Published by Gregory R. Miller & Co.. Introduction byTom Eccles, Beatrix Ruf, Hans Ulrich Obrist. Text by Johanna Burton, Germano Celant. Interview with Hans Ulrich Obrist, Tom Eccles, Beatrix Ruf.
Primarily known for his paradigmatic "shelves" displaying everyday objects, Haim Steinbach (born 1944) has developed a practice that evolved from early minimalist painting with grids and monochromes to later large-scale installations that have seldom been seen in the US. Growing out of a traveling exhibition that features works drawn from throughout Steinbach's career, as well as archival materials and new site-specific installations, Object and Display urges readers to take a closer look at this seminal artist's works. Hundreds of full-color illustrations document the exhibition, which included photographs, models and recreations from past works, along with photography of the site-specific installations that appeared at each institution. New essays by writers Johanna Burton and Germano Celant explore the evolution of Steinbach's practice and his investigations into what constitutes an art object and how art and objects are displayed.
Published by White Cube. Edited by Honey Luard. Text by Jenny Jaskey.
Haim Steinbach (born 1944) is interested in the shared social ritual of collecting, arranging and presenting everyday objects and materials, an experience that extends to us all, whether in the way we arrange our homes or the way we select and wear our clothes. Travel explores Steinbach's recent exhibition at White Cube Mason's Yard, London and is comprised of two new series of works that trace a trajectory in the artist's practice that stretches from the 1970s to today. In 1976, Steinbach produced a series of works based on grid-like geometric patterns created with strips of linoleum flooring. The Linopanel works evoke a pivotal moment in Steinbach's career, when he abandoned his investigation into minimalist painting and began to work with found objects. Jenny Jaskey's text explores Steinbach's interest in collecting and the methodologies of display forms.
Haim Steinbach's work with language proposes that reading is an act of seeing; the graphic codes which proliferate in our current media culture accustom us to the fact of word and image arriving in one package. For Steinbach, reproducing a phrase or a symbol represents the action of memorization and preservation, thereby inviting viewers to identify and re-identify with the language and image before them. Thus, for this latest addition to the Illy Collection series of espresso cups, Steinbach inscribes the letters “n,” “o” and “n”--or the word “non”--together with the figure “8”--or infinity--as signs of an abstract language. Since 1992, famed Italian coffeemaker Illy has been commissioning limited-edition coffee cup designs from internationally renowned and emerging artists, musicians, and filmmakers. The story of the cup begins in 1990 with architect and engineer Matteo Thun, who designed a white espresso cup to the exacting specifications of the Illy family. The volume and diameter had to be just so, the rim had to accept resting lips in a most practical manner and the all-important bowl at the bottom of the cup had to conserve heat effectively. Once the prototype was approved, the family set about having it transformed with original work by the likes of Sandro Chia, Nam June Paik, James Rosenquist, Robert Rauschenberg, David Byrne, Francis Ford Coppola, Joseph Kosuth, Jeff Koons, Marina Abramovic, Michelangelo Pistoletto, Michel Comte, Jannis Kounellis and Louise Bourgeois.
BOOK FORMAT Paperback, 5.5 x 8.75 in. / 96 pgs / 93 bw.
PUBLISHING STATUS Pub Date 8/2/2003 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2003
PRODUCT DETAILS ISBN 9788881584239TRADE List Price: $31.95 CDN $40.00
Published by Hatje Cantz Publishers. Edited by Neuer Berliner Kunstverein. Essays by Bruce W. Ferguson, Valentin Rauer, Stephanie Rosenthal.
Along with Robert Gober and Jeff Koons, New York-based Haim Steinbach is one of the most renowned exponents of the late 70s art movement which endeavored to revamp the post-Duchamp tradition of ready-mades in the face of a rising wave of neo-expressionism. Steinbach has become known for his "thing altars," carefully manufactured shelves containing borrowed or purchased objects that take on new meaning in the context of their surroundings, recalling Robert Smithson's notions of "site" and "non-site." This new book in the Cantz Series documents a Berlin-specific installation by the artist. Steinbach, born to German-Jewish parents in Israel, stayed in the former East Germany for the first time, visiting families all over Berlin and borrowing individual objects or arrangements which he then transferred to an art space. In doing so the artist became the curator of a sort of group exhibition of "collected collections" which interact in surprising ways in their new space.
Published by Charta. Artwork by Haim Steinbach. Edited by Ida Gianelli. Text by Mario Perniola, Giorgio Verzotti.
Haim Steinbach (born 1944) is a leading figure in American art. Since the 1970s he has been conceiving structures and framing devices for the presentation of objects. Steinbach displays already existing objects, carefully chosen and placed on shelves, ranging from the natural to the common, the artistic to the ethnographic, giving form to artworks which illuminate the aesthetic and social qualities of objects. By exploring the psychological, cultural and ritualistic context of the artwork, and its role in the production of meaning, Steinbach has radically redefined the status of the object in art. This book is the expanded and revised edition of the monograph published in 1995 and documents the artist’s activity over the past 30 years.
BOOK FORMAT Hardcover, 9.5 x 11 in. / 272 pgs / 115 color / 60 bw / 44 duotone.
PUBLISHING STATUS Pub Date 4/2/1999 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 1999
PRODUCT DETAILS ISBN 9788881581955TRADE List Price: $59.95 CDN $70.00