Published by JRP|Ringier. Edited with text by Tom Eccles, Maja Hoffmann, Beatrix Ruf. Text by Jordan Bear, Karen Beckman, Branden Joseph, Fred Nadis, Stephanie O'Rourke, Jim Shaw, Chris Turner.
Since the late 1990s, artist Tony Oursler (born 1957) has amassed a vast personal archive of objects and ephemera relating to magic, the paranormal, film, television, phantasmagoria, pseudoscience and technology. For Oursler, the archive functions as an open visual resource, historical inquiry and--most intriguingly--a family history. One of the collection's many digressions records the friendship between the artist's grandfather Charles Fulton Oursler--a famous early 20th-century author and publisher--and magician and escapologist Harry Houdini, and a historic interaction with Arthur Conan Doyle, who, beyond his Sherlock Holmes series, was an important advocate for spiritualism and the paranormal. This publication features up to 1,500 objects from Oursler's collection, including photographs, prints, historic manuscripts, rare books, letters and objects. Additional topics include stage magic, thought photography, demonology, cryptozoology, optics, mesmerism, automatic writing, hypnotism, fairies, cults, the occult, color theory and UFOs.
Published by Kunsthaus Bregenz. Text by Friedemann Malsch, Gunter Gebauer. Interview by John Welchman.
Working since the late 1970s among the downtown New York music and art overlaps, video artist Tony Oursler (born 1957) is famed internationally for his immersive installations. In the summer of 2001, Oursler staged a spectacular installation at the Kunsthaus Bregenz. Titled Flucht, it involved projections onto the building's glass façade and an audio component with actors speaking in a range of dialects.
Published by Walther König. Text by David Rimanelli.
Tony Oursler begins his conversation with David Rimanelli at the introduction of High by lamenting (or perhaps celebrating), "There is a hole in my life." This catalogue from Oursler's 2008 exhibition at Lisson Gallery features 17 new installations alongside key earlier works from 1990 to 2001. At once tragicomic, sexy and sinister, his new body of work delves into the tangle of contemporary society's obsessive desires and needs, attempting to reason with the irrational. Oursler furthers his signature practice of melding paintings and sculptural forms with video; he contorts technology to unravel his fascination with the complex web of societal constraints and psychological dilemmas. Preoccupation with the neuroses and dissatisfactions of the Internet age is explored in works like "Cherry Nokia," in which the viewer is confronted with a huge red "sexting" cell phone; hurried fingers frantically dial-up images of soft-core porn videos, which ultimately fail to connect.
Published by Turner. Text by F. Javier Panera, Omar-Pascual Castillo, Suset Sánchez.
Critic Christopher Miles describes Tony Oursler's disturbingly manic and technically fascinating video installations thus: "A personality fragments when multiple images of a single babble-spouting face are projected onto side-by-side heads of varied sizes--the main psyche and all the little voices in the nooks of the mind--and elsewhere dolls debate, exchange mania and commiserate. Enormous eyes blink and watch from the spheres onto which they're projected; a massive fiberglass skull becomes a screen for a montage of fragmented faces; and assorted figures hang around (literally), voicing concerns, barking demands and offering speculation about their world." This volume, published concurrently with an international traveling exhibition, provides an in-depth examination of the artist's psychologically charged environments--in which he flips through Postmodern themes such as alienation, media manipulation and fragmented consciousness as restlessly as an insomniac channel-surfing on late-night TV.
New York-based artist Tony Oursler says of his drawings, “Each object I touch has a text. Like it or not, I hear it, I see it. Each touch throws me hopelessly out of my time, out of my mind. In this fractured psychological state, I’m amazed that this fragile scribbling on paper survived.” While his position as a forerunner in video art is well established, Oursler’s two-dimensional works have always been an essential part of his creative process as well. He describes these works on paper as a series of perceptions, scenes, delusions and diagrams--a free association of ideas that inform his video work. Oursler uses drawing, painting and collage as a diary--a means of remembering, associating or layering thoughts. The studies, sketches and paintings explore the supernatural, methods of mass communication, the history and development of media technology and their effect on the human psyche. This publication offers a chronology of Oursler’s two-dimensional work over the past 10 years, showcasing his early works on canvas, painting on sculpture, painting with collage and his videos that are projected onto painted panels. It is published in conjunction with Lehmann Maupin Gallery, New York.
Published by Poligrafa. Essays by Raymond Bellour, Tony Conrad, Constance DeJong and Tony Oursler. With interviews by Dan Graham and Mike Kelley.
The intelligent irony that resonates through the video and projection installations of American artist Tony Oursler results from a subtle combination of sound, language and pop culture images. These elements are thoroughly explored in this monograph, the most extensive publication on Oursler and his work. His videos often employ a projected human face to create bizarre contemporary icons and fragmented narratives that speak to the dislocation caused by contemporary issues of sex, violence and power. Tony Oursler includes 180 illustrations from his video, sculpture and mixed-media works on paper, as well as an extensive selection of the artist's own writings. There are also two long conversations between Oursler and the artists Mike Kelley and Dan Graham, which testify to the long-lasting mutual appreciation and collaboration between them. This is a major new publication on the career of one of the most important American artists of the last two decades.