A tribute to the long collaboration between Franz West (1947–2012) and Galerie Eva Presenhuber, this volume offers a comprehensive yet singular overview of the artist’s oeuvre. Gathering together extensive documentation and rare archive material on the numerous exhibitions they organized together from 1995 on, the book is introduced by art theorist and friend of the artist Max Wechsler, who followed West's work closely for many years, and whose illuminating foreword begins: “Without doubt, he was an odd bird, a gifted idler, a Vienna man sui generis and eccentric par excellence.” This publication underlines the importance of the gallery space as an artistic laboratory, and highlights an unusually creative relationship between an artist and his gallerist.
Published by David Zwirner Books. Text by Eva Badura-Triska, Veit Loers, Bernhard Riff.
Emerging in the early 1970s, Austrian artist Franz West (1947-2012) created objects that serve to redefine art as a social experience, calling attention to how viewers interact with works of art and with each other. The 1990s proved critical in the development of the idiosyncratic style for which West is still known today. Key innovations from this period--which included the addition of exuberant color to his papier-mâché forms, the incorporation of furniture both as art object and as social incubator, and the inclusion of work by other artists in his own installations--resulted in dynamic, frequently interactive installations that helped to redefine the possibilities of sculpture and the ways in which art is experienced. This publication gives an in-depth overview of this decade, arguably the most important of the artist's lengthy career, and features essays by noted West scholars Eva Badura-Triska and Veit Loers.
Franz West (1947-2012) began exhibiting his work in the 1970s and gained international recognition in the 1980s, with significant shows at such venues as the Neue Galerie am Landesmuseum Joanneum, Graz, Secession, Vienna (both 1986); Skulptor. Projected in Mu?nster (1987); Kunsthalle Bern (1988); and the Institute of Contemporary Art, PS1, Long Island City, New York (1989). In the 1990s, the artist's work was presented at the Austrian Pavilion of the 44th Venice Biennale (1990); documenta IX, Kassel (1992); Museum of Contemporary Art, Los Angeles; Dia Center for the Arts, New York (both 1994); and the Städtisches Museum Abteiberg, Mönchengladbach (1996). A major,mid-career retrospective, Franz West, Proforma, was organized by the Museum moderner Kunst Stiftung Ludwig (MUMOK), Vienna in 1996 (it traveled to Kunsthalle Basel; Rijksmuseum Rijksmuseum Kröller-Mu?ller, Otterlo; Národní Galerie, Prague; Muzeum Sztuki w Lodzi, Lodz). The Museo Nacional Centro de Arte Reina Sofia, Madrid presented the traveling survey Franz West: In & Out (2000-2001).
?Veit Loers was the Director of the Sta?dtisches Museum Abteiberg in Mo?nchengladbach from 1995–2003. In 1996, he organized a solo exhibition of Franz West’s work, Gelegentliches. He also organized solo exhibitions of the work of Martin Kippenberger, Gu?nther Fo?rg and Isa Genzken. Since his early retirement in 2003, Loers has worked as an independent curator and author. In 2007, he published Psychonauten, Volume 55 of Jahresring; in 2009, he edited Franz West for the Friedrich Christian Flick Collection. From 2010 to 2012, he was Director of the Kunstraum Innsbruck, where he exhibited work by Danh Vo, Gregor Schneider and Neil Beloufa, among others. In 2015, he curated the exhibition Avatar and Atavism at the Kunsthalle Du?sseldorf. Loers has also published numerous essays on artists and art theory.
Eva Badura-Triska is an art historian and curator at the Museum moderner Kunst Stiftung Ludwig (MUMOK), Vienna. She is the author of numerous publications on modern and contemporary art, with a focus on Vienna Actionism, Franz West and Heimo Zobernig. Badura-Triska curated West’s first retrospective exhibition, Franz West, Proforma (1996). She also curated the artist’s first major posthumous show, Where is my Eight? (2013). Since 1999 she has served as general secretary of the Franz West Archive.
Bernhard Riff was born in 1952 and studied psychology and journalism. He is the co-founder of Synema (Institute for Film Theory) in Vienna, and has edited and contributed to a number of books, including Das unbewusste Sehen, Texte zu Psychoanalyse Film Kino (1989), G.W. Pabst (1990) and The Films of G.W. Pabst(1990). Since 1987, he has been making videos on art and artists, and in 1995, he founded his own video studio in Vienna. Beginning in 1989, Riff collaborated extensively with Franz West—their works together include Investigations of American Art(1992), Gelegentlich (1996), Otium (1996) and Creativity (1999). Riff’s work has also been included in international museums and exhibitions, including the Venice Biennale (1990, 1993), Dia Center for the Arts, New York (1994), Palacio de Vela?zquez / Museo Nacional Centro de Arte Reina Sofi?a, Madrid (2001), and the Museum moderner Kunst Stiftung Ludwig (MUMOK), Vienna (2013).
Published by Walther König, Köln. Text by Eva Badura, Klaus Goerner, Georg Grooelle, Peter Keicher, Andreas Reiter-Raabe.
The focus of this publication is Franz West’s (1947–2012) Kombi-Werke installations, in which greatly differing individual pieces are brought together and then recomposed into new works. Gathering elements such as fittings, furniture, sculpture, videos and works on paper from all periods--and even works made by artist friends--into grand ensembles, the Kombi-Werke are without doubt key elements in West’s legacy. An example is the three-part papier-mâché sculpture “Redundanz”: its starting point is the gouache “Lost Weight” (1994), with its motif of a dieting woman showing her oversized pants. Omitting the “W,” West transforms “Lost Weight” into “Lost Eight,” in order to derive the title for a larger work, “Where Is my Eight?” With 250 color illustrations, this substantial and inspiring volume, and the exhibition it accompanies, were overseen by the artist himself, before his death in the summer of 2012.
Published by RM. Text by Patrick Charpenel, Michel Blancsubé, Veit Loers.
Since the mid-1960s, Franz West (born 1947) has been finding new ways to balance his art on the line between beauty and ugliness. At the age of 14, West--living in bombed-out, post-Nazi Vienna--attended an event organized by the Viennese Actionists, at which Hermann Nitsch smashed a lamb cadaver against the wall of a basement room in a tenement building: "it was incredibly shocking and really depressing," West said. His own art over the past four decades has eschewed such nihilism: his Adaptives, which he has described as "neuroses made material" (with a nod to Darwin as well), are sculptural objects for viewers to engage physically, using them as ungainly temporary prostheses, appliances, accessories, and instructional tools. White Elephant documents these, as well as West's important works of furniture and collage, and his marvelously awkward sculptures, which seem lumpily homely and unbalanced, or gangly and hopeful as a blemished teen.
For 30 years now, Viennese artist Franz West has been in his own artistic territory, and for the last 20, he has been one of the most influential working sculptors, as confirmed by a solo exhibition at The Museum of Modern Art in 1997. Through his "Passstücke" (passport pieces or adapters) of the 1970s, his furniture assemblies of the 1980s and bright exterior sculptures of the 1990s, West regularly irritates viewers with parody and outlandishness, and impresses with surprising solutions to the old social utopia of art and life. The implied invitation to touch his works disrupts the museum dynamic of velvet rope and burglar alarm, and leads to different levels of engagement--bodily, linguistic, philosophical and psychological--in which the artist's sense of humor shines through. This introduction to West's oeuvre is accompanied by commentaries, interpretation and details about his most recent work, developed over the past few years.
Published by Zwirner & Wirth. Essay by Eva Badura-Triska.
Franz West is widely considered to be one of Europe's most important contemporary artists, and he has reached that position without ever having needed to limit himself to a single medium or mode of expression. Like other artists who came of age in the midst of Conceptualism and Minimalism, his work has ranged widely and blurred the boundaries between art and life. The works showcased here, including autonomous sculpture and interactive pieces, were all made between 1972 and 1988, starting with the furniture with which he expanded our understanding of sculpture--a chair with a seat made of chains still stirs visceral reactions--and the photo-filled and always photogenic collages with which he seemed to join Pop. Early Work exemplifies the richness of West's early production, and Eva Badura-Triska's insightful essay traces through it the development of the theories and practices that continue to shape his work today.
PUBLISHER ZWIRNER & WIRTH
BOOK FORMAT Hardcover, 9.25 x 11.25 in. / 156 pgs / 93 color and 12 bw.
PUBLISHING STATUS PUB DATE 8/15/2006 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2006 p. 111
PRODUCT DETAILS ISBN 9780970888464TRADE LIST PRICE: $65.00 CDN $75.00
AVAILABILITY In stock
in stock $65.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Kunsthaus Bregenz. Edited by Eckhard Schneider. Essays by Gudrun Ankele, Rudolf Sagmeister, Ludwig Seyfarth and Andrea Überbacher. Foreword by Eckhard Schneider.
What Franz West began in the early 1970s with his hand-size “body growths”--the Adaptive--has since then mutated into a fertile living environment of sculptures, collages, furniture ensembles, walk-in rooms, and rooms to sit in. Organized into five chapters, each of which corresponds to a floor of the Kunsthaus Bregenz, where a surreal retrospective of West's work was recently mounted, We'll Not Carry Coals offers a serene presentation of the artist's witty, tongue-in-cheek body of work. From Haini, 60 squeaky blue-green plastic armchairs modeled on a carved-out tree stump, to Corona, a giant outdoor sculpture modeled, perhaps, on bendable drinking straws, West's work tickles the viewer somewhere between the diaphragm and the retina. Published in close cooperation with the Franz West Atelier, this book also features 50 heretofore unpublished collages from the artist's personal collection.
Published by Hatje Cantz Publishers. Edited by Peter Noever, MAK Vienna. Essays by Carlos Basualdo, et al.
Since the mid-1970s, prominent Austrian artist Franz West has created objects in which use is the most important criterion for reception. After creating "Fittings," plaster and papier-mache objects meant to be attached to the human body and interacted with by their wearer, and their logical extension, "seating equipment," West sought to create a setting for a new kind of experience. Merciless presents little-seen work which West has constructed over the past five years and which addresses these late concerns. Of special focus is an expansive installation West developed for the MAK in Vienna, the largest of his completed works to date.