• Selections for ForYourArt Subscribers


      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      

    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.

    PRICE: $70.00 | $52.50
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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.

    PRICE: $50.00 | $37.50
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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.

    PRICE: $29.95 | $22.46
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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.

    PRICE: $59.95 | $44.96
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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.

    PRICE: $34.95 | $26.21
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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.

    PRICE: $65.00 | $48.75
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    JRP|Ringier

    Jim Shaw: My Mirage

    A bricoleur of uniquely American utopian/dystopian cosmologies, Jim Shaw (born 1952) weds themes from American religious history with motifs from 1960s and 70s counterculture, often coining rubrics--such as his invented religion of O--or series under which to unify these narratives. My Mirage is Shaw's earliest sequence of this kind. Conceived between 1986 and 1991, arranged in chapters and constituted of nearly 170 works--drawn, silk-screened, photographed, sculpted, filmed or painted in a different style--My Mirage recounts the wanderings of Billy, a white, middle-class American sucked into the whirlwind of the 1960s and 70s counterculture. An anxious and withdrawn youth consumed by psychotic hallucinations, Billy joins a psychedelic pagan cult, eventually and inevitably returning to the religion of his youth, reborn” as a . . . . Pbk, 8.25 x 10.25 in. / 240 pgs / 150 color.

    Edited by Lionel Bovier, Fabrice Stroun. Text by Fabrice Stroun.

    PRICE: $55.00 | $41.25
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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.

    PRICE: $70.00 | $52.50
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    Pomona College Museum of Art

    It Happened at Pomona

    Art at the Edge of Los Angeles 1969-1973

    From 1969 to 1973, a series of radical art projects took place at the far eastern edge of Los Angeles County at the Pomona College Museum of Art, in Claremont, California. Here, Hal Glicksman, a pioneering curator in Light and Space art and former assistant to Walter Hopps, and Helene Winer, later the director of Artists Space and founder of Metro Pictures gallery in New York, curated landmark exhibitions by young local artists who bridged the gap between postminimalism and Conceptual art and presaged the development of postminimalism in the late 1970s. Among these artists were Bas Jan Ader, Michael Asher, Mowry Baden, Lewis Baltz, Chris Burden, Judy Chicago, Ger van Elk, Jack Goldstein, Robert Irwin, William Leavitt, John McCracken, Allen . . . . Pbk, 9 x 13 in. / 386 pgs / 120 color / 160 b&w.

    Edited by Rebecca G. McGrew, Glenn R. Phillips, Marie Shurkus. Text by Thomas Crow, David Pagel.

    PRICE: $49.95 | $37.46
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    Wilhelm Fink Verlag, Munich

    The Digital Wunderkammer

    10 Chapters on the Iconic Turn

    As digital technology advances at breakneck speed, Images are circulating quicker than ever before. But what is the status of the image in the digital era? In The Digital Wunderkammer, art historian Hubert Burda (born 1940) examines the "iconic turn" in ten themed chapters and conversations with leading cultural theorists. In the first chapter, "The View Through the Window," Burda traces the connection between perspectival painting and the television, demonstrating in the second chapter how the image requires a frame, which in turn requires a material vehicle--the topic of the third chapter--that in our era has become a non-material vehicle with its own formal parameters. In the fourth chapter, "The Mobile Image," Burda shows how images have always been linked to . . . . Hbk, 8.25 x 11.75 in. / 202 pgs / 58 color / 16 b&w.

    By Hubert Burda. Text by Peter Sloterdijk, Bazon Brock, Hans Belting, Horst Bredekamp, Friedrich Kittler.

    PRICE: $45.00 | $33.75
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    Primary Information

    Dan Graham: Rock/Music Writings

    As admired for his writing as for his work in art, photography and architecture, Dan Graham was one of the first contemporary artists to embrace Punk, Postpunk and No Wave, becoming a figurehead for those movements, and an early supporter of (and friend to) Glenn Branca and Sonic Youth among many others. Rock/Music Writings collects 13 of Graham's most influential writings, on bands ranging from The Kinks to Bow Wow Wow, first published in art journals such as Real Life, Open Letter and ZG between 1968 and 1988, and in the now rare volume Rock My Religion. It includes such landmark essays as Punk as Propaganda,” which explicates the self-packaging and media critique of The Ramones, Devo, the Sex Pistols, the . . . . Pbk, 5.5 x 8.25 in. / 224 pgs / 29 b&w.


    PRICE: $18.00 | $13.50
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  • New Books and Catalogues Releasing This Week


      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      
      

    Editions Xavier Barral

    Sophie Calle: Rachel Monique

    The haunting story of Sophie Calle’s mother, told through diary excerpts and family photographs
    “She was called successively Rachel, Monique, Szyndler, Calle, Pagliero, Gonthier, Sindler,” reads the first lines of Sophie Calle: Rachel Monique, embroidered on the cover. My mother liked people to talk about her. Her life did not appear in my work, and that annoyed her. When I set up my camera at the bottom of the bed in which she lay dying—fearing that she would pass away in my absence, whereas I wanted to be present and hear her last words—she exclaimed, Finally.’”
    Sophie Calle: Rachel Monique tells the story of Monique Szyndler, Sophie Calle’s mother who died in 2007, through diary excerpts and photographs selected by the artist from . . . . Clth, 6.75 x 9.5 in. / 208 pgs / 38 color / 57 b&w.

    Text by Sophie Calle, Monique Szyndler.

    PRICE: $75.00 | $56.25
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    Whitechapel Gallery

    Eduardo Paolozzi

    If the entire twentieth century were to vanish in some huge calamity, it would be possible to reconstitute a large part of it from Paolozzi's sculpture and screenprints. J.G. Ballard
    Eduardo Paolozzi was one of the most innovative and irreverent British artists of the 20th century. Considered the godfather of Pop art,” his powerful collages, sculptures and prints participated in and pushed back against the currents of postwar British art history, from his 1947 collage I Was a Rich Man’s Plaything” to the 1950s Geometry of Fear” sculpture, through the Swinging Sixties and on to the advent of Cool Britannia.” In the event of a nuclear holocaust, J.G. Ballard said, Paolozzi’s enormous body of work could serve as evidence to reconstruct the . . . . Clth, 8.25 x 10 in. / 320 pgs / 250 color.

    Edited by Daniel F. Herrmann. Text by Hal Foster, Jon Wood, Mariana Cristallo Deball.

    PRICE: $50.00 | $37.50
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    Wakefield Press

    The Table

    Written from 1967 to 1973 over a series of early mornings in seclusion in his country home, The Table offers a final chapter in Francis Ponge’s interrogation of the unassuming objects in his life: in this case, the table upon which he wrote. In his effort to get at the presence lying beneath his elbow, Ponge charts out a space of silent consolation that lies beyond (and challenges) scientific objectivity and poetic transport. This is one of Ponge’s most personal, overlooked, and—because it was the project he was working on when he died—his least processed works. It reveals the personal struggle Ponge engaged in throughout all of his writing, a hesitant uncertainty he usually pared away from his published texts that . . . . Pbk, 4.5 x 7 in. / 104 pgs.

    By Francis Ponge. Translated with introduction by Colombina Zamponi.

    PRICE: $12.95 | $9.71
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    Primary Information / Ugly Duckling Presse

    Modern Love

    People used to tell me, if you keep on writing maybe you’ll make a name for yourself,” New York–based artist and writer Constance DeJong (born 1950) wrote in Modern Love. They were right: My name’s Constance DeJong. My name’s Fifi Corday. My name’s Lady Mirabelle, Monsieur Le Prince, and Roderigo. Roderigo’s my favorite name. First I had my father’s name, then my husband’s, then another’s. I don’t know. I don’t want to know the cause of anything.”
    Modern Love, DeJong’s first book, was published in 1977 by Standard Editions, an imprint co-founded by DeJong and Dorothea Tanning. In 1978, the text was adapted into a 60-minute radio program accompanied by the Modern Love Waltz,” a piano composition by Philip Glass. In . . . . Pbk, 4.75 x 7.25 in. / 224 pgs.

    By Constance DeJong.

    PRICE: $18.00 | $13.50
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    Hauser & Wirth Publishers

    Mike Kelley: Memory Ware

    A Survey

    Over the course of his four-decade career, Mike Kelley (1954–2012) critically questioned aesthetic conventions and examined all forms of culture. The approximately 100 Memory Ware and associated works were made during the first decade of the 21st century; all are reproduced in this catalog. Named for a genre of North American folk art in which everyday utilitarian objects such as vases are coated with a claylike substance and then embedded with small objects including shells, beads and buttons, Kelley’s Memory Ware series consists both of wall-hung works (known as Memory Ware Flats) and freestanding pieces. The artist’s appropriation of this folk tradition eliminates recognizable underlying objects and expands the original method to include a wider variety of keepsakes. The Memory Ware . . . . Hbk, 12.5 x 9.5 in. / 240 pgs / illustrated throughout.

    Text by Ralph Rugoff, Mike Kelley.

    PRICE: $65.00 | $48.75
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    Deborah Remington Charitable Trust for the Visual Arts

    Deborah Remington: A Life in Drawing

    Deborah Remington (1930– 2010) emerged as an Abstract Expressionist in the late 1940s and 50s while attending the California School of Fine Arts where she studied with Clyfford Still, David Park and Elmer Bischoff. Following a sojourn in Japan to immerse herself in the study of calligraphy, she moved to New York in 1965, joining a thriving art scene that included Chuck Close, Brice Marden, Dorothea Rockburne and others. Drawing was a constant throughout her career, as it shifted from gestural abstraction to the more tightly structured geometric compositions that are her signature style. Her abstract language, with its luminous spatial permutations, bordering on the surreal, defies easy categorization. Today, with the general public accustomed to the disconcerting visual effects made . . . . Hbk, 6.5 x 9.25 in. / 96 pgs / 54 color / 3 b&w.

    Introduction by Margaret Mathews-Berenson. Text by John Mendelsohn, Lilly Wei.

    PRICE: $24.95 | $18.71
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    Karma, New York

    Sister

    First published in 1993, Sister is a story of love and violence bearing justice. In author and critic Jim Lewis’ first novel, an orphaned, 17-year-old Wilson leaves his Nebraska home and heads south to Mississippi. There, he finds work as a gardener on the estate of the Miller clan—a nuclear family with two lovely daughters, Marian and Olivia, living in compliant happiness. Wilson’s surreptitious presence soon casts a quiet path of destruction through the Miller home with very tangible results for the sisters. Twenty years after its original publication, Lewis’ lyrical, atmospheric novel remains exacting in its appraisal of young love linked to loss and unnerving in its examination of the isolated American family.

    Jim Lewis (born 1963) is an American novelist. . . . . Pbk, 6.5 x 9.25 in. / 208 pgs.

    By Jim Lewis.

    PRICE: $22.00 | $16.50
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    Wakefield Press

    The Arthritic Grasshopper: Collected Stories, 1934-­1944

    First discovered, celebrated and published by the Surrealists at the age of 14 (they declared her the new Alice”), Gisèle Prassinos quickly found herself established in the literary world as a fount of automatic tales freighted with transgressive humor and a pervading sense of threatened feminine identity. Gisèle Prassinos’ tone is unique,” claimed André Breton, all the poets are jealous of it. Swift lowers his eyes, Sade shuts his candy box.” The Arthritic Grasshopper and Other Tales gathers together all of her literary prose from 1934 to 1944, an assortment of anxious dream tales drawn from journals and plaquettes, introduced and illustrated by such admirers as Paul luard, Man Ray and Hans Bellmer. The 72 stories include such longer, novella-length tales . . . . Pbk, 6 x 9 in. / 240 pgs / 15 b&w.

    By Gisèle Prassinos. Introduction and translation by Bonnie Ruberg, Henry Vale. Illustrations by Allan Kausch.

    PRICE: $16.95 | $12.71
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    Louisiana Museum of Modern Art

    Daniel Richter: Lonely Old Slogans

    Regarded as one of the most important painters of a generation that includes Peter Doig and Tal R, German artist Daniel Richter (born 1962) arrived on the art scene in the 1990s as a highly expressive abstract painter. Even after Richter’s turn to figuration since the early 2000s, he has maintained his characteristic use of brash colors and dynamic, theatrical compositions, now applied to a new kind of history painting,” in the thematic and formal tradition of Max Beckmann and George Grosz. Richter’s history painting, however, does not aim to reproduce specific historical events but rather seeks to capture a particular contemporary spirit, marked by the death of the great political utopias. Daniel Richter: Lonely Old Slogans, published to accompany a . . . . Hbk, 8.5 x 10.25 in. / 96 pgs / 50 color.

    Edited by Michael Juul Holm, Poul Erik Tøjner. Text by Roberto Ohrt.

    PRICE: $35.00 | $26.25
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    Cheim & Read

    Lynda Benglis

    Since the 1960s, Lynda Benglis (born 1941) has been celebrated for the free, ecstatic forms she has poured, thrown and molded in ceramic, latex, polyurethane and bronze. In her new work, documented in this volume, she turns to handmade paper, which she wraps around a chicken wire armature, often painting the sand-toned surface in bright, metallic colors offset by strokes of deep, coal-based black. At other times she leaves the paper virtually bare. These works reflect the environment in which they were made, the sere and windblown” landscape of Santa Fe, New Mexico, as Nancy Princenthal writes in her essay. It is possible to see the bleached bones of the land—its mesas and arroyos; its scatterings of shed snakeskins and animal . . . . Hbk, 9.25 x 12 in. / 118 pgs / 40 color.

    Text by Nancy Princenthal.

    PRICE: $40.00 | $30.00
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    JRP|Ringier

    Guy de Cointet

    Now back in print, this volume is the first overview of the French-born, Los Angeles–based artist Guy de Cointet (1934–83). De Cointet was fascinated with language, which he explored primarily through performance and drawing. His practice involved collecting random phrases, words and even single letters from popular culture and literary sources—he often cited Raymond Roussel’s novel Impressions of Africa as influential—and working these elements into nonlinear narratives, which were presented as plays to his audience. De Cointet is one of the major figures in Los Angeles’ Conceptual art movement of the 1970s, having strongly influenced a number of prominent Los Angeles–based artists, including Paul McCarthy and Mike Kelley. The book, written by Marie de Brugerolle and published with the Estate of . . . . Hbk, 6.75 x 9.5 in. / 160 pgs / 74 color / 26 b&w.

    Edited by Lionel Bovier, Clément Dirié. Preface by Larry Bell. Text by Marie de Brugerolle. Afterword by Gérard Wajcman.

    PRICE: $45.00 | $33.75
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    DESTE Foundation for Contemporary Art

    Aleksandra Waliszewska: 2000 Words

    Why are images of girls in distress considered so alluring? Polish artist Aleksandra Waliszewska (born 1976) rebels against traditional representations of victimhood. In her paintings on cardboard, reminiscent of Raymond Pettibon, the girls do not need or want to be rescued; although seemingly innocent and vulnerable, they are depicted as forces of aggression and ruthless domination. Born during communism but coming of age after its fall in 1989, Waliszewska moves easily across cultural contexts, enjoying both institutional acclaim as well as popularity among Poland’s youth counterculture.
    Part of the 2000 Words series conceived by Massimiliano Gioni and published by the DESTE Foundation for Contemporary Art, this colorful monograph, with an essay by Lauren Cornell, celebrates Waliszewska’s work, which calls into question society’s . . . . Pbk, 7.25 x 10 in. / 105 pgs / illustrated throughout.

    Edited by Karen Marta, Massimiliano Gioni. Text by Lauren Cornell.

    PRICE: $22.00 | $16.50
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    Louisiana Museum of Modern Art

    Riverbed: Olafur Eliasson at Louisiana

    Riverbed features Danish-Icelandic installation artist Olafur Eliasson’s (born 1967) dramatic piece of the same name. A site-specific installation at the Louisana Museum in 2014, the monumental work entailed a huge landscape of rocks from Iceland and streaming water, captured in this volume by Iwan Baan.

    . . . . Hbk, 9.75 x 12.5 in. / 112 pgs / 50 color.

    Edited by Michael Juul Holm, Anna Engberg­-Pedersen. Afterword by Poul Erik Tøjner.

    PRICE: $40.00 | $30.00
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    Sansom Foundation, Inc.

    The World of William Glackens

    Volume II

    The second volume of The World of William Glackens expands the story of American art in the early 20th century. Teresa Carbone highlights a breakout work by Glackens, while Charles Brock shows how alternative exhibitions of American modernists changed the art world. The fertile artistic location of Philadelphia is the backdrop of Judith Barter's essay and Marc Simpson discusses Philadelphia's Thomas Eakins and his affection for Paris. This volume also includes lectures given by Avis Berman, Carol Troyen and Sylvia Yount at a 2014 symposium held at the Barnes Foundation in conjunction with the first major exhibition of Glackens' work in 50 years.

    . . . . Clth, 7.75 x 10.5 in. / 288 pgs / 189 color.

    Text by Judith Barter, Avis Berman, Charles Brock, Theresa Carbone, Marc Simpson, Carol Troyen, Sylvia Yount.

    PRICE: $59.95 | $44.96
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    Aspen Art Press

    Gabriel Orozco: Orbita nocturna

    Resisting confinement to a single medium, critically acclaimed Mexican artist Gabriel Orozco (born 1962) explores the poetry of chance encounters while blurring the boundary between art and the everyday. Known for works such as the Citroën automobile surgically reduced to two-thirds its normal width (“La DS,” 1993) and a human skull covered with a graphite grid (“Black Kites,” 1997), Orozco explores complex geometry, mapping and anatomy in a creative, playful, elegant and inventive manner. Gabriel Orozco presents several new works by the artist, including a series of graphite drawings, glass panel sculptures, aluminum sculptures and oil and tempera paintings with gold leaf. This volume focuses on the intersection of nature and culture in the artist’s work, underscoring Orozco’s interest in geometry’s . . . . Pbk, 2 vols, 7.5 x 9.5 in. / 304 pgs / 250 color / 20 b&w.

    Afterword by Heidi Zuckerman.

    PRICE: $40.00 | $30.00
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