Text by Barry Bergdoll, Leah Dickerman, Benjamin H. D. Buchloh, Brigid Doherty, Hal Foster, Charles W. Haxthausen, Andreas Huyssen, Michael Jennings, Juliet Kinchin, Ellen Lupton, Christine Mehring, Detlef Mertins, Marco De Michelis, Peter Nisbet, Paul Monty Paret, Alex Potts, Frederic J. Schwarz, T'ai Smith, Adrian Sudhalter, Klaus Weber, Christopher Wilk, Matthew S. Witkovsky.
Hbk, 9.5 x 12 in. / 344 pgs / 475 images | 9/26/2017 | In stock $75.00
Edited with text by Christophe Cherix, Manuel J. Borja-Villel. Text by Benjamin H.D. Buchloh, Cathleen Chaffee, Jean-François Chevrier, Kim Conaty, Thierry de Duve, Rafael García Horrillo, Doris Krystof, Christian Rattemeyer, Sam Sackeroff, Teresa Velázquez, Francesca Wilmott.
Hbk, 9.5 x 12 in. / 352 pgs / 450 color. | 2/23/2016 | In stock $75.00
Edited by Gunda Luyken, Beat Wismer. Text by Lothar Baumgarten, Benjamin H.D. Buchloh, Fanni Fetzer, Friedrich Wolfram Heubach, Gabriele Hofer-Hagenauer, Candida Höfer, Erika Krugel, Gunda Luyken, Michael Oppitz, Friedemann von Stockhausen, Beat Wismer.
Hbk, 9 x 11.75 in. / 192 pgs / 109 color / 57 bw. | 1/31/2015 | In stock $50.00
Edited by Iwona Blazwick, Janna Graham, Sarah Auld. Introduction by Iwona Blazwick. Text by Gerhard Richter, Armin Zweite, Jean-FranÁois Chevrier, Benjamin H.D. Buchloh, Lynne Cooke, Helmut Friedel, Adrian Searle.
Pbk, 6 x 8.20 in. / 132 pgs. | 9/30/2012 | Out of stock $27.00
Text by Barry Bergdoll, Leah Dickerman, Benjamin H.D. Buchloh, Brigid Doherty, Hal Foster, Charles W. Haxthausen, Andreas Huyssen, Michael Jennings, Juliet Kinchin, Ellen Lupton, Christine Mehring, Detlef Mertins, Marco De Michelis, Peter Nisbet, Paul Monty Paret, Alex Potts, Frederic J. Schwarz, T'ai Smith, Adrian Sudhalter, Klaus Weber, Christopher Wilk, Matthew S. Witkovsky.
Clth, 9.5 x 12 in. / 328 pgs / 510 color. | 12/11/2009 | Not available $85.00
Published by Koenig Books. Text by Benjamin H. D. Buchloh, Luciano Concheiro, Jori Finkel, Juan Villoro.
Oroxxo documents an installation at Mexico City's Kurimanzutto Gallery, where Gabriel Orozco (born 1962) installed an Oxxo store. Featuring commercial goods modified by the artist, the installation was divided into two spaces, each representing an approach to understanding the capitalist world in demise.
Published by La Fábrica. Edited with text by José Lebrero Stals. Text by John Finlay, Robert Rosenblum, Peter Schjeldahl, Rosalind E. Krauss. Interview by Benjamin H.D. Buchloh.
Andy Warhol: The Mechanical Art highlights how Andy Warhol (1928–87) explored the cult of merchandise and consumerism, sensitively tracking how the mechanical had morphed from the industrial inventions of the 19th century into something new.
Always attentive to technical and industrial breakthroughs, Warhol used all types of techniques and machinery, from silk-screen printing to video recording, with production patterns that he himself defined as "pertaining to an assembly line." Deliberately seeking an impersonal, mechanical art in a creative subversion of traditional expectations for art and its makers, Warhol traded in transfers, copies, projections and repetitions.
This catalog brings together a selection of more than 250 works by Warhol, focusing on the technical and conceptual evolution of art in New York in the second half of the 20th century. It also includes portraits of the artist by photographers Alberto Schommer, Richard Avedon and Robert Mapplethorpe. Essays by Robert Rosenblum, Peter Schjeldahl, Rosalind Krauss and an interview conducted by Benjamin Buchloh delve into Warhol's creative and production processes.
Published by Walther König, Köln. Edited by Suzanne Cotter, Achim Hochdörfer, Tonio Kröner. Text by Manuela Ammer, Benjamin H.D. Buchloh, et al.
This chronological overview of the painting, performances and music of Jutta Koether (born 1958) reaches back to her beginnings in Cologne's neo-expressionist circles of the early and mid-1980s, tracing her move to New York in the early 1990s and her large-scale paintings that layer motifs from pop culture, literature and art history.
Published by D.A.P./The Museum of Modern Art. Text by Barry Bergdoll, Leah Dickerman, Benjamin H. D. Buchloh, Brigid Doherty, Hal Foster, Charles W. Haxthausen, Andreas Huyssen, Michael Jennings, Juliet Kinchin, Ellen Lupton, Christine Mehring, Detlef Mertins, Marco De Michelis, Peter Nisbet, Paul Monty Paret, Alex Potts, Frederic J. Schwarz, T'ai Smith, Adrian Sudhalter, Klaus Weber, Christopher Wilk, Matthew S. Witkovsky.
The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers—among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stölzl—in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today.
Bauhaus 1919–1933: Workshops for Modernity, originally published to accompany a major 2009 exhibition, is The Museum of Modern Art’s first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the 20th century’s most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919–1933 examines the extraordinarily broad spectrum of the school’s products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture.
Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919–1933 includes two overarching essays by the exhibition’s curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus’ lived history.
Published by The Museum of Modern Art, New York. Edited with text by Christophe Cherix, Manuel J. Borja-Villel. Text by Benjamin H.D. Buchloh, Cathleen Chaffee, Jean-François Chevrier, Kim Conaty, Thierry de Duve, Rafael García Horrillo, Doris Krystof, Christian Rattemeyer, Sam Sackeroff, Teresa Velázquez, Francesca Wilmott.
Marcel Broodthaers’ extraordinary artistic output placed him at the center of international activity during the transformative decades of the 1960s and 1970s. Throughout his career, from early objects variously made of mussel shells, eggshells and books of his own poetry, to his most ambitious project, the Musée d’Art Moderne, Département des Aigles (Museum of Modern Art, Department of Eagles), and the Décors made at the end of his life, Broodthaers occupied a unique position, often operating as both innovator and commentator. Setting a precedent for what we call installation art today, his work has had a profound influence on a broad range of contemporary artists, and he remains vitally relevant to cultural discourse at large. Published to accompany Broodthaers’ first retrospective in New York, this volume examines the artist’s work across all mediums. Essays by the exhibition organizers Christophe Cherix and Manuel Borja-Villel, along with a host of major scholars, including Benjamin H.D. Buchloh, Jean François Chevrier, Thierry de Duve and Doris Krystof, provide historical and theoretical context for the artist’s work. The book also features new translations of many of Broodthaers’ texts.
Marcel Broodthaers (1924–76) worked as a poet and critic until the age of 40, when he declared himself a visual artist. Over the next 12 years, he moved between Brussels, his birth city, and Düsseldorf and London. From 1968 to 1972 Broodthaers operated the Musée d’Art Moderne, Département des Aigles, an itinerant museum devoted to the exploration of the role of the institution itself and the function of art in society.
Christophe Cherix is Robert Lehman Chief Curator of Drawings and Prints at The Museum of Modern Art, New York.Manuel Borja-Villel is Director of the Museo Nacional Centro de Arte Reina Sofía, Madrid.
Benjamin H.D. Buchloh is Andrew W. Mellon Professor of Modern Art at Harvard University.
Jean-François Chevrier is Professor in the History of Contemporary Art, École nationale supérieure des Beaux-Arts, Paris.
Thierry de Duve is Theorist in Residence, MA Aesthetics and Politics Program at CalArts, Valencia, CA.
Doris Krystof is Curator at Stiftung Kunstsammlung Nordrhein-Westfalen, Düsseldorf.
Cathleen Chaffee is Senior Curator at Albright-Knox Art Gallery, Buffalo, NY.
Kim Conaty is Sue and Eugene Mercy, Jr. Assistant Curator of Drawings and Prints at The Museum of Modern Art, New York.
Rafael García Horrillo is Coordinator of Temporary Exhibitions at Museo Nacional Centro de Arte Reina Sofía, Madrid.
Christian Rattemeyer is Harvey S. Shipley Miller Associate Curator of Drawings and Prints at The Museum of Modern Art, New York.
Sam Sackeroff is Mellon MRC Fellow of Drawings and Prints at The Museum of Modern Art, New York.
Francesca Wilmott is Curatorial Assistant of Drawings and Prints at The Museum of Modern Art, New York.
Teresa Velázquez is Head of Exhibitions at Museo Nacional Centro de Arte Reina Sofía, Madrid.
Published by Richter Verlag. Edited by Gunda Luyken, Beat Wismer. Text by Lothar Baumgarten, Benjamin H.D. Buchloh, Fanni Fetzer, Friedrich Wolfram Heubach, Gabriele Hofer-Hagenauer, Candida Höfer, Erika Krugel, Gunda Luyken, Michael Oppitz, Friedemann von Stockhausen, Beat Wismer.
Alongside Andreas Gursky, Thomas Ruff and Thomas Struth, Candida Höfer (born 1944) belongs to the first generation of photographers that graduated from Bernd and Hilla Becher’s famous class at the Düsseldorf Arts Academy in the early 1980s. Since then, Höfer has traveled the world, photographing at a respectful distance the motifs that she encounters on her travels, whether single objects, architectural spaces or people. Her photographs of public spaces almost devoid of people--interiors, libraries, museums and entrance halls--are characterized by a cool objectivity and the precise rendering of detail. This publication gathers old and new work from the past four decades, with a special emphasis on the works produced in Düsseldorf since her time at the Arts Academy, and on works made since 2011.
BOOK FORMAT Hardcover, 9 x 11.75 in. / 192 pgs / 109 color / 57 bw.
PUBLISHING STATUS Pub Date 1/31/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 100
PRODUCT DETAILS ISBN 9783941263628TRADE List Price: $50.00 CDN $67.50
AVAILABILITY In stock
in stock $50.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Dia Art Foundation. Introduction by Lynne Cooke. Text by Benjamin H. D. Buchloh, Rebecca Comay, Brian Dillon, Mark Godfrey, Branden W. Joseph, Tom McDonough, Molly Nesbit, Marina Warner.
From 1992 to 2004, Dia Art Foundation presented the Robert Lehman Lectures on Contemporary Art, in which a distinguished array of scholars, critics and cultural historians engaged in cross-disciplinary critical discourse around Dia's exhibition program. The lectures were subsequently collected into a related series of publications, providing a valuable record and extending the debate on contemporary artistic practice and theory. This fifth and final volume focuses on analyses of the work of internationally recognized artists Jo Baer, Pierre Huyghe, Vera Lutter, Gerhard Richter, Rosemarie Trockel and Robert Whitman.
Published by Hatje Cantz/David Zwirner/Regen Projects. Text by Benjamin H. D. Buchloh.
Since the late 1970s, as a pioneer of Southern California underground culture, Raymond Pettibon has blurred the boundaries of "high" and "low," from the deviations of marginal youth to art history, literature, sports, religion, politics and sexuality. Rich in detail, his obsessively worked drawings pull freely from myriad sources spanning the cultural spectrum. The resulting, highly poetic constructions function as acute reflections of contemporary society. Throughout the years, his subjects have included political figures and historical events, with particular intensity since the events of September 11, 2001. Seen here are images of Ronald and Nancy Reagan, J. Edgar Hoover, both Bush presidents, the Kennedys, Hitler, scenes from the Vietnam War and protest movements, wars in Iraq and Afghanistan, the prisoner abuse of Abu Ghraib, President Obama and Osama bin Laden. Raymond Pettibon (born 1957) studied economics at UCLA around the same time he joined his brother in the punk band Black Flag. He soon began to contribute artwork to album covers, flyers and t-shirts, for the band and its label, SST Records, and exhibited his work in group shows in galleries in the 1980s. Since the 1990s his work has been the subject of numerous major solo exhibitions.
Published by Fondazione Prada. Edited by Germano Celant. Introduction by Miuccia Prada. Preface by Miuccia Prada, Patrizio Bertelli. Text by Gwen L. Allen, Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert. Interviews with Thomas Demand, Rem Koolhaas.
In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a dialogue with the Bern Kunsthalle, and Celant has reprised its spirit by placing the works in dialogue with the Ca’ Corner della Regina--a very different building, in its Venetian grandeur, to the Kunsthalle. This publication is divided into three parts: the first reproduces photo documentation of the original exhibit, the second compiles essays and interviews on Celant’s project and the third includes the installation views of the show in Venice. The book is completed by a "Register" of works included in both shows.
Published by Afterall Books. Introduction by Pablo Lafuente. Text by Lucy Steeds, Jean-Marc Poinsot, Rasheed Araeen, Jean Fisher, Thomas McEvilley, Jean-Hubert Martin, Gayatri Chakravorty Spivak, Frédéric Bruly Bouabré, Barbara Kruger. Interview with Jean-Hubert Martin, Benjamin H.D. Buchloh, Alfredo Jaar, Francisco Godoy Vega.
Magiciens de la Terre was an exhibition held at the Centre Georges Pompidou and the Grande Halle at the Parc de la Villette in 1989. Curated by Jean-Hubert Martin, it aimed to counter the ethnic bias and colonial complicity of the contemporary art world. Martin chose 100 artists from around the world: 50 from first-world cultures such as the U.S. and Europe and 50 from cultures then routinely ignored by the art market, in Africa, Latin America, Asia and Australia. “I want to play the role of someone who uses artistic intuition alone to select objects which come from totally different cultures,” Martin explained. “I also want to incorporate into that process the critical thinking which contemporary anthropology provides on the problem of ethnocentrism.” With photographs and gallery plans, this volume revisits the exhibition.
Published by Lars Müller Publishers. Edited by Benjamin H. D. Buchloh.
This title, published in 1979 and long since out of print, now appears as a reprint from Lars Müller Publishers. The original book was released in the series of publications Source Materials of the Contemporary Arts initiated by Kasper König and produced by the Press of the Nova Scotia College of Art and Design. The publication represents an important document in Dan Graham’s artistic examination of the video medium. Graham’s installations and performances with video from the years 1970–78 are documented with numerous illustrations, photos, and brief descriptions. In addition, the volume contains an essay by the artist in which he examines the various possibilities and forms of representation offered by the video medium, and draws the boundaries between these and representational spaces in television, film, or architecture.The book also offers contributions by Michael Asher and Dara Birnbaum, as well as an annex with a biography and bibliography.
Dan Graham, born in Urbana, Illinois, in 1942, is one of the most renowned contemporary artists. His work often focuses on cultural phenomena, incorporating materials as diverse as photography, video, performance, glass, and mirror structures. Dan Graham lives and works in New York.
Published by Whitechapel Gallery. Edited by Iwona Blazwick, Janna Graham, Sarah Auld. Introduction by Iwona Blazwick. Text by Gerhard Richter, Armin Zweite, Jean-FranÁois Chevrier, Benjamin H.D. Buchloh, Lynne Cooke, Helmut Friedel, Adrian Searle.
Gerhard Richter’s ongoing, encyclopedic Atlas project began in 1964, and now comprises more than 5,000 gridded photographs, diagrams, drawings and sketches. As an image archive, work tool and artist’s book, Atlas sits at the very heart of Richter’s practice, offering a massive summation of his masterful explorations of the tensions between photography and painting, history and memory, perception and representation. As a publication, Atlas has gone through numerous editions, each new volume expanding on the previous with elaborations of persistent themes. This book provides a critical tool for navigating Atlas, bringing together Richter’s own writings alongside commentaries by the art historians and curators Armin Zweite, Jean-François Chevrier, Benjamin H.D. Buchloh, Lynne Cooke and Helmut Friedel. Originally published in 2003 to coincide with the Whitechapel Gallery’s exhibition Gerhard Richter: Atlas, this updated edition also includes a review of the exhibition by Adrian Searle.
BOOK FORMAT Paperback, 6 x 8.20 in. / 132 pgs.
PUBLISHING STATUS Pub Date 9/30/2012 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 155
PRODUCT DETAILS ISBN 9780854882052TRADE List Price: $27.00 CDN $37.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
The Collection and the Archives of Herman & Nicole Daled
Published by Walther König, Köln. Edited by Ulrich Wilmes. Text by Chris Dercon, Birgit Pelzer, Benjamin H.D. Buchloh, Dirk Snauwaert.
The Daled collection in Brussels has long been famed for its Conceptual art holdings. Here, works by Vito Acconci, Carl Andre, Robert Filliou, On Kawara, Richard Long, Bruce Nauman, Ian Wilson and many more are documented in an inventory, complete with purchase prices.
Published by Walther König, Köln. Text by Hans Ulrich Obrist, Julia Peyton-Jones, Benjamin H.D. Buchloh.
With his memorably titled 1956 collage "Just What is it that Makes Today's Homes So Different, So Appealing?", British artist Richard Hamilton (born 1922) heralded the British Pop revolution; and with his 1967 Swingeing London series of prints, which depicted the arrest of Mick Jagger and Robert Fraser, Hamilton's art entered the general public consciousness. But unlike so many Pop artists, Hamilton was never an uncritical or ambivalent advocate of postwar society, and he has often agitated directly against it, producing a great deal of openly political, satirical work that assaults both consumer culture at large and more immediate political events. This monograph, published for Hamilton's 2010 exhibition at the Serpentine Gallery in London (his first exhibition since 1992), brings together Hamilton's famous "protest" paintings as well as newer political works and features essays by Benjamin H.D. Buchloh and Michael Bracewell.
Published by The Museum of Modern Art, New York. Edited by Catherine de Zegher, Cornelia H. Butler.
On Line: Drawing Through the Twentieth Century explores the radical evolution of drawing that took place during the last century and through to the present day, as numerous artists subjected the traditional concepts of the medium to a critical examination. In a revolutionary departure from the institutional definition of drawing, and from reliance on paper as the fundamental support material, artists instead pushed the line across the plane and into real space, expanding the medium in relation to gesture and form and connecting it with painting, sculpture, photography, film and dance. Published to accompany an exhibition at The Museum of Modern Art, New York, On Line presents a discursive history of mark-making through nearly 250 works by 100 artists, including Aleksandr Rodchenko, Alexander Calder, Karel Malich, Eva Hesse, Anna Maria Maiolino, Richard Tuttle, Mona Hatoum and Monika Grzymala among many others. Essays by the curators illuminate individual practices and offer focused examinations of broader themes, such as the exploration of line by the avant-garde, and the relationship between drawing and dance.
Published by The Museum of Modern Art, New York. Text by Ann Temkin, Anne Byrd, Benjamin H. D. Buchloh, Briony Fer, Paulina Pobocha.
Gabriel Orozco emerged at the beginning of the 1990s as one of the most intriguing and original artists of his generation, one of the last to come of age during the twentieth century. His work is unique in its formal power and intellectual rigor, resisting confinement to one medium and roaming freely and fluently among drawing, photography, sculpture, installation and painting. Orozco deliberately blurs the boundary between the art object and the everyday environment, situating his work in a place that merges art and reality, whether through exquisite drawings made on airplane boarding passes or sculptures composed of recovered trash. This publication examines two decades of the artist's production year by year, from 1989 through 2009. Each section is richly illustrated and includes a short text, based on interviews with the artist, that combines biographical information with a brief and focused discussion of selected works. Critical essays by Ann Temkin, Benjamin H.D. Buchloh and Briony Fer supplement these foundational and chronological explorations, providing new insights and strategies for grounding Orozco's work in the larger landscape of contemporary art production. Gabriel Orozco (born in Mexico, 1962) studied at the Escuela Nacional de Artes Plásticas in Mexico City, and at the Círculo de Bellas Artes in Madrid, Spain. He has exhibited at the Whitney Museum of American Art, The Museum of Modern Art, New York, the Guggenheim Museum, the Philadelphia Museum of Art and the Venice Biennale. Orozco lives and works in New York, Paris and Mexico City.
Published by The Museum of Modern Art, New York. Text by Barry Bergdoll, Leah Dickerman, Benjamin H.D. Buchloh, Brigid Doherty, Hal Foster, Charles W. Haxthausen, Andreas Huyssen, Michael Jennings, Juliet Kinchin, Ellen Lupton, Christine Mehring, Detlef Mertins, Marco De Michelis, Peter Nisbet, Paul Monty Paret, Alex Potts, Frederic J. Schwarz, T'ai Smith, Adrian Sudhalter, Klaus Weber, Christopher Wilk, Matthew S. Witkovsky.
The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers--among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stölzl--in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. Bauhaus 1919-1933: Workshops for Modernity, published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919-1933 examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919-1933 includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history.
Published by Hatje Cantz. Edited by Ulrich Wilmes. Text by Gregor Stemmrich, Benjamin H.D. Buchloh, Siegfried Gohr.
Talking to art historian Benjamin Buchloh in 1988, Gerhard Richter cited the appearances of Jackson Pollock and Lucio Fontana at the second Documenta in Kassel in the late 50s as decisive encounters for his then-incipient art. Just a few years later, Richter would style himself as a German "Pop" artist, but in the 80s he returned to pure abstraction for its possibilities of "bitter truth, liberation, and... a completely different and new content... expressing itself." His abstract paintings present a heavily worked surface, blurred and scraped to both veil and expose prior layers. In other words, they manage a tension between depth (layer) and strong horizontal activity (blur). Unlike much heavily worked abstraction, and in spite of their scale, their total effect is not heroic--Richter's almost-deadpan, process-oriented transparency cancels out such chest-beating--but the artist that responded to the direct energies of Pollock's work has clearly found a way, some decades later, to conjure both zest and detachment simultaneously. Abstraction has made up a dominant portion of Richter's output since the 80s, inaugurating a fruitful dialectic with figuration, and Large Abstracts collects works produced between 1986 and 2006. For this volume, Buchloh (once described by former Museum of Modern Art, New York, curator and current Dean of the Yale School of Art Robert Storr as, "the artist's longtime sparring partner") returns to the fray, and, along with Beate Söntgen and Gregor Stemmrich, offers critical insight on this iconic oeuvre.
Published by Walther König, Köln. Text by Benjamin H.D. Buchloh.
On the occasion of what would have been Andy Warhol's eightieth birthday, in 2008, this exquisitely produced volume examines one essential but miraculously under-studied element of the artist's work: The shadow. Beginning with photographic still lifes of skulls and taxidermied animals, then moving on to male nudes, tabletops and table settings, celebrity portraits, gems, fruits and many amazing still lifes of hammers, sickles, shoes and other ordinary objects that presage Fischli & Weiss' Equilibres by several years, Shadows and Other Signs of Life concludes with Warhol's photographs of actual shadows and an outstanding selection of abstract silkscreens, stenciled works and piss paintings. Published to accompany the eponymous exhibition at Paris' Galerie Chantal Crousel, this volume contains illuminating short texts--Anniversary Notes for Andy Warhol--by Benjamin H.D. Buchloh.
Published by Moderne Kunst Nürnberg. Text by Heinz Holtmann, Eduard Beaucamp, Benjamin H.D. Buchloh, Brigitte Jacobs Van Renswou.
Rudolf Zwirner was the first gallery owner to put his weight behind the American Pop art movement in Germany, as well as one of the founders of the Cologne Kunstmarkt, the precursor of today's ART Cologne fair. This small catalogue documents Zwirner's essential role in the European art world, from the 1960s until today.
Published by Turner/A&R Press/Conaculta-INBA. Text by Yve-Alain Bois, Benjamin H.D. Buchloh, Briony Fer.
The work of Gabriel Orozco is an exemplary adventure of ideas and objects. Always generously implicating the spectator, Orozco draws on a large material repertoire to produce quiet shifts in commonplace scenarios. This book, published to coincide with Orozco's exhibition at the Museo del Palacio de Bellas Artes in Mexico City, is the first substantial monograph on the artist, and testifies to the range of his investigations, from tiny adjustments in everyday locations (such as breath on a piano or reflections in a puddle) to more recent preoccupations with spherical forms in collage and paint. In an extensive interview with Briony Fer, the artist explains some of the conceptual premises of his art. Benjamin H.D. Buchloh situates Orozco´s various sculptural practices within twentieth-century precedents and the climate of postwar consumerism and assesses them as manifestations of a shift in object-subject relations. And Yves-Alain Bois explores Orozco's recent "return" to painting, considering the structural logic of his canvases, in which Orozco deploys self-imposed rules to plot compositions (or "diagrams," as he describes them). With insightful texts and hundreds of illustrations, this big, bold, 360-page book is the definitive work to date on one of the most influential contemporary artists.
Published by Richter Verlag. Text by Hans Haacke, Benjamin Buchloh, Rosalyn Deutsche, Walter Grasskamp.
When Hans Haacke was awarded the Peter Weiss Prize in 2004, he called Weiss' writings "courageous interventions, driven by moral outrage." Since the early 1960s Haacke himself has been a socially engaged artist. Living in New York since 1965 (born Cologne, 1936), he has participated in the public debate through his sculptures, installations, paintings and photographs, as well as by his writings and teaching. In 1971, several works for a solo exhibition at the Guggenheim Museum were deemed "inappropriate" by the Museum's director and he cancelled the show (one was an exposé of the real estate empire of a New York slumlord. At the 1993 Venice Biennial, the artist broke up the marble floor the Nazis had installed in the German pavilion and he displayed the replica of a 1-DM coin minted in the year of German reunification above the entrance. His 2000 installation DER BEVÖLKERUNG (To the population), a work in progress in the German Parliament building in Berlin, also makes reference to the Nazi past but, in addition, addresses contemporary issues of citizenship and the integration of foreign-born residents. Recently, several works have paid critical attention to the Iraq war. This publication was produced for a 2006 retrospective exhibition at the Hamburg Deichtorhallen and the Akademie der Künste in Berlin. It offers a survey of Haacke's works from 1959 to the present. It includes a selection of his writings and essays by Benjamin H.D. Buchloh, Rosalyn Deutsche and Walter Grasskamp.
Published by Walther König, Köln. Essays by Benjamin H.D. Buchloh, Briony Fer, and Rochelle Steiner.,
The concept and layout for this artist's book and catalogue in one were conceived by Gabriel Orozco in cooperation with graphic designer Luc Derycke. It features works from 1992 until present--works that delve into geometric patterns, their permutations, and their relations to human forms and movements. Many drawings are included, as well as photographs of the artist's somewhat lesser-known installations.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 8.5 x 10.5 in. / 176 pgs / 159 color.
PUBLISHING STATUS Pub Date 6/15/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 135
PRODUCT DETAILS ISBN 9783883758374SDNR30 List Price: $40.00 CDN $50.00
Published by Richter Verlag. Essay by Benjamin H.D. Buchloh.
American artist and writer Allan Sekula spent seven years photographing harbors and port cities around the world. Starting out in Los Angeles and San Diego, he traveled as far as Korea, Scotland, and Poland, photographing the prosperity, poverty, and political powers that continue to play out in major port cities across the world. The result was Fish Story, a seven-chapter illustrated tomb with more than 900 color photographs, that questions what remains of our port cities in the wake of a globalized economy.
Published by Generali Foundation, Vienna. Introduction by Sabine Breitwiesser. Foreward by Karner Dietrich. Interview by Benjamin H.D. Buchloh.
Allan Sekula has devoted his artistic and documentary oeuvre to researching and recording the world of labor and its transformation in the face of the global economy. From early performances enacted as part of the California anti-war movement to his latest work, Black Tide, which documents the Prestige oil tanker disaster on the Gallic coast of Spain, this volume presents a comprehensive overview of Sekula's visual work and texts. In addition to a retrospective look at his artistic and documentary projects, Performance Under Working Conditions will collect Sekula's important theoretical writings on photography, including texts from Photography Against the Grain, now out of print.
PUBLISHER Generali Foundation, Vienna
BOOK FORMAT Hardcover, 8.25 x 11 in. / 350 pgs / 108 color 29 bw / 136 duotone.
PUBLISHING STATUS Pub Date 8/2/2003 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2003
PRODUCT DETAILS ISBN 9783901107405TRADE List Price: $55.00 CDN $65.00
Published by Richter Verlag. Essays by Marianne Brouwer, Eric Bruyn, Benjamin H.D. Buchloh, Thierry de Duve, Corinne Diserens, John Miller, Markus Muller.
Since the 1960s, Dan Graham has carved out a unique space in the field of contemporary art, combing his work as an artist and as a critic of architecture and art in a unique fusion of theory and practice. From the outset, Graham engaged seriously with the aesthetic and political ramifications of Structuralism, taking the artist's critical perceptions of reality to an increasingly conceptual level. His early articles grappled with the question of architecture, arguing that behind the high-rise apartment complexes and housing projects spreading over the Western world lay the phenomenon of economic and social rationalization. Since the beginning of the 1970s Graham has pursued these and other observations with installations, videos, films and large-scale pavilions that serve as thought-models for his critical insights. This catalogue raisonné provides a comprehensive, chronological documentation of 165 works and writings from 1965 until the present day, and includes articles, written sketches, Graham's reports about his artistic activities, art critical essays, film stills, architectural models, pavilions and video rooms, as well as an extensive bibliography. With essays by preeminent critic/philosophers Benjamin Buchloh and Thierry de Duve, among others, the result is a complete and edifying look at one of the premier artist-scholars of the past thirty years.
Published by Hatje Cantz. Edited by Philipp Kaiser. Conversations with Benjamin H.D. Buchloh, Werner Büttner, Isabelle Graw, Kasper König and Thomas Ruff.
The last decade of the Cold War era left a legacy greater than legwarmers. Flashback takes a close and critical look at what many see as the decade of painting. Or the decade of the art-market boom. Or as Cindy Sherman once called it, the decade of media criticism. Is it any wonder that what emerges from the diversity of artistic approaches in Flashback is an extraordinarily heterogeneous time, and that in the end the book raises the question of whether it is even appropriate to view art of the 1980s as a category apart? Flashback includes works from some 30 artists, including Francesco Clemente, Robert Gober, Martin Kippenberger, Jeff Koons, Sherrie Levine, Robert Longo, Richard Prince and Cindy Sherman.