Published by Editions Alain Noirhomme. Text by Richard Milazzo.
Covering 30 years of groundbreaking work, spanning from 1976 to 2006, The Paintings of Ross Bleckner is the first major monograph on this important American artist, as well as the first publication devoted to his work since his 1995 retrospective at the Guggenheim Museum in New York. Beginning with an analysis of Bleckner's much-overlooked Constructivist and Post-Constructivist paintings of the 1970s, it continues with chapter-by-chapter studies of all the critically-acclaimed series, from the Stripe, Weather, Chandelier and Memorial (or AIDS) paintings of the early to mid-1980s to the Specific and Anonymous, Inheritance, Protein and Meditation paintings of the new millennium. In addition to an intensive analysis of each of the artist's completed works, the book contains 250 black-and-white illustrations, 134 color plates of Bleckner's most seminal works, a comprehensive history of his exhibitions and a complete bibliography. In his monumental text study, author Richard Milazzo writes, "Bleckner's work has always been interested in bringing abstract painting closer to the realities of the external world, while endeavoring to plumb the depths of the subliminal realm of the psyche. Much lauded for the work he has done for ACRIA, the American Community Research Initiative on AIDS, and as an outspoken advocate of the fight against the disease since the late 1980s, his paintings are symbolic expressions of a larger humanity, and, as such, also comprise formal as well as social values."
PUBLISHER Editions Alain Noirhomme
BOOK FORMAT Clothbound, 10 x 13.5 in. / 457 pgs / 134 color / 250 bw.
PUBLISHING STATUS Pub Date 2/1/2008 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 157
PRODUCT DETAILS ISBN 9782930487014TRADE List Price: $150.00 CDN $180.00
Published by DuMont. Edited and with text by Thomas Kellein.
The 1980s saw a vibrant overhaul of both figurative and abstract painting, intensified by the raw energies of street art and magnified by the booming art economy and a larger culture of glitz and brashness. The Swiss art dealer Bruno Bischofberger dedicated himself to the art of this young, "wild" generation and thus assembled one of the most significant collections of 1980s art, acquiring key works by John Armleder, Miquel Barcelo, Jean-Michel Basquiat, Mike Bidlo, Francesco Clemente, George Condo, Enzo Cucchi, Jirí Georg Dokoupil, Rainer Fetting, Peter Halley, Keith Haring, McDermott & McGough, Mühlheimer Freiheit, David Salle, Salomé, Kenny Scharf, Julian Schnabel, Philip Taaffe and Andy Warhol. It is around Bischofberger's unsurpassed collection of these works that this massive volume is built. Assembled by Thomas Kellein, The 80s Revisited contains nearly 300 color plates of works by these artists, and thus provides a definitive guide to that lively decade.
Published by Editions Xavier Barral. Foreword by François Pinault. Text by Jena-Pierre Criqui, Edouard Papet, Michel Houellebecq, Béatrix Saule.
This volume presents a marriage made in camp heaven--the splendid extravagance of the palace of Versailles as a backdrop for the gregarious, loud and equally extravagant sculptures of contemporary American Pop artist Jeff Koons, who mounted the first contemporary art exhibition ever in the apartments of the king in September 2008. What other artist could match Louis XIV's love of the saccharine gesture? Sugared up to the max, Koons here counterposes Versailles' rich detail with his more simplified forms, including a monumental red chocolate-box-style heart, balloon dog and suspended red aluminum lobster. Other works outdo Versailles for kitsch, such as Koons' marble self-portrait, playfully sited amid busts of Louis XIV, his infamous "Michael Jackson and Bubbles" sculpture and his ever-cryptic bare-breasted blonde clutching the Pink Panther. Yet others, such as the large vase of flowers, blend seamlessly with the decor. Needless to say, accusations of irreverence have abounded, but Koons avows only respect for the venue and has testified that he has drawn inspiration for his floral sculptures from the "fantasy and control" shown by Louis XIV himself. The degree of sympathy is as hard to contest as the edge of parody: Asked why he installed his vitrine of vacuum cleaners among the portraits of royalty in the Queen's antechamber, Koons replied that, among other things, vacuum cleaners are "very womblike." This monograph records each of the 17 works as exhibited and is supplemented with texts by Jean-Jacques Aillagon, chairman of Versailles and a former French culture minister, and controversial French novelist Michel Houellebecq, among others.
Published by Walther König, Köln. Edited by Ingrid Pfeiffer, Max Hollein. Introduction by Anette Urban.
Coming to international prominence in the 1980s, American conceptual artist Barbara Kruger (born 1945) has said: “I work with pictures and words because they have the ability to determine who we are and who we aren't.” Circus presents the dizzying black-and-white textual installation of the same name that Kruger developed for the rotunda of the Schirn Kunsthalle Frankfurt in 2010.
Published by Irish Museum of Modern Art. Text by Colm Tóibín, Enrique Juncosa, David Brody.
Philip Taaffe (born 1955) emerged in the 1980s alongside a generation of American painters who breathed new life into abstraction, at a time when it had been somewhat languishing in the wake of Pop art and Minimalism. Heavily layered and often grand in scale, Taaffe's paintings renew abstraction through a meticulous juxtaposition of appropriated symbols and emblems from a multitude of customs and epochs, many of which the artist encounters during his travels through South America, India and the Middle East. Taaffe's art is thus both beautiful and erudite, informed by an encyclopedic knowledge of literature and anthropology. Philip Taaffe: Anima Mundifeatures mixed-media and mostly abstract paintings executed over the past ten years. It includes original texts by Colm Tóibín and Enrique Juncosa as well as an interview between Taaffe and David Brody.
Published by Moderne Kunst Nürnberg. Edited by Gerald Matt, Raphaela Platow. Text by Pedro Alonzo, Bill Arning, Synne Genzmer, Raphaela Platow.
Situated in those explosive mini-era years from 1978 to 1982 in New York, this monograph explores the early and most experimental period in the career of Keith Haring (1958-1990). Its narrative commences with a portrait of the vigorous studio practice Haring had already established after enrolling in New York's School of Visual Arts, and tracks his metamorphosis into an ultra-prolific artist making political public art on downtown streets and responding to the city's graffiti culture, intent on making art that would fall outside the boundaries of the institutions. Reproduced throughout are rarely seen drawings and sketchbooks, video stills, flyers, posters, photographs, subway drawings, word collages, texts and diaries. Keith Haring: 1978-1982 unfolds the nascent career of this tireless creator, philosopher, agitator and activist, one of the most iconic and popular artists of the twentieth century.
Published by Art Gallery of Ontario, Toronto. Introduction by David Moos. Afterword by Julian Schnabel.
American art megastar Julian Schnabel (born 1951) has made a métier of both painting and film, and while he is equally acclaimed for his achievements in each of these disciplines, the works have often been kept separate in the public eye. Yet Schnabel’s painting has drawn on cinematic imagery for years, often connecting otherwise disparate work via this theme, and his award-winning films have drawn on art both formally and as subject matter—most famously in the 1996 hit Basquiat. Schnabel himself resists categorization: “I make art,” he says,“whether it is painting, writing, photography or making a movie.” This survey of Schnabel’s career to date presents the artist’s painterly production, from the 1970s through to the present, juxtaposing his large-scale paintings with his numerous critically acclaimed movies—Basquiat (1996), Before Night Falls (2000), The Diving Bell and the Butterfly (2007) and his newest film Miral, which addresses the Palestinian-Israeli conflict. The complete scripts of each of these movies are featured, punctuated with stills chosen by Schnabel. Published for the Art Gallery of Ontario’s 2010 survey, Julian Schnabel: Art and Film is the first appraisal of how Schnabel works across media, bridging painting, writing and cinema. Julian Schnabel was born and raised in Brooklyn, New York. His first solo show was at the Contemporary Arts Museum in Houston in 1976, but it was with his 1979 exhibition at the Mary Boone Gallery in New York that Schnabel first asserted his presence as a figurehead for new possibilities in painting. Retrospectives of his work have been mounted by Tate Gallery, London (1983), the Whitney Museum of American Art (1987) and Museo Nacionale Centro de Arte Reina Sophia, Madrid (2004), among many others. He made his cinematic debut in 1996 with his account of the life of Jean-Michel Basquiat, which starred Jeffrey Wright, David Bowie, Gary Oldman and Dennis Hopper. The Diving Bell and the Butterfly earned him Best Director both at the Cannes Film Festival and the Golden Globes, and an Academy Award nomination in this same category.
PUBLISHER Art Gallery of Ontario, Toronto
BOOK FORMAT Paperback, 7 x 10 in. / 448 pgs / 50 color / 80 bw.
PUBLISHING STATUS Pub Date 10/31/2010 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2010 p. 171
PRODUCT DETAILS ISBN 9781894243667TRADE List Price: $40.00 CDN $50.00
Published by Hatje Cantz. Text by Joan Simon, Elizabeth A.T. Smith.
For the past three decades, the influential American conceptual artist Jenny Holzer has been challenging viewers' assumptions about the world through language that conveys the multiplicity of often contradictory voices, opinions and attitudes that form the basis of contemporary society. Alternating between fact and fiction, public and private, the universal and the particular, Holzer's work offers an incisive social and psychological portrait of our times. During the last decade, Holzer has shown extensively in Europe but has been less visible in the United States--following a period of wide exposure and pervasive influence beginning in the late 1970s. This volume, which accompanies a major presentation of Holzer's work in various media from the 1990s onward at the Museum of Contemporary Art, Chicago, goes a long way towards rectifying this situation, and reintroduces her to the American audience at a timely political moment. Featuring several scholarly essays and an interview with the artist, this volume provides an overview of the work of one of the leading artists of the 80s generation.