Published by Hammer Museum/UMOCA/CAMH/CAM St. Louis/Telfair Museum/C. Text by Jason Farago.
Your Land / My Land: Election '12 was an installation by New York–based artist Jonathan Horowitz (born 1966) that occurred simultaneously at seven museums across the country. The installation provided a space for people to gather, watch coverage of, and talk about the presidential election. An additional component of the exhibition was an interactive website that posted social media content from the Twitter, YouTube and Facebook feeds of both the Obama and Romney campaigns. Computers were stationed at each venue, allowing visitors to comment on these feeds, and the site was also accessible from outside the museums. That exhibition website is the basis for the content and design of this book.
PUBLISHER HAMMER MUSEUM/UMOCA/CAMH/CAM ST. LOUIS/TELFAIR MUSEUM/C
BOOK FORMAT Paperback, 5 x 7.75 in. / 1,240 pgs / illustrated throughout.
PUBLISHING STATUS PUB DATE 3/24/2015 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2015 p. 146
PRODUCT DETAILS ISBN 9781938922695TRADE LIST PRICE: $50.00 CDN $60.00
AVAILABILITY In stock
in stock $50.00
free FedEx Ground shipping
FEDEX GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Secret Life, a collaboration between the celebrated artists Jonathan Horowitz (born 1966) and Elizabeth Peyton (born 1965), revolves around the broad theme of flowers and plants. Through painting, print, drawing, sculpture and photography, the artists delve into the history of floral symbolism in art and literature.
Published by JRP|Ringier. Edited by Lionel Bovier, Kelly Taylor. Text by Klaus Biesenbach, Alison Gingeras, Elizabeth Peyton.
Orienting himself firmly in the media-present, New York artist Jonathan Horowitz replays the recent past in the incarnations of our times. This reprisal occurs particularly in video works such as "Maxell," in which the name of the now obsolete videotape company is worn down to a VHS blur, and "The Soul of Tammi Terrell," in which 1960s footage of the eponymous pop star singing "Ain't No Mountain High Enough" is juxtaposed with Julia Roberts and Susan Sarandon's rendition of the song in the 1998 film Stepmom. Horowitz himself makes no overt political critique, but always ensures that the work's underlying edge is laid plainly before the viewer. Queer and ecological themes also abound, as does sly humor and a Warholian detachment. This is the first thorough survey of Horowitz's work.