Published by The Museum of Modern Art, New York. Edited by Christophe Cherix, Cornelia Butler, and David Platzker. With texts by Christophe Cherix, Cornelia Butler, David Platzker, and Adrian Piper. Backmatter compiled by Tessa Ferreyros
Adrian Piper has consistently produced groundbreaking work that has profoundly shaped the form and content of conceptual art since the 1960s. Strongly inflected by her longstanding involvement with philosophy and yoga, her pioneering investigations into the political, social, psychological and spiritual potential of conceptual art have had an incalculable influence on artists working today.
Published in conjunction with the most comprehensive exhibition of her work to date, this catalog presents more than 280 artworks that encompass the full range of Piper’s mediums: works on paper, video, multimedia installation, performance, painting, sound and photo-texts. Essays by curators and scholars examine her extensive research into altered states of consciousness; the introduction of the Mythic Being—her subversive masculine alter-ego; her media and installation works from after 1980, which reveal and challenge stereotypes of race and gender; and the global conditions that illuminate the significance of her art. Previously unpublished texts by the artist lay out significant events in her personal history and her deeply felt ideas about the relationship between viewer and art object. This publication expands our understanding of the conceptual and post-conceptual art movements and Piper’s pivotal position among her peers and for later generations.
Adrian Piper (born 1948) is a first-generation conceptual artist and analytic philosopher. She received an AA in Fine Art from the School of Visual Arts in 1969, a BA in Philosophy with a minor in Medieval and Renaissance Musicology from the City College of New York in 1974 and a PhD in Philosophy from Harvard University in 1981. Piper’s artwork is in the collections of The Museum of Modern Art, the Centre Pompidou, the Metropolitan Museum of Art, the Generali Foundation and the Museum of Contemporary Art of Los Angeles, among others.
Cornelia Butler is Chief Curator at the Hammer Museum, Los Angeles.
David Platzker is Curator in the Department of Drawings and Prints at The Museum of Modern Art, New York.
Christophe Cherix is Chief Curator of Drawings and Prints at MoMA.
Tessa Ferreyros is Curatorial Assistant in the Department of Drawings and Prints at The Museum of Modern Art, New York.
Published by D.A.P./Tate. Edited by Frances Morris, Tiffany Bell. Text by Marion Ackermann, Rachel Barker, Jacquelynn Baas, Tiffany Bell, Christina Bryan Rosenberger, Briony Fer, Lena Fritsch, Anna Lovatt, Frances Morris, Maria Müller-Schareck, Richard Tobin, Rosemarie Trockel.
The critically acclaimed, indispensible illustrated monograph on Agnes Martin, published to accompany the major retrospective exhibition organized by the Tate and on view in 2016 at the Los Angeles County Museum of Art and the Guggenheim
Published by Karma, New York. Text by Lynne Tillman.
This book collects images that New York–based artist Anne Collier (born 1970) originally presented as a slideshow of 80 35mm slides depicting found images of female subjects in the act of taking self-portraits. Dating from the 1970s to the early 2000s, these relics of the analog age were collected by Collier, each image discarded by its original owner but finding its way back to relevance in Collier’s work. The slideshow consists of amateur snapshots of women photographing themselves with film cameras prior to the advent of the digital "selfie." Instead of circulating on social media, these abandoned images once existed for a private audience. The resulting work is steeped in a deep sense of loneliness, illustrating photography’s contentious relationship to memory, loss and self-representation. The book represents a kind of sequel to Collier's 2017 book Women with Cameras (Anonymous).
Published by D.A.P./Les Presses du Reel. Edited by Marie-Laure Bernadac. Interviews with Harald Szeemann, Robert Storr, Bernard Marcadé and Suzanne Pagé.
Texts and words are of crucial importance to Annette Messager's work--for her, "words are images." And so words--at once autonomous from, parallel to, and the sources of her visual creativity--are woven throughout her production. She has looked directly at our diverse relationships to language in forms ranging from the early scrapbooks of the 1970s to the large sculpted words of the late 1990s, and others including personal diaries, letters, calligraphy, alphabets and primers. She works with the repeated, drawn, framed and sculpted word; newsprint, collage and montage of texts and photographs; and handwritten texts. Plays on words and palindromes turn up in her exhibition titles and, more recently, in her children's books. All of these uses of language stem as much from Dada and Surrealism as from the aesthetics of the banal and the everyday, and they give rise to unclassifiable texts, which call somewhere between a literature of the news item or photo-essay and poetic maxims for personal use. Messager's frequent recourse to copying down and to repetition then serves as a kind of exorcism: in those cases, writing is something like sewing, with a soothing function. The first section of Word for Word focuses on writing in Annette Messager's artworks. The second includes numerous texts published in magazines or catalogues, as well as unpublished notes on her work and personal reflections on art and life. All of her interviews from 1974 to the present are also included.
Published by Editora Cobogó. Edited by Frédéric Paul. Interview by Richard Armstrong.
This is the first book on the collages of Brazilian artist Beatriz Milhazes (born 1960). During a residency in Brittany, in 2003, Milhazes offered chocolates and sweets to the art center team, asking them to return the wrapping papers afterward. From these the artist commenced a new project: her collages. Until this point, Milhazes had considered collage a secondary activity, a way of drafting her paintings. With time, her collage technique developed along its own path.
“Collages have a kind of dialogue with an imaginary journal,” she writes. “Collected papers come from a variety of interests: sometimes it’s an aesthetic attraction, but other times they’re part of a routine, such as with chocolate wrapping paper or cuttings remaining from existing impressions. That’s why composition in collage creates a dialogue that’s exclusive to collages.” As Frédéric Paul, the book’s editor, observes, by using disposable ingredients in her collages, Milhazes emphasizes the acceleration of cycles of taste. “The frivolity of sweets and shopping express the frivolous versatility of trend indicators. They are also, surely, an expression of the assumed decorative frivolity. Milhazes’s work has the extraordinary complexity of simple things and faces us with a breathtaking plastic evidence.”
PUBLISHER Editora Cobogó
BOOK FORMAT Hardcover, 8.75 x 9.5 in. / 240 pgs / 104 color.
PUBLISHING STATUS Pub Date 1/22/2019 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2019 p. 109
PRODUCT DETAILS ISBN 9788555910647TRADE List Price: $50.00 CDN $69.95 GBP £45.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by The Museum of Modern Art, New York. By Eva Respini. Text by Johanna Burton. Interview by John Waters.
Published to accompany the first major survey of Cindy Sherman’s work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist’s 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman’s sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal Untitled Film Stills (1977–80); centerfolds (1981); history portraits (1989–90); head shots (2000–2002); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An essay by curator Eva Respini provides an overview of Sherman’s career, weaving together art historical analysis and discussions of the artist’s working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman’s work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provides an enlightening view into the creative process.
Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.
Eva Respini is a former Curator in the Department of Photography at The Museum of Modern Art, New York where she contributed to numerous publications including Robert Heinecken: Object Matter (2014); Cindy Sherman (2012); and Into the Sunset: Photography’s Image of the American West (2009); Fashioning Fiction in Photography since 1990 (2004).
John Waters is an American filmmaker, actor, writer, and visual artist best known for his cult films, including "Hairspray", "Pink Flamingos", and "Cecil B. DeMented". He lives in Baltimore, Maryland.
Johanna Burton has served as the director of the graduate program at the Center for Curatorial Studies at Bard College.
Published by Four Corners Books. Text by Julie Ault, Daniel Berrigan.
At 18, Corita Kent (1918-86) entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles, where she taught art and eventually ran the art department. After more than 30 years, at the end of the 1960s, she left the order to devote herself to making her own work. Over a 35-year career she made watercolors, posters, books and banners--and most of all, serigraphs--in an accessible and dynamic style that appropriated techniques from advertising, consumerism and graffiti. The earliest, which she began showing in 1951, borrowed phrases and depicted images from the Bible; by the 1960s, she was using song lyrics and publicity slogans as raw material. Eschewing convention, she produced cheap, readily available multiples, including a postage stamp. Her work was popular but largely neglected by the art establishment--though it was always embraced by such design luminaries as Charles and Ray Eames, Buckminster Fuller and Saul Bass. More recently, she has been increasingly recognized as one of the most innovative and unusual Pop artists of the 1960s, battling the political and religious establishments, revolutionizing graphic design and making some of the most striking--and joyful--American art of her era, all while living and practicing as a Catholic nun. This first study of her work, organized by Julie Ault on the 20th anniversary of Kent's death, with essays by Ault and Daniel Berrigan, is the first to examine this important American outsider artist's life and career, and contains more than 90 illustrations, many of which are reproduced for the first time, in vibrant, and occasionally Day-Glo, color.
BOOK FORMAT Paperback, 9.75 x 11.25 in. / 128 pgs / 100 color / 5 bw.
PUBLISHING STATUS Pub Date 3/1/2007 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 62
PRODUCT DETAILS ISBN 9780954502522TRADE List Price: $29.95 CDN $39.95
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Siglio. Edited by Lisa Pearson. Text by Trinie Dalton.
For over five decades, Dorothy Iannone has been making exuberantly sexual and joyfully transgressive image–text works. Karen Rosenberg wrote of her in The New York Times: “High priestess, matriarch, sex goddess: the self-taught American artist Dorothy Iannone has been called all these things and more. Since the early 1960s she has been making paintings, sculptures and artist’s books that advocate ‘ecstatic unity,’ most often achieved through lovemaking.” Beginning with the famous “An Icelandic Saga,” in which Iannone narrates her journey to Iceland (where she meets Dieter Roth and leaves her husband to live with him), this singular volume traces Iannone’s search for “ecstatic unity” from its carnal beginnings in her relationships with Roth and other men into its spiritual incarnation as she becomes a practicing Buddhist. Reproducing several previously unpublished or long-out-of-print works in their entirety (such as Danger in Düsseldorf, The Whip, “An Explosive Interlude”), as well as longer excerpts from rarely-seen works like A Cookbook and Berlin Beauties, this volume gives readers the chance to read her work with sustained attention, and enjoy the sophistication of the stories she tells and the visual–textual embellishments that make them so irresistible.
Associated with Fluxus through her close friendships with Emmett Williams, Robert Filliou and Ben Vautier, as well as most well-known for her relationship with Dieter Roth, Dorothy Iannone (born 1933) nevertheless has her own distinct aesthetic style and substantive concerns. Her first major museum show in the U.S. came when she was 75 in 2008 at the New Museum, shortly after her “orgasm box” titled “I Was Thinking of You” was included in the Whitney Biennial in 2006, and she has recently attained more recognition with solo shows at the Camden Arts Centre, Palais de Tokyo and the Berlinischer Galerie.
Published by Hatje Cantz. Edited by Hubertus Gassner, Brigitte Kölle, Petra Roettig. Text by Renate Petzinger, Tom Doyle, Doug Johns, Brigitte Kölle, Lucy Lippard, Robert Mangold, Sylvia Mangold, Cindy Nemser, Petra Roettig, Franz Erhard Walther.
Eva Hesse (1936–1970) was one of the foremost women artists of the twentieth century. Her artistic practice combined the seriality and reduction of 1960s Minimalism with emotion, sensuousness and physicality, while the transparency and transience of her unconventional materials also contributed greatly to her unique position in the art world of her day. From November 2013 onward, the Hamburger Kunsthalle is presenting the first solo exhibition of Hesse’s work in her native city. Hesse emigrated with her family via the Netherlands and England to the United States in 1938. They settled in New York City, where she later studied painting at the Cooper Union School of Art from 1954 to 1957, and then continued her studies in the master class of Josef Albers at the Yale School of Art and Architecture from 1957 to 1959. At the invitation of Friedrich Arnhard Scheidt, a German industrialist and art collector, and his wife Isabel, Hesse and her husband Tom Doyle spent a year in Kettwig an der Ruhr during 1964–1965. This period is regarded as a turning point in Hesse’s artistic practice. Drawing inspiration from the materials she found in an abandoned textile factory in Kettwig, she made her first three-dimensional artworks, and when she returned to New York she devoted herself exclusively to sculpture, creating fragile works in unconventional materials such as polyester, fiberglass and latex. Hesse died of a brain tumor in 1970, aged just 34. The exhibition at the Hamburger Kunsthalle focuses on the latter part of the artist’s career, a highly productive period in which she created a substantial number of sculptures and drawings.
Published by The Museum of Modern Art, New York. Text by Sarah Hermanson Meister.
The US was in the midst of the Depression when Dorothea Lange (1895–1965) began documenting its impact through depictions of unemployed men on the streets of San Francisco. Her success won the attention of Roosevelt's Resettlement Administration (later the Farm Security Administration), and in 1935 she started photographing the rural poor under its auspices. One day in Nipomo, California, Lange recalled, she "saw and approached [a] hungry and desperate mother, as if drawn by a magnet." The woman's name was Florence Owens Thompson, and the result of their encounter was seven exposures, including Migrant Mother. Curator Sarah Meister's essay provides a fresh context for this iconic work.
In materials as diverse as wood, steel, bronze, latex, marble, plaster, resin, hemp, lead, ink, pencil, crayon, woodcut, watercolor and gouache, Louise Bourgeois (1911–2010) investigates every imaginable manifestation of the spiral, from graphic patterns to graphite whorls, wobbly orbits to chiseled vortices, twisted columns to coiling snakes, staircases and pyramids. The cursive blue-paper word drawings also included, in English and French, complement the purely visual works by conveying the spirit of Bourgeois’ writing in extraordinary pictorial forms. Bourgeois called the spiral “an attempt at controlling the chaos. It has two directions. Where do you place yourself, at the periphery or at the vortex?” In another context, she has also stated “I would dream of my father’s mistress. I would do it in my dreams by wringing her neck. The spiral—I love the spiral—represents control and freedom.”
Published by Gregory R. Miller & Co.. Text by Bill Arning, Elissa Auther, Nick Flynn, K8 Hardy, Richard Hell, Colby Keller, Eileen Myles, Jenni Sorkin, Neville Wakefield. Interview by Catherine Morris, Linda Yablonsky.
Marilyn Minter is famed for her glossy, hyper-realistic paintings, photographs and video works—seductive images that borrow the language of fashion and advertising photography, exploring the boundaries of desire, sensuality and body anxiety in the age of consumption. Close-up imagery of mouths, feet, splashes and puddles, rendered in high-gloss enamel on sheets of metal, subversively questions the pathology of glamour. Produced in conjunction with the first major museum retrospective on her work, Pretty/Dirty examines every period of the artist's 40-year career, from her beginnings with the controversial porn paintings, initially rejected by the critical establishment, to her later large-scale photorealistic works. Essays from the exhibition's curators examine the trajectory of Minter's development and her engagement with debates over the representation of the female body. Texts from musicians, artists, writers and curators speak to Minter's wide-ranging influence: reflections from the likes of artist K8 Hardy, musician and author Richard Hell, and poet Eileen Myles, as well as an artist interview with writer Linda Yablonsky. Illustrated with hundreds of full-color reproductions, and with a complete biography and bibliography, Pretty/Dirty charts a new perspective on the career of this exciting and continually evolving artist.
Marilyn Minter (born 1948) has been the subject of numerous solo exhibitions, at venues including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, in 2009 and the Museum of Contemporary Art, Cleveland, in 2010. Her video "Green Pink Caviar" was exhibited in the lobby of MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York.
Published by Tate/D.A.P.. Edited by Leontine Coelewij, Kerryn Greenberg, Helen Sainsbury, Theodora Vischer. Text by Leontine Coelewij, Colm Toibin. Interview by Theodora Vischer.
The definitive catalogue on contemporary painter Marlene Dumas, with more than 100 museum-quality reproductions of her most important paintings as well as previously unpublished early works and writings
Published by Whitechapel Gallery. Edited with text by Lydia Yee. Text by Briony Fer, Mary Heilmann.
Mary Heilmann studied ceramics and poetry before moving to New York in 1968 and taking up painting. A pioneer of infusing abstract painting with influences from craft traditions and popular culture--especially rock music and California beach culture--Heilmann is one of the most important yet under-recognized artists working today.
Mary Heilmann: Looking at Pictures explores the artist’s approach to abstraction from two distinct but interrelated perspectives: the formal and the personal. The autobiographical dimension of the artist’s work is clear in her pieces related to friendships, memories and places; while the formal aspect of her oeuvre is evident in her paintings of grids and squares rendered in primary colors and in works based on architectural planes.
As well as a new essay by Briony Fer and writings on key works by the artist, the volume features over 100 beautiful full-color illustrations of paintings, works on paper, furniture and ceramics from Heilmann’s five-decade career.
Mary Heilmann was born in San Francisco in 1940. She studied at the University of California at Santa Barbara, San Francisco State University and the University of California at Berkeley before moving to New York in 1968. Heilmann began her career creating furniture and sculpture and moved into abstract painting once on the East Coast, experimenting with bright colors and unusual geometries that bridge two-dimensional and three-dimensional elements. She has been the recipient of the Anonymous Was a Woman Foundation Award as well as a Guggenheim Foundation award.
Briony Fer is an art historian who has written extensively on modern and contemporary art. Her research interests have consistently moved between the history of the avant-gardes and the work of contemporary artists, including Gabriel Orozco, Roni Horn, David Batchelor and Tacita Dean. Her books include On Abstract Art (1997), The Infinite Line (2004), and Eva Hesse: Studiowork (2009). She has also organized exhibitions of Eva Hesse’s studiowork as well as, most recently, an exhibition of the work of Gabriel Orozco, accompanied by the monograph Gabriel Orozco: thinking in circles (2013). In spring 2014, she was Kirk Varnedoe Professor at the Institute of Fine Arts in New York. She is Professor of History of Art at University College London and a Fellow of the British Academy.?
Published by Skira. Edited by Guido Comis, Maria Giuseppina Di Monte.
Meret Oppenheim (1913–85) is one of the most recognized 20th-century artists. This catalog examines her entire career, from the 1930s to the late works, revealing the creative network of relationships she nurtured with her peers during her time in Paris. Man Ray, Marcel Duchamp, Max Ernst, Alberto Giacometti, Hans Arp and others are documented in this publication through some of their most significant works.
What emerges is the extent to which the artist influenced the Surrealist vocabulary in which objects turn into fetishes, oneiric and erotic fantasies intermingle and women are seen as innocent or evil, enveloped in mysterious nature. Her creative freedom and the extraordinary evocative power of her works have made her a key figure for many generations of artists, as can be seen here through parallels with creations by Daniel Spoerri, Birgit Jürgenssen, Robert Gober and Mona Hatoum.
Published by Wexner Center for the Arts. Foreword by Sherri Geldin. Text by Nicole R. Fleetwood, Michael Goodson, Beverly Guy-Sheftall, Antwaun Sargent.
Presenting paintings of some of the artist's key models and muses, I Can't See You Without Me illuminates the work of Brooklyn painter Mickalene Thomas (born 1971). Culling from art history and popular culture, Thomas creates scintillating portraits that deconstruct the highly charged connections between sitter, artist and viewer. Whether depicted as classically composed 19th-century odalisques, Afro-adorned vixens of blaxploitation films or as a powerful maternal figure yearning for social mobility, the recurring models in Thomas' compositions (almost exclusively women of color) convey a spirit of strength and self-confidence. Across this archetypal array, it is both their contradictions and kinships that make the black female body such fertile terrain for the artist's ongoing investigations. By casting herself, her late mother and other formidable women in her life as models, muses and collaborators, Thomas particularizes her distinctive oeuvre of portraiture. Focused yet expansive, the catalog both reasserts and further contextualizes issues of identity, sexuality and agency in Thomas' work that have only become more nuanced and palpable over time.
Published by The Museum of Modern Art, New York. Edited by Cornelia Butler, Alexandra Schwartz. Introductions by Cornelia Butler, Griselda Pollock, Aruna D'Souza.
This landmark survey represents the first effort by a major North American museum to examine its collection by highlighting the production of modern and contemporary women artists. Featuring essays by nearly 50 writers, including both MoMA curators and outside scholars, among them many of the strongest voices in current research on art and gender, this groundbreaking publication presents a variety of generational and cultural perspectives. Modern Women focuses on a diverse range of artists active from the late nineteenth century to the present whose works span the spectrum of mediums and genres in the Museum's collection. Organized chronologically into three sections—“Early Modernism,” “Mid-Century” and “Contemporary”—the book comprises both long and short essays emphasizing new research on women artists within these historical time periods. Subjects include women at the Bauhaus, design collaborations, photographers between the wars, the legacy of Maya Deren, Latin American artists, performance art, architecture, land art, “Riot Grrrls,” African American artists, collage and assemblage in contemporary portraiture as well as essays on individual artists such as Lillian Gish, Sybil Andrews, Diane Arbus, Ida Lupino, Hanne Darboven, Bridget Riley, Ana Mendieta, Louise Bourgeois, Adrian Piper, Nan Goldin, Zaha Hadid, Janet Cardiff and Lin Tianmiao. Heavily illustrated with works from the collection, Modern Women constructs a conversation between past considerations of MoMA's collection and current feminist narratives of art history, putting these varied modes of exploration in productive dialogue.
Published by Steidl. Text by Nan Goldin, Lotte Dinse, Glenn O’Brien.
In her newest work, Nan Goldin merges her deep admiration for the artworks of the past with a lifelong dedication to her most immediate circle of friends. Invited by the Louvre, she photographed artworks of her choice at the museum and, guided by aesthetic and associative considerations, connected them to earlier photographs of her friends and lovers. In this way she not only draws inspiration from the rich sources of art history but revisits her own oeuvre of the last 40 years. The striking similarities between the two different pictorial worlds exert an intense dynamic on the viewer. The series, which yielded over 400 photographs, was shown for the first time in its full scope at the Kestnergesellschaft in Hannover, Germany. For this occasion, Diving for Pearls was conceived as an independent artist book which, alongside Goldin’s newest work "Saints," contains a selection of photographs that have never been published before. Nan Goldin was born in Washington, DC, in 1953 and is one of the most eminent female photographers of our times. She studied at the Museum of Fine Arts in Boston. Since 1982 she has visited and worked in Berlin on a regular basis. She received a Hasselblad Photography Award in 2007. Goldin lives in Berlin, New York and Paris.
Published by La Fábrica/Guggenheim Museum Bilbao. Text by Bloum Cardenas, Camille Morineau, Catherine Francblin, et al.
This gorgeous volume offers the most complete overview in print of the oeuvre of Niki de Saint Phalle, one of the most influential and popular artists of the postwar period. The French-American artist was educated according to the social codes of upper-class New York society, but boldly rejected the expectations of her family to instead choose a career in art. Moving to Paris in the 1960s, she befriended the Nouveau Réaliste artists Martial Raysse, Daniel Spoerri and Jean Tinguely, creating her famous Shooting Paintings, the Nanas (brightly chromatic biomorphic sculptures of female archetypes), as well as experimental films, decors and costumes for ballet productions and collaborations with Tinguely, Robert Rauschenberg and others. Saint Phalle was adept at using the media to consolidate her public image, and soon became an icon of the 1960s art scene, attaining a broad cultural profile that was furthered by her numerous public art projects, including the Tarot Garden in Tuscany and the Stravinsky Fountain in Paris. This superbly produced publication—which features a die-cut cover through which Saint Phalle peers, aiming her gun—presents her works in all media, along with ephemera and archival photographs documenting her rich career and life.
Niki de Saint Phalle (1930-2002) was born near Paris and moved to the US in 1933. During her teen years Saint Phalle was a fashion model and appeared on the cover of Life in 1949 and, three years later, on the cover of French Vogue. At 18 Saint Phalle eloped with author Harry Mathews and moved to Cambridge, Massachusetts, and later to Paris, where she exhibited at the Alexander Iolas Gallery. In 1971 Saint Phalle married Jean Tinguely, and throughout that decade created the public sculptures and parks for which she became celebrated. Saint Phalle died of emphysema in California in May 2002.
PUBLISHER La Fábrica/Guggenheim Museum Bilbao
BOOK FORMAT Hardcover, 10 x 11.75 in. / 368 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 6/23/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 84
PRODUCT DETAILS ISBN 9788415691983TRADE List Price: $65.00 CDN $87.00
AVAILABILITY In stock
in stock $65.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Walther König, Köln. Foreword by Yoko Ono. Text by Alexandra Munroe. Chrissie Iles. Interview by Julia Peyton-Jones, Hans Ulrich Obrist.
As a pioneering conceptual artist, performance artist, film-maker, poet, musician, writer and peace activist for over five decades, Yoko Ono (born 1933) has influenced several generations of artists, musicians and cultural workers across the globe. Throughout her career, Ono has explored an incredible range of media, coining new kinds of artistic genres--most notably with her instruction pieces, which she began making in the 1950s and continues to devise today. Yoko Ono: To the Light accompanies the artist’s major 2012 overview at the Serpentine Gallery in London (a city to which she has longstanding ties). In her introduction, Ono explains the book and show’s title: “We are now at the 13th hour, facing the future together in which we may destroy ourselves or go on to create our heaven on earth. For the Serpentine Gallery, I selected pieces which had the strongest vibration to take us to the light.” In accord with this utopian emphasis, Ono is also presenting #smilesfilm, a worldwide participatory project, as part of her exhibition. Conceived as a way of connecting people across the world, users are invited to upload images of their smiles via Twitter and Instagram, creating a global string of smiles. Included in this volume are reproductions of installations, films and performances, plus archival material relating to several key early works. Yoko Ono: To the Light is a concise introduction to the vast scope of this era-defining artist’s many endeavors.