Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"'Most images in the world are produced for a mass audience and we need no further images of this kind,' Pfeiffer said in an interview. 'It is unnecessary to try to make even more images circulate in the system. It thus seems to me to be something precious in this world to have the option of making images as the extension of a very much older context, namely, painting, where one always has the essential relationship between the painting and a viewer--and not millions of viewers." Cornelia Gockel, excerpted from Paul Pfeiffer--Monuments in the Flood of Mass-Media Image Production in Paul Pfeiffer.
Published by Hatje Cantz. Edited by Ingvild Goetz, Stephan Urbaschek. Text by Hal Foster, Katharina Vossenkuhl.
The acclaimed video and sound installations, sculptures and photographs of Hawaiian-born American artist Paul Pfeiffer (born 1966) deal with the idea of an “afterglow” of mass-media images that are rooted in the collective memory of a globalized media society, and that can be deconstructed with the aid of some heavy editing. Pfeiffer digitally manipulates found media footage, relentlessly cutting, retouching, duplicating and layering the material with the aim of freeing the viewer to experience its ideologically loaded cultural constructedness. In the 1999 video “Fragment of a Crucifixion (After Francis Bacon),” for example, basketball star Larry Johnson's whoop of victory is looped into a weirdly unnatural expression of terror (or death, as the title suggests). This volume surveys Pfeiffer's works of the past 15 years, with abundant color reproductions.
Published by Hatje Cantz Publishers. Essays by Stefano Basilico and Valeria Liebermann. Conversation with Thomas Ruff.
Born in Honolulu, Hawaii in 1966, Paul Pfeiffer is considered one of the shooting stars of 20th century art. He has attracted widespread attention with his digitally processed photographs and videos in which he dissects, fragments, and eradicates familiar images of "global icons," thus raising questions about their identities, their origins, and approaches to the reconstruction of such idols in a world dominated by mass media. In his 24 Landscapes(2000), for example, he elimiates the figure of Marilyn Monroe from famous George Barris film stills, thereby diverting the viewer's gaze to the romantic landscape scenes in the background. Beginning with Pfeiffer's Self-Portrait as a Fountain (2000), this book presents readers with a selection of the artist's videos, sculptures, and photographs realized within the past three years.
Published by Museum of Contemporary Art, Chicago. Artwork by Paul Pfeiffer. Contributions by Jane Farver and John Baldessari. Text by Dominic Molon, Robert Fitzpatrick.
The basketball player dunks, and dunks, and dunks again. The boxer punches, and punches, and punches again. Using advanced technology to transform and isolate moments from movies and televised sporting events, Paul Pfeiffer's work examines contemporary notions of racial and sexual identity and how we respond to the human body when it is placed in extreme situations such as ecstasy and pain. Pfeiffer's work also explores issues of time and the increasingly blurry distinction between reality and representation in everyday life. Recent installation pieces transfer mediated, image-based knowledge into physical spaces, with references to movies like The Amityville Horror. This catalog, the first significant publication devoted to Pfeiffer's work, includes full-color reproductions, biographical and bibliographic information, scholarly essays by MCA associate curator Dominic Molon and MIT List director Jane Farver, a discussion between Pfeiffer and renowned conceptual artist John Baldessari, and a text by Pfeiffer himself.