Hatje Cantz

Charles Brittin: West and South

Throughout the 1950s, Charles Brittin was the unofficial house photographer for the Beat community that coalesced around the artist Wallace Berman. Brittin settled in Venice Beach, California, in 1951, and his beach shack became a hangout for the Berman circle, which included actors Dean Stockwell and Dennis Hopper, artist John Altoon, curator Walter Hopps and poet David Meltzer, among many others. A self-taught photographer, Brittin was working as a mailman at the time, and spent much of his free time wandering the streets with a camera; he came to know Venice intimately, and his pictures of the town are freighted with a hushed beauty and forlorn sweetness. In the early 1960s the focus of Brittin's life shifted dramatically when he became . . . . Hbk, 9.5 x 13 in. / 216 pgs / 150 duotone.

Edited by Kristine McKenna, Lorraine Wild, Roman Alonso, Lisa Eisner.

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D.A.P/Distributed Art Publishers/MOCA, LA/JRP|Ringier

Doug Aitken: The Idea of the West

Sunsets over the Pacific. "Surfers." "Movie stars." "Coyotes in the street." "Sex." Doug Aitken's The Idea of the West gathers the responses of 1,000 people on the streets who were asked "What is your idea of the West?" and assembles this amazing manifesto from their replies. Through an assortment of more than 200 color and black-and-white images juxtaposed with responses to this question, The Idea of the West takes the reader on a high-speed journey across space and time to trace the mythology of the New West. The volume also features conversational fragments by a host of creators based in the Pacific region, including Devendra Banhart, Bruce Brown, Charles Burnett, Exene Cervenka, Fallen Fruit, Simone Forti, Fritz Haeg, Miranda July, No . . . . Hbk, 11.25 x 8.75 in. / 160 pgs / 124 color / 72 b&w.

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Damiani/ Third Line

Monir Shahroudy Farmanfarmaian: Cosmic Geometry

Born in 1924 in the ancient Persian city of Qazvin, Monir Shahroudy Farmanfarmaian spent her childhood in a grand old house replete with stained glass, wall paintings and nightingales. Coming of age during World War II, she left occupied Iran and audaciously set out for New York, where she was quickly absorbed into the city's thriving avant garde. In the decades to follow, during successive exiles in Tehran and New York, Farmanfarmaian developed an intuitive yet painstakingly crafted artistic practice in mirror mosaic and reverse-painted glass that weds the cosmic patterning of her Iranian heritage with the rhythms of modern Western geometric abstraction. This book is the first substantial survey of Farmanfarmaian's acclaimed geometric works, and features an in-depth interview by . . . . Hbk, 9.75 x 11.75 in. / 256 pgs / illustrated throughout.

Edited by Hans Ulrich Obrist, Karen Marta. Text by Nader Ardalan, Media Farzin, Eleanor Sims. Conversation with Hans Ulrich Obrist.

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Gregory R. Miller & Co./Aspen Art Press

Mark Bradford: Merchant Posters

This book gathers for the first time an extensive selection of American artist—or builder and demolisher,” as he describes himself—Mark Bradford's gorgeous, searing and heavily textured merchant posters.” The original printed posters, collected by Bradford from around his Central Los Angeles neighborhood, are brightly colored local advertisements that target the area's vulnerable lower-income residents. For Bradford, they serve as both the formal and conceptual underpinnings of his works on paper, décollages/collages that engage with the pressures of the cityscape. The sheer density of advertising creates a psychic mass, an overlay that can sometimes be very tense or aggressive,” he notes; If there's a 20-foot wall with one advertisement for a movie about war, then you have the repetition of the same . . . . Hbk, 11 x 9 in. / 160 pgs / 100 color.

Text by Malik Gaines, Ernest Hardy, Philippe Vergne, Heidi Zuckerman Jacobson.

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JRP|Ringier

How to Do Things with Art

The Meaning of Art's Performativity

Art has never been as culturally and economically prominent as it is today. How can artists themselves shape the social relevance and impact of their work? In How to Do Things with Art, German art historian Dorothea von Hantelmann uses four case study artists--Daniel Buren, James Coleman, Jeff Koons and Tino Sehgal--to examine how an artwork acts upon and within social conventions, particularly through the "performing" of exhibitions. The book's title is a play on J.L. Austin's seminal text, How to Do Things with Words, which describes language's reality-producing properties and demonstrates that in "saying" there is always a "doing"--a linguistic counterpart to the dynamics envisioned by Von Hantelmann for art, in which "showing" is a kind of "doing." Von Hantelmann's . . . . Pbk, 6 x 8.25 in. / 208 pgs / 19 b&w.

By Dorothea von Hantlemann. Edited by Karen Marta. Foreword by Hans Ulrich Obrist.

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Charta

Hans Ulrich Obrist: Interviews, Volume 2

Since Hans Ulrich Obrist--museum director, curator, writer, cultural instigator and professional conversationalist--released his bestselling first volume of interviews back in 2004, one wonders if there is a living artist, musician or writer left with whom Obrist hasn't recorded an interview. Happily, of course, there are plenty. Obrist--who was born in Zurich in 1968, and who joined London's Serpentine Gallery as Co-Director of Exhibitions and Programmes and Director of International Projects in 2006--makes it his business to cross paths with the most significant thinkers of our time, from in or outside the artworld. Since 1993, he has conducted literally hundreds of interviews. The 70 published here are taken from an archive containing nearly 2,000 hours of recordings and organized by interviewees' dates . . . . Pbk, 5.5 x 8.25 in. / 950 pgs.

Edited by Charles Arsène-Henry, Shumon Basar, Karen Marta.

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Walther König, Köln

Hans Ulrich Obrist & Hans-Peter Feldmann: Interview

Here, Hans Ulrich Obrist and Hans-Peter Feldmann have decided to play with the interview format: Obrist poses the questions in writing and Feldmann answers each of them with a picture. The results are frequently funny, and an impressive exercise in visual thinking. . . . . Pbk, 6.5 x 8.75 in. / 130 pgs / 59 color / 73 b&w.

Edited by Hans Ulrich Obrist.

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JRP|Ringier

A Brief History of Curating

By Hans Ulrich Obrist

Part of JRP|Ringer's innovative Documents series, published with Les Presses du Réel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field--from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs--with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator's death in 2005, critic Aaron Schuster summed up, "the image we have of the curator today: the curator-as-artist, a roaming, . . . . Paperback, 6 x 8 in. / 200 pgs.

Edited by Hans Ulrich Obrist.

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DuMont Buchverlag

Bruce Nauman: Live or Die

Collector's Choice Vol. 10

Some forty-odd years after Bruce Nauman began tweaking the conventions of studio practice and the hallowed persona of the 'artist-as-seer,' Pamela M. Lee wrote in Artforum not long ago, "his station in postwar art history rests secure. His influence--whether through his affectless, task-based performances, his sculptural castings of negative space, or his intermedia mash-ups of language, video and noise--is everywhere apparent in contemporary art." Indeed, from the American artist's early work in sculpture and video, made in the 1960s, through his famous spiral of neon letters spelling out "the true artist helps the world by revealing mystic truths," which at once summarized and opened to critique the perennial mystique of the artist, up through his three-venue Golden Lion Award-winning exhibition at . . . . Hbk, 9.25 x 11.5 in. / 240 pgs / 180 color.

Text by Eugen Blume.

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PictureBox

Return of the Repressed: Destroy All Monsters 1974-1977

The influential Detroit anti-rock” group Destroy All Monsters (Mike Kelley, Cary Loren, Niagara, Jim Shaw) made raucous music, irreverent art and legendary zines, performing and disseminating their activities through an elaborate self-mythology. The Destroy All Monsters zines have been reprinted in facsimile editions, but the art objects made by the members have never been examined as independent works. Return of the Repressed: Destroy All Monsters 1974–1977 is the first retrospective of the artwork itself, as well as a DAM overview. Produced in collaboration with the artists, it collects the work of the collective between circa 1974–1977, almost all of which is previously unpublished. Included are dozens of candid photographs of the group and their environs by DAM member Carey Loren, which . . . . Pbk, 8.5 x 10 in. / 312 pgs / 400 color / 100 b&w.

Edited by Mike Kelley, Dan Nadel. Text by Nicole Rudick.

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Tilton Gallery

L.A. Object & David Hammons Body Prints

L.A. Object offers a historical overview of the Los Angeles assemblage movement of the 1960s and 70s. It focuses on works by primarily African-American artists often omitted from mainstream gallery and museum historical exhibitions who were working during the civil rights movement, the 1965 Watts riots and the era's general social and cultural upheaval: Ed Bereal, Wallace Berman, Nathaniel Bustion, Alonzo Davis, Dale Brockman Davis, Charles Dickson, Mel Edwards, David Hammons, Daniel La Rue Johnson, Ed Kienholz, Ron Miyashiro, Senga Nengudi, John Outterbridge, Noah Purifoy, Joe Ray, Betye Saar, Kenzi Shiokava and Timothy Washington. Central to this book are the unique body prints of David Hammons--ironic, often political commentaries relevant to the African-American experience that are presented for the first time . . . . Hbk, 10.5 x 10 in. / 424 pgs / 249 color / 252 b&w.

Edited by Connie Rogers Tilton, Lindsay Charlwood. Text by Steve Cannon, Dale Davis, Josine Ianco-Starrels, Kellie Jones, Yael Lipschutz, John Outterbridge, Greg Pitts, Betye Saar, Tobias Wofford.

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Skarstedt Fine Art

Barbara Kruger: Money Talks

Money Talks is the first publication to bring together a thematic grouping of Kruger's work. The subject chosen could not be more apt--not only because of current politics and economic realities, but also because this is the subject Kruger has repeatedly returned to throughout her career.

. . . . Clth, 8.75 x 11.25 in. / 76 pgs / 32 b&w.

Text by Lisa Phillips.

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Walther König, Köln/Koenig Books

Philippe Parreno: Films 1987-2010

Serpentine Gallery

Philippe Parreno rose to prominence in the 1990s among a group of artists later gathered under the rubric of Relational Aesthetics. Parreno has sought to redefine the exhibition experience as a coherent object rather than a collection of individual works. In this spirit, his recent exhibition at the Serpentine Gallery constitutes an environment through which the visitor is guided by an orchestration of sound and image. This catalogue for the exhibition examines Parreno’s films, including Invisibleboy (2010), the tale of a Chinese immigrant boy who sees imaginary monsters that are scratched onto the film stock; June 8, 1968 (2009) which revisits the train voyage that transported the corpse of Robert Kennedy from New York to Washington D.C.; and The Boy from . . . . Hbk, 8.75 x 10 in. / 200 pg / illustrated throughout.

Edited by Karen Marta, Kathryn Rattee, Zoe Stillpass. Foreword by Hans Ulrich Obrist, Julia Peyton-Jones. Texts by Nicolas Bourriaud, Michael Fried, Dorothea von Hantelmann.

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Guggenheim Museum Publications

Maurizio Cattelan: All

Hailed simultaneously as a provocateur, prankster and tragic poet of our times, Italian artist Maurizio Cattelan has created some of the most unforgettable images in recent contemporary art--most notoriously with The Ninth Hour,” his 1999 sculpture of Pope John Paul II struck by a meteorite. Cattelan's subjects range widely, being derived from popular culture, history and organized religion; while bold and irreverent, the work is also deadly serious in its scathing cultural critique. Maurizio Cattelan: All accompanies the Guggenheim Museum's retrospective survey of the artist. For the exhibition, the museum has devised a site-specific installation intended to sidestep the totalizing effect of a retrospective, and for this catalogue the museum has produced an equally unique response to this dilemma and to . . . . Faux leather, 6.25 x 9.5 in. / 255 pgs / illustrated throughout.

By Nancy Spector.

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Hatje Cantz

ASCO: Elite of the Obscure

A Retrospective 1972-1987

ASCO: Elite of the Obscure is the first comprehensive monograph to survey the wide-ranging activities of the Chicano performance and conceptual art group ASCO. Active between 1972 and 1987, ASCO began as a tight-knit core of artists from east Los Angeles: Harry Gamboa Jr., Gronk, Willie Herrón and Patssi Valdez. Taking their name from the Spanish idiomatic word for disgust and nausea, ASCO launched their response to turbulent socio-political conditions in Los Angeles and the larger international context through performance, public art and multimedia. Geographically and culturally segregated from the then-nascent Los Angeles contemporary art scene, and aesthetically at odds with the emerging Chicano art movement, ASCO united to explore and exploit what they saw as the unlimited media of the . . . . Hbk, 7.75 x 9.5 in. / 432 pgs / 250 color.

Text by C. Ondine Chavoya, Rita Gonzalez, David E. James, Amelia Jones, Chon A. Noriega, Jesse Lerner, Deborah Cullen, Maris Bustamante, Colin Gunckel, David Román, Raúl Homero Villa, Josh Kun, Tere Romo, Mario Ontiveros, Ramón García, Michelle Habell-Pallán.

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Metropolis Books/Gordon de Vries Studio

Fire Island Modernist: Horace Gifford and the Architecture of Seduction

As the 1960s became The Sixties, architect Horace Gifford executed a remarkable series of beach houses that transformed the terrain and culture of New York’s Fire Island. Growing up on the beaches of Florida, Gifford forged a deep connection with coastal landscapes. Pairing this sensitivity with jazzy improvisations on modernist themes, he perfected a sustainable modernism in cedar and glass that was as attuned to natural landscapes as to our animal natures. Gifford’s serene 1960s pavilions provided refuge from a hostile world, while his exuberant post-Stonewall, pre-AIDS masterpieces orchestrated bacchanals of liberation. Marilyn Monroe, Elizabeth Taylor and Montgomery Clift once spurned Hollywood limos for the rustic charm of Fire Island’s boardwalks. Truman Capote wrote Breakfast at Tiffany’s here. Diane von Furstenburg . . . . Hbk, 9 x 12 in. / 204 pgs / 140 color / 100 b&w.

Edited and with a foreword by Alastair Gordon. Text by Christopher Bascom Rawlins.

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Metropolis Books

A Country of Cities

A Manifesto for an Urban America

In A Country of Cities, author Vishaan Chakrabarti argues that well-designed cities are the key to solving America's great national challenges: environmental degradation, unsustainable consumption, economic stagnation, rising public health costs and decreased social mobility. If we develop them wisely in the future, our cities can be the force leading us into a new era of progressive and prosperous stewardship of our nation. In compelling chapters, Chakrabarti brings us a wealth of information about cities, suburbs and exurbs, looking at how they developed across the 50 states and their roles in prosperity and globalization, sustainability and resilience, and heath and joy. Counter to what you might think, American cities today are growing faster than their suburban counterparts for the first time . . . . Hbk, 6.5 x 9.5 in. / 252 pgs / 150 color.

By Vishaan Chakrabarti. Foreword by Norman Foster. Illustrations by SHoP Architects.

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Aperture

Bernd & Hilla Becher: Stonework and Lime Kilns

Over the course of nearly five decades, Bernd and Hilla Becher documented almost every type of industrial architecture--from water towers and steel mills to gas tanks and grain silos--in Europe and the United States. Whether presenting single shots or their signature typological grids, the Bechers created a photographic testament to the industrial revolution that so emphatically shaped the nineteenth and twentieth centuries. At the same time, however, they also captured a much older manufacturing tradition: the quarrying and processing of stone. This volume, an essential addition to the Bechers’ ouevre, is devoted to their photographs of rock-processing plants and lime kilns taken in Germany, France, The Netherlands, Belgium, Switzerland, Austria and Great Britain throughout the 1980s and 90s. Each structure is . . . . Hbk, 10.5 x 11.5 in. / 244 pgs / 232 duotone.

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Ediciones Poligrafa

Marcel Broodthaers: Collected Writings

I, too, asked myself if I could not sell something and succeed in life... Finally the idea of inventing something insincere came to me and I got to work immediately.” With this statement, penned for his first solo show in April, 1964, Marcel Broodthaers (1924-1976) announced his death as a poet and birth as an artist. In fact, he was to transform the category of artist completely, purging the vocation of its medium-specific implications to pursue a unified conceptualism across media such as artist's books, prints, film, installation, sculpture and writings--” where the world of plastic arts and the world of poetry might possibly, I wouldn't say meet, but at the very frontier where they part.” Broodthaers' Museum of Modern Art, . . . . Clth, 8.5 x 10.25 in. / 512 pgs / 98 color / 126 duotone.

Edited by Gloria Moure. Text by Birgit Pelzer. Preface by Marie Gilissen Broodthaers.

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Sinecure Books

Enjoy the Experience

Homemade Records 1958-1992

Enjoy the Experience is the largest collection of American private-press vinyl ever amassed and presented, featuring more than 1,000 cover reproductions from 1958–1992. The musicians here range from awkward teen pop combos to pizza-parlor organists; religious cult leaders to Sinatra imitators. But this is not a novelty show: also profiled and discussed are some of the most highly regarded rock, soul, jazz, funk and singer/songwriter albums from the latter half of the twentieth century. Enjoy the Experience begins when the custom-pressed American record plant came into existence and ends, largely, with the birth of the CD. As such, it is a snapshot of America in the second half of the twentieth century and collates a bevy of tales and albums released . . . . Hbk, 8.75 x 11 in. / 512 pgs / 1,241 color / 29 b&w.

Edited by Johan Kugelberg, Michael P. Daley, Paul Major. Text by Gregg Turkington, Will Louviere, Geoffrey Weiss, Evan LeVine, Rich Haupt, Douglas Mcgowan, Brandan Kearney, Mike Ascherman, Jack Streitman, Gabriel Mckee, Will Cameron, Eothen Alapatt.

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PictureBox

Nudity Today

Nudity Today explores the nude photography of ten young artists roughly between the ages of 20 and 30, including Tim Barber, Jerry Hsu, Sandy Kim, Maggie Lee, Nicole Lesser and Jordan Bennett. It examines the new moods and outlooks in photography engendered by the heady era that witnessed the explosion of the snapshot aesthetic, the birth of digital photography and the proliferation of online networks and outlets for sharing and exhibiting images. As these technological changes shaped the means of photography, the continuing relaxation of social mores transformed its ends. The young art photographers of today are more open in their sexuality and freer in their bodies than the generations that came before them, and the intimacy and spontaneity of their . . . . Pbk, 9.5 x 11.5 in. / 208 pgs / 200 color.

Edited by Jesse Pearson.

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Kant

Jiri George Erml: New York Collected Bars, 1990-1994

1990-1994

In 1980, Jir?í George Erml (1945–2008) emigrated from his native Czechoslovakia to the United States, where he settled in Brooklyn and worked as a freelance photographer. Erml was immediately enchanted by the bars of New York, and began to photograph them: Casablanca in Harlem (since closed), Chumley’s in Greenwich Village, Montero and John Hanley’s in Brooklyn, Woods Inn in Queens, George’s Rockaway Cove on Staten Island, the Golden Note Café in the Bronx and many others. This volume is a tribute to a little-documented aspect of New York life. . . . . Hbk, 9.25 x 8.5 in. / 120 pgs / illustrated throughout.

Text by Kristián Suda.

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JRP|Ringier

Hannes Schmid: Real Stories

Best known as the photographer for the 1990s Marlboro Man” (as appropriated by Richard Prince), Hannes Schmid (born 1946) has been active for decades in various genres of photography--principally fashion, rock and documentary. Early on in his career, Schmid blurred the boundaries between commissioned projects and personal work, and by the 1970s, was focused simultaneously on documenting cannibal folk culture in Indonesia and making classic portraits of bands such as Kraftwerk, Queen, Blondie, Depeche Mode and AC/DC. The latter body of work, done between 1978 and 1984, effectively tells the story of rock music between these years; Schmid spent the best part of a decade on tour with over 250 bands. Soon after, he entered the worlds of fashion and advertising . . . . Pbk, 8 x 10 in. / 480 pgs / 225 color / 70 b&w.

Edited by Ildegarda Scheidegger, Matthias Frehner. Text by Elisabeth Bronfen, Gail Buckland, Rainer Egloff, Matthias Frehner, Kornelia Imesch, Christiane Kuhlmann, Ildegarda Scheidegger.

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Aperture

Mexican Portraits

In the history of photography in Mexico, portraiture is an important, established tradition, transcending styles, subjects and decades. Mexican Portraits includes more than 350 portraits from more than 80 well-known Mexican photographers, including Romualdo García, Agustín V. Casasola, Manuel lvarez Bravo, Enrique Metinides and Graciela Iturbide, among numerous others. Including both contemporary and classic works, mostly created in the years from the 1970s to the present, this diverse group of images has been selected by photographer and editor Pablo Ortiz Monsasterio in conjunction with curator Vesta Mónica Herrerías, and presents an idiosyncratic and personal perspective on this particular genre. Mexican Portraits explores the frontiers of portraiture from very different perspectives and associations. At the center of his wide-ranging selection are two . . . . Hbk, 11.25 x 13 in. / 356 pgs / 390 color.

Edited by Pablo Ortiz Monasterio. Introduction and text by Vesta Mónica Herrerías.

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Museum of Contemporary Art Chicago and MIT List Visual Arts Center

Amalia Pica

This volume accompanies the first major solo museum exhibition in the United States of the work of Argentinean-born, London-based artist Amalia Pica (born 1978). Pica explores metaphor, communication and civic participation through drawings, sculptures, large-scale photographic prints, slide projections, live performances and installations. Using simple materials such as photocopies, lightbulbs, drinking glasses, beer bottles, bunting and cardboard, Pica creates work that is both formally beautiful and conceptually rigorous. Pica is particularly interested in the limits and failures of language and human communication, and the ways in which thought translates to action, idea to object. Her work is optimistic in its reflection of moments of shared experience, often incorporating signifiers of celebration and communal gatherings such as fiesta lights, flags and banners, . . . . Pbk, 8 x 10 in. / 112 pgs / 60 color / 15 b&w.

Foreword by Madeleine Grynsztejn, Paul Ha. Text by Ana Teixeira Pinto, Tirdad Zolghadr. Interview by João Ribas, Julie Rodrigues Widholm.

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The Museum of Modern Art, New York

Ellsworth Kelly: The Chatham Series

In celebration of Ellsworth Kelly’s ninetieth birthday in May 2013, The Museum of Modern Art will present the first exhibition in 40 years of all fourteen paintings that comprise the Chatham series of works the artist produced after leaving New York City for Spencetown, in upstate New York, in 1970. The series has not been exhibited in its entirety since it was presented at the Albright-Knox Art Gallery, Buffalo, in 1972. The Chatham Series, published in conjunction with the exhibition, is a richly illustrated exploration of this key moment in Kelly’s career. The 14 large-scale paintings he produced there all rely on a single formal concept—each is made of two joined canvases of pure monochrome color—yet the works vary in color . . . . Hbk, 9 x 10.5 in. / 48 pgs / 48 color.

Text by Ann Temkin.

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New Museum

NYC 1993

Experimental Jet Set, Trash and No Star

NYC 1993 looks at art made and exhibited in New York over the course of one year, providing a synchronic panorama in which established artists and emerging figures of the time are presented alongside the work of authors whose influence has since faded from the discussion. Centering on the year 1993, NYC 1993 is conceived as an experiment in collective memory that captures a specific moment at the intersection of art, pop culture and politics. The book draws its subtitle from the eponymous album that Sonic Youth recorded in 1993 and exemplifies exchange between mainstream and underground culture across disciplines, which came to define the art of the era. The exhibition included historical reconstructions of important installations and exhibitions from 1993, . . . . Pbk, 8.5 x 11 in. / 183 pgs / 64 color / 16 b&w.

Edited by Massimiliano Gioni, Gary Carrion-Murayari, Jenny Moore, Margot Norton.

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Art Gallery of York University

Glamour Is Theft: A User's Guide to General Idea

1969-1978

From its origins in the mail art movement through to its destruction” of The 1984 Miss General Idea Pavillion in 1977, the Canadian collective General Idea constructed a comprehensive body of work as a performative fiction. Glamour Is Theft examines this pageantry of camp parody” through the logic of its mythic system. The book reconstructs this system from statements that were dispersed and disguised within General Idea’s work and writing as a whole, including the publication FILE Magazine. In General Idea’s system, there is one concept: Glamour; one operation: reversibility; one technique: cut-up; one strategy: theft; one tactic: camouflage. Following the collective’s strategies, the book in turn mimics the language of structuralist and semiological publications of the 1970s while also considering . . . . Hbk, 8 x 10 in. / 256 pgs / 8 color / 71 b&w.

Text by Philip Monk.

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Primary Information

Florian Hecker: Chimerizations

Electronic composer and sound artist Florian Hecker (born 1975) has made inventive use of contrasting and conflicting auditory illusions or chimeras--perhaps most famously on his recent acclaimed Mego album Acid in the Style of David Tudor, which brilliantly and bizarrely merged the two soundworlds of acid house and avant-garde electronics. Auditory chimeras have been previously explored in electroacoustic music, in particular by Alvin Lucier, but have never been as rigorously researched and exploited as by Hecker. This volume documents four sound pieces that dramatize auditory illusions, effectively composing within the relationship between our perception of pitch and the localization of sound, as we process the two in our auditory cortices. The pieces are partly transcribed using a form of notation called . . . . Hbk, 6.25 x 9.25 in. / 304 pgs / 474 color / 30 b&w.

Introduction by Catherine Wood. Text by Reza Negarestani, Stefan Helmreich.

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JRP|Ringier

Ronan & Erwan Bouroullec: Drawing

This volume unveils a little-known side of the daily studio work of acclaimed designers Ronan and Erwan Bouroullec (born 1971 and 1976): their drawing. Printed on newsprint and gorgeously designed, this chunky book has been put together from a volume of sketchbooks and drawings realized between 2004 and 2012, totaling more than 850 color and black-and-white works. Ronan and Erwan Bouroullec have worked together since 1998 for numerous manufacturers, among them Vitra and Cappellini. Among their iconic pieces are the Disintegrated Kitchen” (1997), the Spring Chair” (2000), and, more recently, the Vegetal Chair” (2009). They have also worked with Issey Miyake, Camper and Kvadrat on architectural projects. Drawing is published on the occasion of several exhibitions of Ronan & Erwan Bouroullec . . . . Pbk, 8.25 x 11.25 in. / 868 pgs / 651 color / 215 b&w.

Edited and with text by Cornel Windlin.

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