Published by Mousse Publishing. Edited by Philippe Pirotte, Sofie von Olfers. Text by Antje Krause-Wahl, Sebastian Schneider, Anuschka Berthelius, et al.
A few years ago, independently from one another, American artists Mike Bouchet (born 1970) and Paul McCarthy (born 1945) both had made a work that transformed the Guggenheim Museum in New York into a toilet. This coincidence sparked an ongoing conversation about shared interests in the politics of art institutions and their architecture, leading up to a site-specific project for Portikus that took up these concerns in a multilayered exhibition structure involving not only the main exhibition space, but the office, the monumental attic space, the exterior of the building, the island that the institution is housed on as well as external locations within the city. The project has now culminated in an extensive publication, documenting the process and the final outcome of Powered A-Hole Spanish Donkey Sport Dick Drink Donkey Dong Dongs Sunscreen Model.
Published by Hatje Cantz. Text by Paul McCarthy, Christophe Beaux, Chiara Parisi.
This publication by Paul McCarthy (born 1945) is a new edition of Chocolate Factory, Paris , which has been expanded by 128 pages. It documents the artist's first major solo exhibition in France, illustrating both the concept of the exhibition as well as its reworking in response to an attack on McCarthy that occurred during the installation of his sculpture, "Christmas Tree," in Place Vendôme in Paris. Besides the illustrations of McCarthy's transformation of the magnificent exhibition spaces of Monnaie de Paris through his continuous production of chocolate Christmas trees, which were exhibited on ever-new shelves, this new edition also includes the video in which Paul McCarthy deals with both a physical and verbal attack ("Are you the fucking artist?").
This new publication by Paul McCarthy (born 1945) is realized on the occasion of the opening of Chocolate Factory, his first large-scale exhibition in France, presented at Monnaie de Paris. In this complex and ambitious project, the story of a work seven years in the making merges with the history of the space. Composed of two volumes, Chocolate Factory, Paris is an artist's book retracing the development of the project since its very conception to its setting in the eighteenth-century salons of Monnaie de Paris. The book is entirely conceived by the artist around the imagery of Christmas in Paris and more specifically around the figures of Santa Claus and the Christmas Tree with collaged texts, sketches and drawings by McCarthy that make reference to art history, poetry and anthropology.
Published by JRP|Ringier. Text by Donatien Grau, Paul McCarthy, Damon McCarthy
This publication presents photographs shot during the making of Rebel Dabble Babble, a collaboration between Paul McCarthy and his son Damon McCarthy. Rebel Dabble Babble is an installation and video projection work inspired by both Nicholas Ray’s 1955 classic Hollywood film Rebel without a Cause and the rumors attending the off-set relationships between its director and his stars James Dean, Nathalie Wood and Sal Mineo. This densely layered opus expands beyond its references to the 1955 movie to offer a meditation on the archetypes and Oedipal tensions that define family dynamics. In the film, McCarthy and his actors (including Hollywood star James Franco) play hybrids both of Ray’s cinematic characters and the actors who played them. With this mind-bending series of doubles, binaries and inversions, Rebel Dabble Babble presents perversions of interchangeable roles and fetish relationships.
Published by Hatje Cantz. Edited by Joachim Jäger. Text by Stacen Berg, Michael Diers, Donatien Grau, Nick Herman, Joachim Jäger.
This handsome new book by Paul McCarthy (born 1945) highlights a major new work that refers to both the physical and the mental space of artistic creativity. The Box is McCarthy’s reflection on the phenomenon of the artist’s studio. As inconspicuous as any other plain moving box from the outside, the interior of the work reveals a striking, barely comprehensible diversity of things that inhabit this intimate and ever-changing incubator for artistic ideas. First, McCarthy constructed a model of a barn-like space in Pasadena, California, which served as his studio during the 1970s. Turned on its side 90 degrees, along with its approximately 3,000 objects--from a bulky steel cabinet to a pencil--the work compels a disorienting shift of perception in the viewer, which is impressively extended into the tactile quality of the book and its abundance of images.
Published by Walther König, Köln. Edited by Hubert Klocker.
Caribbean Pirates offers a peek inside Paul and Damon McCarthy’s stage set for their 2006 video projection of the same name, reproducing production shots, installation shots and video stills. Allusions to political power and Hollywood cinema mingle freely with viscera and scenes of gluttony, violence and excess.
Low Life Slow Life—a hefty, 640-page tome covering a two-part exhibition at San Francisco's CCA Wattis Institute curated by Los Angeles-based artist Paul McCarthy—is packaged as an instantly recognizable recreation of a Tide box, circa 1973. A fine work of book art in its own right, it showcases a vast range of works that have influenced McCarthy's career, presenting a personal map of his individual take on art history alongside his unique creative philosophy. This personal map includes works by John Altoon, Günter Brus, Howard Fried, Dan Graham, Allan Kaprow, Rachel Khedoori, Yves Klein, Tetsumi Kudo, Yayoi Kusama, Maria Lassnig, Robert Mallary, Gustav Metzger, Yoko Ono, Lil Picard, Jason Rhoades, Dieter Roth, Barbara Smith, Stan VanDerBeek and Andy Warhol. The catalogue, which is designed by McCarthy with Jon Sueda, also includes an interview with McCarthy and an essay on his work by Wattis Institute curator Jens Hoffmann.
Published by Foundation 20/21. Edited by Tim Nye. Text by Sam Lipsyte.
Most artists would be sorry to hear that their work looked like a steaming plate of poop, but not Paul McCarthy. Because that's exactly what he's drawn. In a woodbound portfolio scribbled and annotated ("finger," "smeel my assh hul hole") in what looks like the handwriting of a teenage boy, everything that isn't scatological is phallic or violent. Photographs, including documentation of his sculptures, raise the production values and (sometimes) lower the NC-17 rating. And his commentaries on the work clarify his intentions: if Disney-esque model dwarves are "emissaries from multinational conglomerates come to colonize our dreams," McCarthy's mission must be, in part, recovering those dreams and restoring the taboo to our minds. Mission accomplished. McCarthy, born in Salt Lake City in 1945 and a longtime resident of Los Angeles, has had recent major solo shows at Stockholm's Moderna Museet, New York's New Museum and the Tate Modern in London.
Published by Hatje Cantz Publishers. Essays by Elisabeth Bronfen, Stephanie Rosenthal, Benjamin Weissman and John C. Welchman.
To say that Paul McCarthy is a provocative artist is to make an understatement as gross as the artist's own infamous use of chocolate syrup and Santa Claus costumes. Since the late 1960s, McCarthy has pushed the boundaries of taboo through the media of performance art, sculpture and video, aiming for ultimate catharsis via an inside-out journey through sticky layers of shock and provocation. In his early performance works, the artist used his own body as material, testing his physical limits amidst a mess of American condiments like mayonnaise and ketchup, plus a helping of fluids simulating bodily excretions. His attack on the values of the American way of life and on a society manipulated by the media continued into the 1980s, when he began to produce mechanical sculptures that gradually replaced his own presence in the gallery. In the 1990s, his ever expansive installations continued to break taboos in a theatrically drastic way, further exploring issues of violence and pornography, masturbation, birth and death. LaLa Land is published in conjunction with the most extensive exhibition of McCarthy's work in Europe, which ran through the summer of 2005 at the Haus der Kunst in Munich. Included is the first published documentation of two new works on which the artist worked for several years, Pirate Project and Western Project, whose respective protagonists, pirates and cowboys, are drawn from common clichés and myths, as are so many of his characters. Here they are treated with McCarthy's characteristic irony and grotesque exaggeration. Complementing this documentation are video stills, drawings and sculptures dating from the early 1960s to the present, for an important overview of the artist's entire oeuvre.
Published by Walther König, Köln. Artwork by Paul McCarthy.
Trust us, you don't want this Santa coming down your chimney. Through a series of 75 crisp images, mostly in brilliant reds, Tokyo Santa documents Paul McCarthy's 1996 performance at Tomio Kayama Gallery. Santa is decidedly naughty--he shows his private parts, and smears ketchup and paint everywhere. Everywhere. Also included are ten drawings that Santa made during his performance; they share a palette of browns, reds, black and greens. With its large format, and cheerful red-and-green palette, this oversized book makes a wonderful holiday gift--but not for the kids.
PUBLISHER WALTHER KöNIG, KöLN
BOOK FORMAT Hardcover, 10.75 x 15.5 in. / 154 pgs / 137 color.
PUBLISHING STATUS PUB DATE 3/15/2005 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2005 p. 135
PRODUCT DETAILS ISBN 9783883756141SDNR30 LIST PRICE: $100.00 CDN $120.00
AVAILABILITY Not Available
STATUS: Out of print | 00/00/00
For assistance locating a copy, please see our list of recommended out of print specialists >
Published by Richter Verlag. Edited by Eva Meyer-Hermann. Essays by Roberto Ohrt and Eva Meyer-Hermann.
Since the 1990s, Los Angeles-based artist Paul McCarthy's large-scale video projections, installations and sculptures, have placed him in the public eye. Partly through the use of a vocabulary of taboos, sex and violence inflated to an extreme, the artist has sought to unmask social conventions. The drawings shown in Brain Box, Dream Box fully disclose his line of thought and work processes for the past 35 years. What becomes clear is how scrupulous and direct McCarthy's pictorial vocabulary is and how, through the most hackneyed metaphorical analogues, his exaggerations and blowups countermine media, politics and Hollywood ideals.
Published by Walther König, Köln. Essays by Yilmaz Dziewior, Ulrike Groos, Johann Lothar Schröder and Kathrin Sauerländer.
In his performances, installations, videos and sculptures, Paul McCarthy has deconstructed, muddied, insulted and made a very deliberate mess of American mythology, from Heidi and Pinocchio to Santa Claus and Rocky. His videos, represented here through annotation and stills, are an indispensable documentary element of his performances. Over 50 works are included, plus a biography, bibliography and selected exhibition list.
PUBLISHER WALTHER KöNIG, KöLN
BOOK FORMAT Paperback, 6.5 x 9.75 in. / 96 pgs / 192 color.
PUBLISHING STATUS PUB DATE 1/2/2004 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2004
PRODUCT DETAILS ISBN 9783883755373SDNR30 LIST PRICE: $30.00 CDN $35.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Oktagon. Edited by Eva Meyer-Hermann.
Paul McCarthy's architectural installations--incorporating video and performance artifacts--have received copious critical and curatorial attention during the past decade, and his work has had a tremendous impact on two generations of Los Angeles artists, as well as artists throughout the world. This coffee table-size monograph reveals numerous perspectives on McCarthy's recent installations at the new "Lokremise laboratory" in St. Galen, Switzerland, presented using an innovatively designed collage method with detailed notation. Among the highlights are McCarthy's "mechanized" Swiss chalet, his "Bossy Burger" performance video--featuring a reconfigured sitcom set--and "The Box," which presents the artist's complete studio interior tilted by ninety degrees. And no one should miss out on McCarthy's Michael Jackson sculptures and his scatological "Santa Chocolate Shop." As editor Eva Meyer-Hermann puts it in her introduction: "It was no accident that the first artist featured at the Lokremise laboratory was Paul McCarthy. His works are experiments in perspective-shifting; change and development are inbuilt."
BOOK FORMAT Hardcover, 10.5 x 10.5 in. / 60 pgs / 54 color
PUBLISHING STATUS PUB DATE 2/2/2001 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2001
PRODUCT DETAILS ISBN 9783896110879SDNR30 LIST PRICE: $35.00 CDN $40.00
AVAILABILITY Not Available
STATUS: Out of print | 4/23/2001
For assistance locating a copy, please see our list of recommended out of print specialists >
Published by Hatje Cantz Publishers. Artwork by Paul McCarthy. Edited by Dan Cameron. Text by Lisa Phillips, Anthony Vidler, Amelia Jones.
Working in a pioneering fusion of sculpture and conceptually based performance, Paul McCarthy is one of the most influential figures in contemporary art--and yet the full range is of his oeuvre is still not fully appreciated or understood. While his architectural installations incorporating video and performance artifacts have received plenty of critical and curatorial attention, few viewers are familiar with the trajectory of his artistic evolution, or with the impact of his works on two generations of Los Angeles artists. This catalogue--accompanying McCarthy exhibitions at the Museum of Contemporary Art, Los Angeles, and the New Museum of Contemporary Art in New York--covers more than 100 works from all areas of his activity, and gives an exemplary insight into McCarthy's works form the early 70s up to the present day. Experts on his work give comprehensive descriptions and analyses of the artist's performances and installations, examine the unique ties between his works and the cinematic arts, and explore the ongoing dialogue between the artistic cultures of New York and Los Angeles (particularly in terms of the development of Conceptual art).
Paul McCarthy's art has always been provocative. His protagonists often spring from common clichés and myths. Yet it appears that McCarthy does not only aim for provocation and shock, but also for catharsis, which ultimately reveals the artist's moral intention.
Low Life Slow Life presents a diverse range of artists and artworks related to Paul McCarthy's memories of his own career. His selections are eclectic and unconventional, deriving more from his personal recollections than from any historical, objective measure of artistic influence. Packaged as a recreation of a vintage of Tide detergent, the book showcases a vast range of works that have influenced McCarthy’s career, presenting a personal map of his individual art history and philosophy.
For our Collector’s Edition Paul McCarthy has re-worked a photograph of an icon of American commercialism: Mickey Mouse waving happily in front of Cinderella’s castle at the Magic Kingdom in Orlando. In his work, the man-size cartoon character, played by an actor in a costume, is shown in front of a deep black background — the artist has erased, blotted out, eradicated the plastic amusement park.
PUBLISHER HATJE CANTZ
PUBLISHING STATUS PUB DATE -- Active
DISTRIBUTION CONTACT PUBLISHER
PRODUCT DETAILS ISBN 9887683964132RETAIL LIST PRICE: $2,490.00 CDN $2,490.00