Published by David Zwirner Books. Text by Jordan Wolfson. Photographs by Andreas Laszlo Konrath, Gaea Woods.
Initially conceived to document Jordan Wolfson's 2014 exhibition at David Zwirner in New York—his first with the gallery, featuring new sculptural work, a video and his much-discussed animatronic sculpture "(Female figure) 2014"—this publication, born out of a close collaboration between Wolfson and book designer Joseph Logan, ultimately exists as a hybrid of an exhibition catalogue and an expression of Wolfson's artistic vision. Featuring large color plates, the book is anchored by photographs of Wolfson's bewitching, repulsive "(Female figure) 2014" taken by Andreas Laszlo Konrath, who documented every aspect of the exhibition including many behind-the-scenes images of its gallery installation. Also included are reproductions of Wolfson's new series of wall-mounted sculptures comprised of bumper stickers overlaid on inkjet prints, candid photographs of the artist taken by Gaea Woods and a text by the artist providing context for the visual material.
Published by Walther König, Köln/David Zwirner Books. Edited by Aram Moshayedi. Indroduction by Martin Germann, Aram Moshayedi. Text by Philippe Van Cauteren, Linda Norden. Conversation with Aram Moshayedi.
This book, which sold out almost immediately upon publication, is a reprint of the catalogue produced on the occasion of Wolfson's 2012-2013 exhibitions at REDCAT (Roy and Edna Disney / CalArtsTheater) in Los Angeles and the Stedelijk Museum voor Actuele Kunst (S.M.A.K.) in Ghent. Entitled Ecce Homo / le Poseur, the S.M.A.K. presentation marked the most comprehensive survey of Wolfson's work to date. The volume's eponymous title effectively expresses the artist's interest in the ego and its image as well as destabilizing differences between life and imitation, reality and imagination. Anchored by full-scale color plates of Wolfson's three animations--video stills, details and installation views of the ambitiously conceived Con Leche (2009), Animation, masks (2011) and Raspberry Poser (2012)--the book provides a critical framework for the artist's vast and varied practice. Images are given context by illuminating scholarship by Esther Leslie and Linda Norden, and a conversation between Aram Moshayedi and Wolfson brings their analyses to ground. Also included is a letter personally addressed to the artist by Philippe Van Cauteren. In Wolfson's words, his work is "about reaching a place of displacement and control within the space of viewing"; this text exists as an embodiment of that ever-evolving vision, which considers the developments of digital and analogue animation as essential to the histories of modernism and modernity, and posits them as responsible for shaping and relaying the concerns of sculptural and pictorial modes of representation, and defining our relationship to both images and objects.