Edited by Donna Wingate, Marc Joseph Berg. Text by Geoffrey Batchen, Francesco Bonami, Gavin Brown, Paulo Herkenhoff, Chrissie Iles, Jenelle Porter, David Rimanelli, Christian Scheidemann, Adam Szymczyk, Catherine Wood.
Hbk, 6.75 x 9.5 in. / 208 pgs / 100 color. | 4/30/2014 | In stock $55.00
THE CENTER FOR ART, DESIGN AND VISUAL CULTURE/GEORGIA O'KEEFFE MUSEUM
Edited by Maurice Berger. Contributions by Robert Rosenblum, Michelle Wallace, Maxwell Anderson, Catherine Lord, Jonathan Weinberg, Olu Oguibe, Michael Leja, Dan Cameron, Yvonne Rainer, Donna deSalvo, Simon Leung, Chrissie Iles, Jennifer Gonzalez, Wendy Ewald, Kellie Jones, David Ross, and Jerry Saltz.
Paperback, 9 x 6 in. / 150 pgs. | 7/2/2003 | In stock $14.95
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 Walther König, Köln. Foreword by Veit Görner. Text by Susanne Figner, Suzanne Hudson, Chrissie Iles.
Demo includes 38 paintings and 30 drawings produced by American artist Dana Schutz (born 1976) between 2010 and 2014. Through her classical oil painting methods, Schutz offers a colorful cosmos of peculiar figures in everyday situations as well as in absurd, dreamlike scenarios.
Published by Hatje Cantz. Text by Chrissie Iles. Interview by Kirsty Bell.
In the Air, an incredible view of New York from far up and all around, is a critically celebrated ode to the city from artist T.J. Wilcox (born 1965). The fascinating view from his 18th-floor studio on Union Square initially distracted Wilcox from his work, but ultimately inspired him to create this dazzling display. Using 60,000 individual photographs, one shot every second by four cameras over a period of 15 hours, the artist assembled a half-hour long "film in the round." Projected onto a circular screen, the film completely surrounds the viewer. Superimposed on this 360-degree panorama are six vignettes, featuring a variety of New Yorkers from all walks of life. One, for example, focuses on Antonio Lopez, the fashion designer who lost his life to AIDS and who was an inspiration to the teenaged Wilcox; another features Andy Warhol; a third follows "John," the super of the studio's building, who describes witnessing 9/11.
Published by MCA Chicago. Foreword by Madeleine Grynsztejn. Text by Michael Darling, Chrissie Iles, Kate Zambreno.
New York-based conceptual photographer Anne Collier (born 1970) creates neutral images of objects that already exist in the world, often charged with undercurrents of emotional complexity and vulnerability. Her work deftly addresses subjects inherent to both the act and industry of photography while simultaneously lampooning clichés and uncovering hidden truths. Describing Collier's work in Frieze magazine, the acclaimed author and critic Brian Dillon wrote, "Collier uncouples the machinery of appropriation so that her found images seem weightless, holding their obvious meaning in abeyance." This volume, part of the MCA Monograph series, accompanies the first major solo US exhibition of Collier's work. Alongside a selection of color plates, Michael Darling, James W. Alsdorf Chief Curator at the MCA, reviews the works in the exhibition within the context of the artist's career; Chrissie Iles, Anne and Joel Ehrenkranz curator at the Whitney Museum of American Art, examines the artist's position within photographic and cinematic history; and novelist Kate Zambreno considers the fragments of lost objects and what it means to collect.
Published by Hatje Cantz. Edited by Donna Wingate, Marc Joseph Berg. Text by Geoffrey Batchen, Francesco Bonami, Gavin Brown, Paulo Herkenhoff, Chrissie Iles, Jenelle Porter, David Rimanelli, Christian Scheidemann, Adam Szymczyk, Catherine Wood.
Emerging in the mid-1990s, the Warsaw-born, New York-based artist Piotr Uklanski has created a provocative body of work that ranges across media, from installation, paper reliefs, tie-dye paintings, textile-based immersive sculptures and resin-based sculptures and paintings to photography, performance and a feature-length film, Summer Love. Second Languages is the first book to offer a comprehensive look at this iconoclastic artist. Taking the form of a reader, this richly illustrated collection of 11 essays--authored by internationally renowned art historians, curators and critics--analyzes Uklanski's protean output. While this book serves to critically situate Uklanski's work in art historical and theoretical contexts, it also provides some unconventional, humorous interpretations.
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.
Published by Damiani. Text by Marina Abramovic, Klaus Biesenbach, Chrissie Iles.
After becoming an internet sensation, Marco Anelli’s powerful portraits of sitters in the historic 2010 Marina Abramovic performance at The Museum of Modern Art, New York are now collected and available in their entirety in this volume. The centerpiece of the landmark retrospective Marina Abramovic: The Artist Is Present was Abramovic herself, who sat silently in the museum’s atrium, inviting visitors to take a seat across from her for as long as they chose. She sat every day for the run of the show--716 hours and 30 minutes--and faced more than 1,500 people, whose participation completed the work. Marco Anelli’s photographic project captured every interaction, taking a portrait of each participant and noting the time they spent in the chair. Just as Abramovic’s piece concerned duration, the photographs give the viewer a chance to experience the performance from Abramovic’s perspective. They reveal both dramatic and mundane moments, and speak to the humanity of such interactions, just as the performance itself did. The resultant photographs are mesmerizing and intense, putting a face to the world of art lovers while capturing what they shared during their contact with the artist.
Published by Aspen Art Press. Foreword by Heidi Zuckerman Jacobson. Text by Chrissie Iles, Mark Rappolt. Interview with Slater Bradley, Ed Lachman.
Look Up and Stay in Touch presents the final works in artist Slater Bradley’s decade-long doppelganger project. Bradley (born 1975) has explored the way cultural icons are so imbued with myth that they become a mirror image (doppelgänger) of the self. Earlier works in the series include faked tribute videos in which Bradley’s doppelganger, Ben Brock, performs as late musicians Ian Curtis, Michael Jackson and Kurt Cobain. These final two works in the series focus on another of Bradley’s obsessions: the actor River Phoenix. The installations were produced in collaboration with Academy Award–nominated cinematographer and filmmaker Ed Lachman, director of photography for the film, Dark Blood, an unreleased 1993 film starring Phoenix that was in production at the time of the actor’s death. The video installations Shadow (2010) and Dead Ringer (2011) are based on the film, and the latter features an appearance by Bradley himself.
Published by Hayward Gallery Publishing. Edited by Stephanie Rosenthal. Text by Elizabeth Bronfen, Chrissie Iles, Stefanie Müller.
Pipilotti Rist (born 1962) burst onto the international art scene in the late 1980s with visually lush video and multimedia works that explore sexuality and media culture through playful and provocative remixes of fantasy and the everyday. Highly accomplished technically, Rist's practice fuses sensual images, dazzling color, music and text to create mesmerizing installations. Published to accompany a major survey exhibition at London's Hayward Gallery (as well as a European tour), this comprehensive volume is thoroughly illustrated and conceived in close collaboration with the artist. Essays by Stephanie Rosenthal, Elizabeth Bronfen, Chrissie Iles and Stefanie Müller explore the many facets of Rist's art, including her treatment of the relationship between the body and the camera, and her use of two- and three-dimensional sculptural forms, while a visual essay by the artist provides a rare insight into her working methods.
Published by Mousse Publishing. Foreword by Elizabeth Dee. Introduction by Cecilia Alemani. Text by Philip Aarons, Carlos Basualdo, Alexander Dumbadze, Hal Foster, Massimiliano Gioni, Roselee Goldberg, Ed Halter, Fritz Haeg, Laura Hoptman, Chrissie Iles, David Joselit, Sylvère Lotringer, et al.
X was a one-year, experimental non-profit initiative, whose goal was to inspire new ideas for producing and experiencing contemporary art. It ran the gamut from solo shows by international stars like Hans Haacke to a 24-hour Bring Your Own Art (BYOA) marathon event. This sourcebook surveys one dense year of art at 548 West 22nd Street.
BOOK FORMAT Paperback, 6.5 x 9.5 in. / 168 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 3/31/2011 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 153
PRODUCT DETAILS ISBN 9788896501290TRADE List Price: $25.00 CDN $34.50
Published by Walther König, Köln. Foreword by Susanne Gaensheimer. Text by Klaus Görner, Chrissie Iles, Shepherd Steiner. Interview by Chris Dercon.
A leading protagonist of the “Pictures Generation,” Jack Goldstein (1945–2003) has long been prized by his colleagues and a specialist audience around the world for his heroic independence of spirit, but his actual work has typically remained inaccessible and unidentifiable to the wider public until now. His oeuvre is in fact characterized by its diversity, encompassing as it does performances, films, albums, paintings, aphorisms, the critique of text and image production by direct appropriation, in the vein of his colleagues Richard Prince and Sherrie Levine. “Media is sensational” was a famous aphorism of Goldstein's—meaning that “technology does everything for us so that we no longer have to function in terms of experience. We function in terms of aesthetics.” This first thorough catalogue on Goldstein at last does justice to his work and its influence. It contains a wide selection of illustrations, an interview with Goldstein from 1985 by Chris Dercon and essays by Klaus Görner, Chrissie Iles and Shepherd Steiner.
Published by The Museum of Modern Art, New York. Edited by Klaus Biesenbach. Text by Arthur C. Danto, Chrissie Iles, Nancy Spector, Jovana Stokic.
Since the beginning of her career, in Belgrade in the late 1960s, Marina Abramovic has been a pioneer of performance art, creating some of the most important works in the field. Marina Abramovic: The Artist Is Present accompanies an exhibition at The Museum of Modern Art that documents approximately 50 of the artist's ephemeral time- and media-based works from throughout her career. The book also discusses a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by Abramovic herself; and re-creations of the artist's works by other performers—the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Essays by Klaus Biesenbach, Chief Curator of Media and performance art at MoMA, and four distinguished scholars examine Abramovic's ideas of time, duration and the reperformance of performance art as a way to extend it into posterity. The Artist Is Present also includes a CD with audio commentary by the artist that guides the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.Born in Belgrade just after the end of the Second World War, Marina Abramovic was raised in the Serbian Orthodox Church (her great uncle was a Patriarch and a canonized saint in the Church) and left Yugoslavia in 1976, having already established herself as a performance artist, living in Amsterdam and eventually New York, where she presently lives.
Published by Walther König, Köln. Text by Chrissie Iles.
Axial Age is the title of a series of seven paintings completed by the influential German artist Sigmar Polke between 2005 and 2007. With his camera, Polke created a fascinating photo documentary of the painting process, including 187 images specially selected by the artist to be featured in this book. Each image is reproduced as a high-quality, full-page color plate. By revealing the materiality and structural complexity of the works from a variety of perspectives and under different lighting conditions, Polke provides the reader with analogies to his oeuvre that are as explicit as they are unique. The title Axial Age is a reference to the term coined by Karl Jaspers to describe the period between 800 BC and 200 BC, during which the world was reinvented based on the principle of transcendence--a concept that finds full expression in this series of paintings. Polke makes use of a broad range of materials in his work, including varnishes and pigments, photographic chemicals, gold and silver, lapis lazuli and malachite--all references to alchemistic processes of transformation. Indeed, with these extensions of painterly techniques, the artist undermines the picture itself, for any shift in perspective or lighting is accompanied by a change in the painting's appearance.
Published by Walther König, Köln. Text by Julia Peyton-Jones, Tilda Swinton, Chrissie Iles, Hans Ulrich Obrist.
Brutal Beauty presents Isaac Julien's refreshing vision of Derek Jarman as a true Renaissance man--a painter, director, activist, diarist and gardener--whose infectiously prolific range of enterprises belies a consistent preoccupation with liberated sexual politics and the defiance of inherited mores.
Published by Guggenheim Museum Publications. Essays by Michael Archer, Jan Avgikos, Daniel Birnbaum, Ina Blom, Stefano Boeri, Francesco Bonami, Nicolas Bourriaud, Xavier Douroux, Patricia Falguieres, Heike Föll, Hal Foster, Massimiliano Gioni, Michael Govan, Dorothea von Hantelmann, Jens Hoffman, Chrissie Iles, Branden Joseph, Emily King, Christy Lange, Maria Lind, Tom Morton, Molly Nesbit, Hans Ulrich Obrist, Beatrix Ruf, Stephan Schmidt-Wulffen, Barbara Steiner, Rachael Thomas, Eric Troncy, Giorgio Verzotti, Thomas Wulffen, Olivier Zahm
During the 1990s a number of artists claimed the exhibition as their medium. Working independently or in various collaborative constellations, they eschewed the individual object in favor of the exhibition environment as a dynamic arena, ever expanding its physical and temporal parameters. For these artists an exhibition can comprise a film, a novel, a shared meal, a social space, a performance or a journey. Their work engages directly with the vicissitudes of everyday life, offering subtle moments of transformation. This catalogue, which accompanies a major exhibition at the Solomon R. Guggenheim Museum, New York, is the first in the U.S. to examine the dynamic interchange among a core group of these artists--Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno and Rirkrit Tiravanija--a many-sided conversation that helped shape the cultural landscape of the 1990s and beyond.
Published by Sean Kelly Gallery. Essay by Chrissie Iles. Introduction by Sean Kelly.
Drawn from several sources, this catalogue includes works by Marcel Duchamp and Man Ray that address the enduring friendship and shared interests of these two artists. The works included explore five decades of the shared milieus and aesthetics of these artist-peers, both of whom so significantly altered the making and understanding of art in the twentieth century. Loosely grouped around thematic concerns, it includes works that exemplify the artists' fascination with the game of chess, the study of optics, and the influence of such diverse sources as African sculpture, as well as the photographic recording of their mutual friends, including portraits of artists, poets and literary figures pivotal to the Dadaist and Surrealist movements. Ingeniously designed, this small volume is both a documentary of the artists' friendship and a study of art in the early 1920s.
PUBLISHER Sean Kelly Gallery
BOOK FORMAT Hardcover, 6.25 x 8.25 in. / 128 pgs / 32 color.
PUBLISHING STATUS Pub Date 2/15/2005 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 112
PRODUCT DETAILS ISBN 9780966215823TRADE List Price: $45.00 CDN $55.00
Published by Ediciones Polígrafa. Artwork by Juan Muìoz, Julião Sarmento. Contributions by Louise Neri. Text by Alexandre Melo, Simon Baker, Juan Carlos Marset, Chrissie Iles, Adrian Searle.
One of the European artists who has best combined text, image, and movement, Julião Sarmento's multidisciplinary oeuvre evinces the tension that exists between image and word, between what is explicitly biographical and the impossibility of all forms of narration. Over the past 26 years, Sarmento's work has revealed an intimate and passionate pre-occupation with desire, explored both in the realm of the speculative and the gestural. Within his work there is no chronology, no unfolding narrative, no apparent logic--simply glimpses of experience that give visual form to primordial desires, ones felt but not defined. Working with various media, including paint, print, photography, sculpture and video, he determines to define the intangible gap between experience and memory, now and then.
Published by Hatje Cantz. Essays by Olga M. Viso, Guy Brett, Julia P. Herzberg, Chrissie Iles and Laura Roulet.
This major monograph, a comprehensive reconsideration of the brief life and career of Ana Mendieta, contextualizes the artist's work within its time and acknowledges her legacy on subsequent generations of artists. The Cuban-born American sculptor is celebrated for her earth-body works of the 1970s, sculptural interventions in the landscape that placed her body--or its haunting silhouette--in symbiotic relationship with nature. Using extracts from her films, original slide documentation, photography, and other archival material, this catalogue illustrates early performances from Mendieta's student days, as well as her more well-known Silueta Series made in Iowa and Mexico from 1973 to 1980. Earth-body works executed in Canada, Cuba and the United States in the early 1980s, and select sculptures, drawings and installations dating to the mid-80s will also be illustrated. This publication promises to be the definitive study of the artist's work.
Published by Charta. Essays by Chrissie Iles, Thomas McEvilley, Sean Kelly, C. Carr, Roselee Goldberg, and Peggy Phelan.
For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. She had no escape: the ladders leaning against bedroom, sitting room and bathroom had rungs made of large butcher knives. Throughout her 30-year career, Abramovic has used her body as her primary material, pushing it to extremes of altered consciousness, often putting herself in great physical peril. Her concern with creating works that ritualize the simple actions of everyday life like lying, sitting, dreaming and thinking focuses, in effect, on the manifestation of a unique mental state. In one early solo performances, the artist announced that she would be a passive object for six hours and laid out 72 items spectators could use on her, including a loaded gun. A fight broke out when someone tried to use it. Beginning in the late 70s, she and her then partner Ulay collaborated on now classic performances in which they crawled on their stomachs with a python that hadn't eaten in two weeks; collided with each other, naked, at top speed; sat motionless for seven hours at either end of a long table, trying not even to blink; and, most famously and difficultly, crossed the Great Wall of China, starting at opposite ends and walking until they met in the middle. Abramovic thought The House With the Ocean View would be most like walking this last piece, so she mounted the platforms at Sean Kelly Gallery clad in the old hiking boots she wore in China. This volume presents documentation of The House With the Ocean View, Abramovic's most important performance work to date, alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, and others. Published in conjunction with the Sean Kelly Gallery
BOOK FORMAT Hardcover, 6.75 x 9.5 in. / 216 pgs / 12 color / 28 bw.
PUBLISHING STATUS Pub Date 3/2/2004 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2003 p. 9
PRODUCT DETAILS ISBN 9788881584369TRADE List Price: $45.00 CDN $55.00
Published by The Center for Art, Design and Visual Culture/Georgia O'Keeffe Museum. Edited by Maurice Berger. Contributions by Robert Rosenblum, Michelle Wallace, Maxwell Anderson, Catherine Lord, Jonathan Weinberg, Olu Oguibe, Michael Leja, Dan Cameron, Yvonne Rainer, Donna deSalvo, Simon Leung, Chrissie Iles, Jennifer Gonzalez, Wendy Ewald, Kellie Jones, David Ross, and Jerry Saltz.
What is Postmodernism, and is it a useful concept for understanding American art and visual culture of the past 40 years? When and to what extent did Modernism wane as a phenomenon in American art? How have the various liberation movements, from civil rights to feminism, influenced American art and culture and contributed to the rejections of the Modernist ethos? How has globalism changed American art and culture? How have the new technologies of the past 50 years--television, personal computers, the Internet--altered the nature of progressive art in the United States? Are any of these changes intrinsically Postmodern? These issues and more were debated during the two-week online conference The Modern/Postmodern Dialectic: American Art and Culture, 1965-2000, held on the Georgia O'Keeffe Museum website during Octobert 2001. Postmodernism: A Virtual Discussion gathers the edited proceedings, with contributions from an international group of scholars, artists and curators, including Dan Cameron, Donna DeSalvo, Wendy Ewald, Chrissie Iles, Catherine Lord, Olu Oguibe, Yvonne Rainer and Robert Rosenblum.
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 Oktagon. Edited by Ellen Seifermann. Essays by Chrissie Iles and Marijke van Warmerdam.
Dutch artist Marijke van Warmerdam has achieved international recognition in recent years, showing her videos at the MUHKA Museum, Antwerp, the Malm‡ Konsthall in Sweden, the Stedelijk Museum, Amsterdam, the Sydney Biennial and documenta X. Her pieces feature seemingly unspectacular actions--a small boy shivering in the cold, a bear groping about, a child's hands catching and throwing a ball--repeated continuously until they become spectacular. Eschewing the narrative confines of film, van Warmerdam emphasizes video's sculptural qualities, concentrating on calm and almost motionless images that exercise and sharpen the viewer's perceptions. This new monograph presents the first ever overview of van Warmerdam's video work to date, and also draws connections between the artist's videos and her photography and sculptures. Featuring numerous color spreads of her video stills, Marijke van Warmerdam offers a fascinating insight into this artist's already substantial oeuvre.
BOOK FORMAT Paperback, 7.75 x 10.75 in. / 184 pgs / 160 color
PUBLISHING STATUS Pub Date 6/2/2001 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2001
PRODUCT DETAILS ISBN 9783896110930SDNR30 List Price: $35.00 CDN $40.00