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
ARTPACE, A FOUNDATION FOR CONTEMPORARY ART, SAN ANTONIO
Edited by Cuauhtemoc Medina, Okwui Enwezor, David Frankel. Contributions by Teresita Fernndez, Bill Arning, Judith Russi Kirshner. Text by Frances Colpitt, Lisa Corrin, Laura Cottingham, Shaila Dewan, Eleanor Heartney, Linda Pace, Jan Jarboe Russell, Lynne Cooke, Chrissie Iles, Kathryn Kanjo.
Clothbound, 7.75 x 9.5 in. / 320 pgs / 250 color. | 3/2/2003 | Not available $29.98
Published by Hatje Cantz. Edited by Nicholas Olsberg. Foreword by Richard and Pamela Kramlich. Text by Dara Birnbaum, Aebhric Coleman, Nicholas Olsberg. Conversations with Jacques Herzog, Pierre de Meuron, Nicholas Serota, Nicholas Olsberg, Lynne Cooke. Photographs by Lothar Baumgarten, Luisa Lambri, Catherine Wagner.
This book explores the history of the Kramlich Residence, a home for American art collectors Richard and Pamela Kramlich and a dedicated gallery space for their pioneering collection of media art, located in the unique landscape of the Napa Valley. Built by Swiss architects Jacques Herzog and Pierre de Meuron, the Kramlich Residence has remained a laboratory of ideas not only for the architects, but also for the artists and artworks that today engage with its spaces. The book explores these ideas through a number of contributions that draw on a distinct experience of the project: that the shape, nature, installations and spaces of the building inspire a more generous exploration of media art, and altogether new ways of seeing.
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 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.
Published by Walther König, Köln. Text by Lewis Biggs, Germano Celant, Lynne Cooke, Demosthenes Dawetas, Catherine Grenier, Thomas Mc Evilley, Peter Schjeldahl, Jon Wood.
Between 1986 and 2000, Anthony Cragg (born 1949) transitioned from making sculptures using found objects to a more studio-based practice in which the found materials themselves became the subject and content of his sculptures. This publication begins where the previous volume, Sculpture 1969–1985, left off.
Published by Walther König, Köln. Edited by Gerhard Finckh. Text by Germano Celant, Lynn Cooke, Peter Schjeldahl, Jon Wood, Thomas McEvilley.
Since British sculptor Anthony Cragg (born 1949) began working in the 1970s and came to fame in the 1980s as part of the New British Sculpture generation, his work has undergone a number of permutations while consistently remaining motivated by a fundamental concern with the qualities of his materials--whether they be found objects, raw materials or manufactured compounds like fiberglass. From his early installations featuring modest arrangements of found objects to his recent sculptural forms that look like natural accretions experiencing computer glitches, Cragg remains deeply committed to material and to sculpture.
Cragg’s work is immensely varied, encompassing drawing, sketching, modeling and photography, as well as the production of finished sculptures. All these elements of Cragg’s oeuvre are accounted for in Anthony Cragg: Parts of the World, the artist’s first retrospective monograph. Objects are arranged in roughly chronological order, and supplemented by texts drawn from the same chronological span, allowing the reader to reconstruct a history of Cragg’s reception as well as his artistic production. Including texts by Germano Celant, Lynn Cooke, Peter Schjeldahl and Thomas McEvilley written since the 1980s, Anthony Cragg: Parts of the World concludes in the present, with an essay by Jon Wood and a recent interview with the artist.
Published by Ludion. Edited by Lynne Cooke, Tommy Simoens. Text by Nicholas Cullinan, Jan Avgikos, Jenevive Nykolak, Nicholas Serota, Donna Wingate.
Belgian painter Luc Tuymans (born 1958), one of the key figures in the 1990s revival of figurative painting, is also one of contemporary art’s great history painters, tackling historical traumas and their representations in a restrained—though resolutely painterly—style and pale, muted palette. Far from accepting painting as obsolete or inadequate, throughout his career Tuymans has used painting to engage with the most painful, urgent subjects of the past and present, from the aftermath of the Second World War and Belgium’s colonial past to the War on Terror. "I still indulge in the perversity of painting," said Tuymans, "which remains interesting." Luc Tuymans: Intolerance, published to accompany a major retrospective at the Qatar Museums in Doha (the artist’s first show in the Gulf region), surveys Tuymans’ work from the past 25 years. Comprehensive and richly illustrated, it contains more than 800 reproductions: studies, archival material and installation photographs, as well as 60 drawings and 100 paintings (including Tuymans’ new body of work, The Arena, created for the exhibition). Also included are texts by Jan Avgikos, Nicholas Cullinan, Jenevive Nykolak, Nicholas Serota and exhibition curator Lynne Cooke, offering new insights into Tuymans’ oeuvre from the past three decades.
BOOK FORMAT Hardcover, 9.5 x 11.5 in. / 464 pgs / 300 color.
PUBLISHING STATUS Pub Date 1/26/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 121
PRODUCT DETAILS ISBN 9789491819353TRADE List Price: $85.00 CDN $112.50
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Walther König, Köln. Edited by Kathrin Rhomberg. Text by Giovanni Carmine, Lynne Cooke, Brigitte Huck, Kasper König, Christine Macel, Vivian Rehberg, Kathrin Rhomberg.
Loop documents Slovak conceptual artist Roman Ondák’s project for the Czech and Slovak pavilion at the 53rd Venice Biennale in 2010. Ondák created a work that hides in plain sight by removing the doors to the pavilion and filling it with the same living plants and gravel paths that surround it on the outside.
Published by La Fábrica/Museo Nacional Centro de Arte Reina Sofía. Edited by Lynne Cooke. Text by Matthew S. Witkovsky, Javier Montes.
Over three decades, French photographer Jean-Luc Mylayne (born 1946) has pursued a single motif: common birds in their natural habitats. But Mylayne is no documentarian or nature photographer. His works might best be described as tableaux in which avian motifs play carefully scripted roles within a larger tale of life, and themes of interdependence among species, the cycles of life and death and the depletion of natural resources.
Published by The Museum of Modern Art, New York. Edited by Christian Rattemeyer, Lynne Cooke, Mark Godfrey. Text by Claire Gilman, Jason Smith.
Published to accompany the first large-scale retrospective of Alighiero Boetti's work outside Italy in over a decade, this volume presents the most comprehensive overview of the artist's career to date. Covering all periods of Boetti's broad oeuvre--including early sculptural experiments associated with the Arte Povera movement, conceptual and ephemeral projects of the 1970s and the monumental embroideries and tapestries he fabricated up to his death--this richly illustrated catalogue is structured as a typology of the artist's body of work rather than a chronological progression. Essays by curators from the Reina Sofia, Madrid, the Tate Modern, London and The Museum of Modern Art, New York, address recurrent themes in Boetti's work such as travel and geography, time, order and disorder and singularity and multitude, while contributions by scholars examine his early influences and his relationship to the cultural, political, and social spheres of Italy and Afghanistan in the 1970s and 1980s. This volume celebrates the material diversity, conceptual complexity and visual beauty of Boetti's work, proving that he is one of the most important and influential artists of his generation.
Published by Hatje Cantz. Text by Lynne Cooke, Elisabeth Lebovici, Raimundas Malasauskas, Francesco Manacorda.
Sicilian filmmaker Rosa Barba (born 1972) interrogates and decontextualizes the language of mainstream moviemaking through the medium of film itself and in sculptural installations. This selection of film stills, preproduction sketches and photographs illustrates Barba's preoccupation with the truth claims of mass-circulated cultural artifacts.
Published by D.A.P./Museo Nacional Centro de Arte Reina Sofía. Text by Lynne Cooke, Briony Fer, Zoe Leonard, Suzanne Hudson.
For more than six decades, James Castle (1899-1977) dedicated himself virtually full-time to the activity of making art, producing a vast and accomplished body of work, much of which he managed to preserve. Growing up in rural Idaho, Castle devised his own art materials and techniques, making ink for drawing by moistening soot from the family stove with his own saliva and using discarded paper and other materials. In the 1950s, through the efforts of family members, Castle's work came to the attention of the local art community, and it began to be exhibited in Idaho and the Pacific Northwest, often under the rubric of outsider or self-taught art. Not until the late 1990s, however, did it appear in mainstream art circuits. Castle's work poses numerous challenges for the art historian. He was born profoundly deaf and never adopted conventional means of communication and thus never commented on his art. His works are neither titled nor dated, and it is difficult to trace an evolution or establish a chronology. As a result, previous scholarship has tended to focus on Castle's biography or on specific aspects of his oeuvre. James Castle: Show and Storetakes a different approach, looking at the entire scope of the artist's production--which included drawings, constructions made from found pieces of colored card and handmade books--and emphasizing the centrality of his display and storage methods to his practice. The essays in this volume also question the notion of Castle as an artist who worked in isolation from the world at large, examining his copying and reuse of images derived from printed media, including advertising and product packaging, and perhaps even television. Illustrated with more than 200 full-color reproductions, Show and Storeexamines drawings, handmade books, cardboard and paper constructions and collages. Born profoundly deaf, James Castle (1899-1977) never fully learned to read or write, instead developing his own unique sign system and visual vocabulary. He won some local acclaim during his lifetime (including 1963 and 1976 exhibitions at the Boise Gallery of Art) but only achieved international recognition after his death in 1977.
Published by Dia Art Foundation. Text by Lynne Cooke, Enrique Vila-Matas.
Chronotopes & Dioramas explores key themes developed in Dominique Gonzalez-Foerster's site-specific 2009–2010 installation at Dia at the Hispanic Society of America. For this project, Gonzalez-Foerster took as her point of departure the Society's renowned research library, expanding and updating the historic collection with twentieth-century literature by nearly 40 different authors. The artist installed these books in a trio of dioramas, organizing them by place of origin in one of three regions: the desert, the tropics and the North Atlantic. This companion volume to the installation includes new writing by Gonzalez-Foerster's past collaborator, the celbrated Spanish novelist Enrique Vila-Matas. The book is printed in three different covers, reproducing each of the three diaromas.
Published by Turner. Edited by Lynne Cooke, Josiah McElheny.
In his works, the American artist Josiah McElheny questions the legacy of modernity from the standpoint of his practice as a master of glass, starting from the confluence of design, science and art. McElheny studied art at the Rhode Island School of Design, and increased his knowledge of traditional glass manufacturing techniques by studying with such masters as Ronald Wilkin. This book presents "Island Universe," an installation composed of five chromed aluminium and blown glass sculptures. The structures form spheres that depict the grouping of galaxies in the universe and lights symbolizing quasars (the most brilliant objects known to man). The starting point of this work are the chandeliers inside the New York Metropolitan Opera House, designed by Lobmeyr in 1965, the same year in which the first data in support of the Big Bang theory were made public. The work functions as a model of that theory of the origin of the universe.
Published by Richter Verlag. Text by Lynne Cooke, Anne Rorimer, Pia Gottschaller, Jaleh Mansoor.
Shortly before his death in 1977, German painter Blinky Palermo created his most significant cycle of paintings, dedicating it "to the people of nyc." The work consists of 15 parts, composed from 40 painted aluminum panels arranged in combinations of cadmium red, cadmium yellow and black. Recalling Piet Mondrian's late series New York City (1941-42), and works by such American artists as Robert Ryman and Brice Marden, To the People of New York City (1976) is distinguished by its prescribed hanging and pacing, and its rhythmically changing formats, which also bring to mind the Jazz performances that Palermo sought out during his time in New York, where he had maintained a studio from 1973 to 1975. This handsome editiondiscusses To the People of New York City--today in the collection of New York's Dia Art Foundation--within this context and alongside works by his former teacher Joseph Beuys, and his long-time friends and colleagues Imi Knoebel and Gerhard Richter, among others.
Published by Ediciones Polígrafa. Foreword by Lynne Cooke. Text by George Quasha, Charles Stein.
Gary Hill is one of the most influential contemporary artists to investigate the myriad relationships between words and electronic images. His inquiries into linguistics and consciousness offer resonant philosophical and poetic insights, as he explores the formal conjunctions of electronic visual and audio elements with the body and the self. With experimental rigor, conceptual precision and imaginative leaps of discovery, Hill's work in video is about, and is, a new form of writing. In this substantial volume, George Quasha and Charles Stein analyze the artist's entire career, paying particular attention to the single-channel video works. Covering Hill's oeuvre, this highly readable monograph features a comprehensive chronology of his work, including important production details. A careful selection of key writings by the artist is also included. With 640 pages and more than 900 illustrations, it is the most comprehensive and in-depth treatment of Gary Hill's work to date, written in close connection with the artist, and offers an essential theoretical and scholarly frame for continuing study.
Published by Charta/Bevilacqua La Masa Foundation. Text by Lynne Cooke, Dunja Blazevic. Interview by Angela Vettese.
Born in Sarajevo in 1967, rising performance, video and installation artist Maja Bajevic makes work that is socially, politically and psychologically charged in its ongoing investigation of identity. This first comprehensive monograph contains an extended interview with the artist.
PUBLISHER Charta/Bevilacqua La Masa Foundation
BOOK FORMAT Paperback, 8 x 10.25 in. / 144 pgs / 89 color / 61 bw.
PUBLISHING STATUS Pub Date 8/1/2008 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2008 p. 149
PRODUCT DETAILS ISBN 9788881586707TRADE List Price: $49.95 CDN $60.00
New York-based artist Tony Oursler says of his drawings, “Each object I touch has a text. Like it or not, I hear it, I see it. Each touch throws me hopelessly out of my time, out of my mind. In this fractured psychological state, I’m amazed that this fragile scribbling on paper survived.” While his position as a forerunner in video art is well established, Oursler’s two-dimensional works have always been an essential part of his creative process as well. He describes these works on paper as a series of perceptions, scenes, delusions and diagrams--a free association of ideas that inform his video work. Oursler uses drawing, painting and collage as a diary--a means of remembering, associating or layering thoughts. The studies, sketches and paintings explore the supernatural, methods of mass communication, the history and development of media technology and their effect on the human psyche. This publication offers a chronology of Oursler’s two-dimensional work over the past 10 years, showcasing his early works on canvas, painting on sculpture, painting with collage and his videos that are projected onto painted panels. It is published in conjunction with Lehmann Maupin Gallery, New York.
Published by The Refco Group. Edited by Adam Brooks. Essays by Lynne Cooke, Dave Hickey, A.M. Homes, David Rimanelli and Katy Siegel. Introduction by Judith Russi Kirshner.
Among the many lessons we have learned from photography since its inception are a few about the nature of reality and its representation. Long considered a mirror image of the real world, a direct and objective record of what exists in the visual stratosphere, the photograph has come to be understood as something much more complicated and variable, something easily manipulated and modified. Subjective Realities is thus a most apt title for this publication, which presents a stellar selection of contemporary photography from the Refco Collection. Included are works by Vito Acconci, Janine Antoni, Matthew Barney, Chris Burden, Jean-Marc Bustamante, Sophie Calle, Gregory Crewdson, Rineke Dijkstra, Olafur Eliasson, Barbara Ess, Walker Evans, Adam Fuss, Ann Hamilton, Eva Hesse, Axel Hutte, Seydou Keita, Inigo Manglano-Ovalle, Ana Mendieta, Gordon Matta-Clark, Mariko Mori, Catherine Opie, Richard Prince, and many, many more artists. An essay by Dave Hickey introduces the book, and short texts on individual artists have been contributed by Lynne Cooke, Kathryn Hixson, A.M. Homes, Glenn O'Brien, Saul Ostrow, Luc Sante, Katy Siegel, and others.
PUBLISHER The Refco Group
BOOK FORMAT Paperback, 10 x 11 in. / 272 pgs / 72 color / 42 duotone.
PUBLISHING STATUS Pub Date 2/2/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9781564661173TRADE List Price: $45.00 CDN $55.00
Published by Societe des Expositions du Palais des Beaux-Arts de Bruxelles. Essay by Lynne Cooke.
For At Home and in the World, her exhibition at the Palais de Beaux-Arts in Brussels, Elaine Reichek explores and innovates on the tradition of the sampler--a didactic tool used in learning embroidery that can often be a work of art in itself--by recasting works of visual art--including pieces by Georges Seurat, Andy Warhol, Lawrence Weiner, Jenny Holzer, and Barbara Krueger--as well as literary quotations--from Moby Dick, Ovid, Tennyson, Kierkegaard, Woolf and A.S. Byatt, among others--into the form of samplers. Working in a subversive postmodern tradition that includes both the artwork of Raymond Pettibon and the literary essays of Susan Howe, Reichek rereads high art through the prism of domestic craft, challenging the patriarchal and modernist assumptions that still permeate our culture. Uniquely and cleverly designed, this volume documents Reichek's work in full color.
PUBLISHER Societe des Expositions du Palais des Beaux-Arts de Bruxelles
BOOK FORMAT Hardcover, 8.25 x 9.75 in. / 88 pgs / 32 color / 2 bw.
PUBLISHING STATUS Pub Date 2/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9789074816212TRADE List Price: $35.00 CDN $40.00
Published by Domaine de Kerguehennec. Essays by Lynne Cooke, Carole Boulbes, Alexandra Midal, Frédéric Paul, Franˇois Piron, David Platzker and Eric Troncy.
Claude Closky's work takes a variety of forms and incorporates almost all the means and ways of expression available to this modern dabbler: collage on paper, video encrustation, folding paper, sound recording, drawings, and silkscreen prints, etc. Closky, it seems, never aims for gratuitous spectacular effects. Therefore, his interventions generally pass unnoticed, like the random organization of information in certain of his works. As critic Frédéric Paul puts it, “The artist is always working and if he is not working, he is 'training.'“ Claude Closky was born in France in 1963 and today lives and works in Paris.
PUBLISHER Domaine de Kerguehennec
BOOK FORMAT Hardcover, 9.5 x 11.25 in. / 192 pgs / 202 color.
PUBLISHING STATUS Pub Date 3/15/2005 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 123
PRODUCT DETAILS ISBN 9782906574038TRADE List Price: $40.00 CDN $50.00
Published by Richter Verlag. Essays by David Batchelor, Lynne Cooke, Germano Celant, Danilo Eccher, Carla Schulz-Hoffmann, Mark Francis, Peter Schjeldahl and Ulrich Wilmes.
Tony Cragg embarked on his fine art education in 1969, a time when Minimalism, Land Art, Conceptual Art, and Arte Povera were fresh and present. Those movements marked his artistic beginnings, and thus in his earliest works Cragg started out with found materials, which he stacked, heaped, or spread on to the floor so as to study and analyze their properties. To capture the receptacle forms of vessels and cells--understood as a metaphor for any biological organism--he used traditional materials such as cast iron, bronze, glass, or stone. More recently, his interest has been increasingly directed at converting one idea into numerous variations. For instance, in the Early Forms series, the inner and outer forms become ever more complex; in Rational Beings, the sculptural form becomes ever more volumetric and statuesque. In the end, Cragg's sculptures can never be unambiguously classified; they appear as sensual, poetic creatures, mutable and paradoxical. This present scholarly survey of Cragg's work distinguishes systematic and chronological aspects, reflects on ways of working and material resources, and makes apparent associations, interconnections, and evolutionary strands.
Published by ArtPace, A Foundation for Contemporary Art, San Antonio. Edited by Cuauhtemoc Medina, Okwui Enwezor, David Frankel. Contributions by Teresita Fernndez, Bill Arning, Judith Russi Kirshner. Text by Frances Colpitt, Lisa Corrin, Laura Cottingham, Shaila Dewan, Eleanor Heartney, Linda Pace, Jan Jarboe Russell, Lynne Cooke, Chrissie Iles, Kathryn Kanjo.
Since its founding seven years ago by Pace Foods heiress Linda Pace, ArtPace has become one of the premiere foundations for contemporary art. An artist residency program based in San Antonio, Texas, ArtPace's goal is to give artists time and space in which to imagine new ways to work. Each year, nine artists (three from Texas, three from other areas of the United States and three from abroad) are invited to the foundation to create new work. Selected by guest curators the likes of Robert Storr and Okwui Enwezor, the list of artists who have undertaken residencies at ArtPace is impressive, prescient and diverse, including Felix Gonzalez-Torres, Annette Messager, Tracey Moffatt, Xu Bing, Nancy Rubins, Cornelia Parker, Inigo Manglano-Ovalle, Glenn Ligon, Kendell Geers, Carolee Schneemann, Mona Hatoum, Isaac Julien, Arturo Herrera, and Christian Jankowski. Dreaming Red includes illustrations of all the works created at ArtPace since its inception, an essay by art historian Eleanor Heartney, short essays on selected artists by the guest curators, including Cuauhtémoc Medina, Lynne Cooke, Chrissie Iles and Judith Russi Kirshner, and a lengthy essay on the personal history of the foundation and its founder.
PUBLISHER ArtPace, A Foundation for Contemporary Art, San Antonio
BOOK FORMAT Clothbound, 7.75 x 9.5 in. / 320 pgs / 250 color.
PUBLISHING STATUS Pub Date 3/2/2003 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2003
PRODUCT DETAILS ISBN 9781888302004TRADE List Price: $29.98 CDN $35.00
Published by Richter Verlag. Essays by Jan Avgikos, Lynne Cooke, Alexander Kluge, Gertrud Sandqvist, Susan Steward,
Thomas Schütte's works are almost always proposals, and are consequently almost always in the form of models. At the core of this system of presentation lies hypothesis and speculation, moralism and romanticism, melancholy and black humor. Through early architectural installations and small-scale modeled figures and proposals for monuments, through extensive series of watercolors, banners, flags and photographs, Schutte takes a skeptical look at the world. This new monograph explores in detail the vast scope and extraordinary inventiveness of Schutte's work by documenting his tripartite exhibition at the Dia Center for the Arts, New York. "Scenewright" focuses on issues relating to sceneography and theater; "Gloria in Memoria" explores memorials, monuments and antiheroes; and "In Media Res" presents recent ceramics and a related series of monumental steel sculptures.
Published by Hatje Cantz. Artwork by Neo Rauch. Text by Harald Szeemann, Daniel Birnbaum, Lynne Cooke.
One of the most original artists of his generation, Neo Rauch's paintings appear disturbingly detached and yet familiar, their figures, objects, and mood seemingly borrowed from old advertising posters, dusty book jackets, and forgotten comics. Rauch's formulistic visual symbols suggest a more profound meaning, yet it is difficult to decipher their message. The tension lurking under their almost frozen surfaces, washed with dusky, sinister colors, is fueled by paradox: as vivid as the structure of the work comes across, the impression is rigid; as powerful as the strokes of broken colors are, they appear faded, from bygone times.
Published by Dia Art Foundation. Essays by Lynne Cooke, John Elderfield. Foreword by Michael Govan.
This book documents Bridget Riley's current exhibition at New York's Dia Center for the Arts, Reconnaissance, which brings together seminal paintings from the early 1960s, landmark works esteemed via word-of-mouth but not often seen. These works are shown together with others from the later 60s and 70s to chart the early career of this highly influential but--especially in the US--all-too-little-known artist. Riley's dynamically abstract paintings from the 1960s and 1970s long ago secured her a permanent place in the history of postwar art. Despite this widespread acclaim, Riley's work has been exhibited in the US only on a few occasions. In Reconnaissance, the artist's first solo exhibition to originate in the US in decades, the public will be able to examine a selection from Riley's compelling body of early work. Additionally, Riley has executed a wall drawing for Dia's galleries, which is documented here.
Published by nai010 publishers. Edited by Mariska van den Berg. Essays by John Berger, Lynne Cooke, Heddy Honigmann, Stephan Schmidt-Wulffen, Dominic van den Boogerd.
Scenario is a retrospective of the work of Indonesian visual artist and filmmaker Fiona Tan, whose film May You Live in Interesting Times was awarded the prize for best Dutch debut at the Netherlands Film festival. True to its title, the book is constructed as a scenario: a storyboard that evokes its own story but also offers glimpses of as-yet-unrealized projects and dreams, mixing Tan's work with "found" photographs and images. It provides perhaps the most interesting look yet at Tan's concentrated oeuvre of film and video installations, which consider the recycling of history as visual material and problems concerning cultural identity and migration. Scenario includes correspondence between Fiona Tan and John Berger, a conversation between Tan and filmmaker Heddy Honigmann, a story written especially for the book by Oscar van den Boogaard, and essays by Lynn Cooke and Stephan Schmidt-Wulffen.