastering the arrangement of space, form and color on a two-dimensional surface. Raedecker creates haunting paintings--landscapes, abstract and figurative, sometimes a bit of both--with the use of oils and thread and gothic colors imbued with a sense of the spiritual and the humorous. Parkett No. 66 features collaborations with Angela Bulloch (Canada), Daniel Buren (France) and Pierre Huyghe (France). Huyghe reassesses Conceptual art concerns by reinterpreting familiar films and themes in popular culture; he also draws on disregarded aspects of everyday life, such as time and alienation, and brings them back into our awareness. Bulloch's participatory sculptures explore the physical and psychological aspects of space by using simple light and sound effects that require the viewer's active participation. In the 1960s, Buren began producing works by using the striped cloth he calls “a seeing tool,” seeking a new way to make art exist outside the museum and gallery spaces that delimited its socializing capacity. Since then he has continued his striped works and remains one of France's most important and cherished living artists.