Edited by Joan Rothfuss and Elizabeth Carpenter. Essays by Elizabeth Alexander, A.S. Byatt, Dave Eggers, Arthur C. Danto, Wayne Koestenbaum, James Lingwood, Linda Nochlin, Annie Proulx, David Shapiro, Charles Simic, Howard Singerman, Hamza Walker et al.
Clothbound, 7.5 x 10.5 in. / 616 pgs / 680 color / 150 duotone. | 4/15/2005 | In stock $45.00
18 Photographic Investigations By Wayne Koestenbaum
Published by Cabinet Books.
In the spring of 2010, the Brooklyn-based quarterly magazine Cabinet invited poet and cultural critic Wayne Koestenbaum to begin writing a regular column. Entitled "Legend," the column had a highly unusual premise. Every three months, the editors of the magazine would ask Koestenbaum to write one or more extended captions for a single photograph with which they had provided him; drawn from obscure vernacular, commercial and scientific sources, all of the images were unfamiliar to the author. After 18 installments, Koestenbaum concluded his column in the winter of 2015. Notes on Glaze, featuring an introductory essay by the author, collects all the "Legend" columns, as well as their accompanying photographs. Refusing the distancing language of critical disinterest, Koestenbaum’s columns always locate the author in intimate proximity to the subjects portrayed in the photographs and to the impossibly variegated cast of characters—ranging from Debbie Reynolds to Duccio, the Dalai Lama to Barbra Streisand; from Hegel to Pee-wee Herman, and Emily Dickinson to Cicciolina—that pass through these texts. Wayne Koestenbaum (born 1958), a Distinguished Professor of English at the CUNY Graduate Center, has published 17 books of poetry, criticism and fiction, including My 1980s & Other Essays (Farrar, Straus and Giroux, 2013), Blue Stranger with Mosaic Background (Turtle Point Press, 2012) and The Anatomy of Harpo Marx (University of California Press, 2012). His most recent book of poetry, The Pink Trance Notebooks, was published in 2015 by Nightboat Books.
Published by Atlanta Contemporary Art Center. Edited by Stuart Horodner, Stacie Lindner. Introduction and foreword by Stuart Horodner.
The Art Life: On Creativity and Career is a collection of solicited and selected texts that address the philosophical and practical issues that affect art-making and the marketplace. It brings together visual artists, curators, dealers, writers, musicians, architects, actors, and educators, who speak to their internal motivations, influences and processes, and to their external engagements with community, audience, career and success. Many of the contributors have taken part in exhibitions and public programs at the Atlanta Contemporary Art Center from 2007 to the present, and others have been included to represent provocative historical and contemporary viewpoints by a range of influential figures. The texts are taken from lectures, interviews, published statements, websites and email exchanges, and are joined by images of artists in the midst of creating or installing, as well as completed art works. The analytic and inspirational entries address the fact that a life in the arts can be simultaneously rewarding, frustrating, doubt-filled, joyful and uncertain. And yet, thousands of artists persist every day, motivated by a private insistency and the promise of satisfaction and recognition. Each is attempting to combine their creative life with a thriving career, and this publication provides various “words of wisdom” which can serve to inspire, challenge and reassure them. As painter Franz Kline said, “The real thing about creating is to have the capacity to be embarrassed.” The composite nature of The Art Life is meant to posit that each creative individual must find the necessary information and materials to best establish their unique voice. The book is as much found as written, a heady mix of opinions and questions that can be used in classrooms and studios by artists of all ages.
PUBLISHER Atlanta Contemporary Art Center
BOOK FORMAT Paperback, 6 x 9 in. / 183 pgs / 30 color.
PUBLISHING STATUS Pub Date 3/31/2012 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 57
PRODUCT DETAILS ISBN 9781450790659TRADE List Price: $25.00 CDN $34.50 GBP £22.00
In the nineteenth century, Marx rejected the notion of homo sapiens, offering instead homo faber to indicate how consciousness follows from the primary activity of making. Against this, a certain ludic tradition has imagined a homo ludens, humans defined through their relationship with games and play. Cabinet 45 features Joshua Glenn on H.G. Wells’ “Floor Games”; D. Graham Burnett on games played by game theorists; Barbara Levine and Jessica Helfand on dexterity games; James Trainor on the lost world of “adventure” playgrounds; Dana Katz on Brian Eno and Peter Schmidt’s “Oblique Strategies”; an interview with Bertell Ollman, inventor of the board game “Class Struggle”; and Jeff Dolven on poems as games. Elsewhere in the issue: Helen Larsson on the history of applause; Wayne Koestenbaum’s legendary “Legend” column; Naomi Muller on eating the zoo animals in Berlin during World War II; Jeremy Crichton on “spite” houses; and much more.
Published by Triple Canopy. Edited by Triple Canopy. Text by Rivka Galchen, Adam Helms, et al.
Invalid Format is an archive of the widespread publishing activities of Triple Canopy, the editorial collective and online magazine based in New York, Los Angeles and Berlin. The book, designed in collaboration with Project Projects, translates into print work that originally appeared in other forms. This inaugural volume of Invalid Format includes artist projects and literary work published in the first year of Triple Canopy’s existence, documentation of public programs, and a sampling of foundational correspondence. In form and content, the book explores how works produced for the screen might be transposed to the codex in a way that recalls that former context while also fully inhabiting the page. Contributors include Lene Berg, Keren Cytter, Rivka Galchen, Sheila Heti, Adam Helms, Craig Kalpakjian, Jon Kessler, Wayne Koestenbaum, Rachel Mason, Amir Mogharabi, Ed Park & Rachel Aviv, Emily Richardson & Iain Sinclair, Michael Robinson and Diane Williams.
PUBLISHER Triple Canopy
BOOK FORMAT Paperback, 6 x 9 in. / 336 pgs / 156 bw.
PUBLISHING STATUS Pub Date 1/31/2012 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 114
PRODUCT DETAILS ISBN 9780984734603TRADE List Price: $25.00 CDN $34.50 GBP £22.00
Published by Familiar. Edited by Felix Burrichter. Text by Wayne Koestenbaum.
Paul Mpagi Sepuya’s Studio Work collects formal portraits, snapshots, still-lifes and documentation of the studio space, created during his residency at the Studio Museum in Harlem from 2010–2011. The artist writes: “I am exploring how the studio environment, as the site of creation, editing, and accumulation affects and frames portraiture, and the performance of portraiture.”
BOOK FORMAT Paperback, 8 x 10.5 in. / 192 pgs / 82 color / 54 bw.
PUBLISHING STATUS Pub Date 9/30/2012 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 156
PRODUCT DETAILS ISBN 9780985127107TRADE List Price: $39.95 CDN $53.95 GBP £35.00
Across fields as disparate as historiography, psychiatry and anthropology, remembering was long considered primary and forgetting simply a malfunction of recall. But after figures such as Nietzsche and Freud, the act of forgetting has undergone a wholesale reevaluation; for many modern thinkers, active forgetting is the precondition for living. Cabinet issue 42 features Jennifer J. Almontez on Greek orators' mnemonic system of creating vast “memory palaces”; Chip Chapman on forgetting and the creation of national myths; Sophia Hall on animal memory and obedience training methods; an interview with Jean-Yves Le Naour on the story of Anthelme Mangin, France's best-known WWI amnesiac; and a portfolio featuring artist-designed monuments to forgetting. Elsewhere in the issue: Brigid Doherty on British analyst Wilfred Bion's notation for the unknown; Allen S. Weiss on the dance macabre; Erica Owen on the relationship between nineteenth-century racial theories and the creation of the modern valuation system for “precious” and “semi-precious” stones; and much more.
Published by The Power Plant. Text by Darby English, Wayne Baerwaldt, Huey Copeland, Mark Nash, Wayne Koestenbaum. Interview by Stephen Andrews.
Glenn Ligon is one of the preeminent members of a generation of American artists who came to prominence in the late 1980s with conceptually-based paintings, photographs and text-oriented works concerning the social, linguistic and political constructions of race, gender and sexuality. Incorporating sources as diverse as photographic scrapbooks and Richard Pryor's stand-up comedy routines--his lush coal-dust paintings of excerpts from James Baldwin's 1955 essay "Stranger in the Village," for instance--Ligon's art is a meditation on representation of the self in relation to culture and history. Handsomely designed with a hardcover slipcase, Some Changes is the artist's first significant monograph. Well-illustrated texts by critics and curators Wayne Baerwaldt, Huey Copeland, Darby English, Wayne Koestenbaum and Mark Nash survey Ligon's works from 1982 to 2005, and a candid interview with Toronto artist Stephen Andrews delves into Ligon's personal insights and professional experiences.
PUBLISHER The Power Plant
BOOK FORMAT Slip, Hardcover, 8.75 x 10.75 in. / 200 pgs / 35 color / 20 bw.
PUBLISHING STATUS Pub Date 7/31/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2009 p. 81
PRODUCT DETAILS ISBN 9781894212069TRADE List Price: $40.00 CDN $50.00
Published by Deitch Projects. Text by Wayne Koestenbaum, Pepe Karmel.
According to The New York Times, "It would be easy to read Kurt Kauper's nude portraits of the former hockey players Bobby Orr and Derek Sanderson as a rote comment on the fragile state of American (or Canadian) masculinity. They work better as an erotic and personal tribute, one that draws on the artist's childhood in a Bruins-worshiping Boston suburb; the neo-Classical figuration of Jacques-Louis David; and the overt sensuality of pre-Stonewall 'athletic' films." This slim, beautifully produced, bright yellow linen-bound exhibition catalogue with tipped-on cover image features some of the most strangely arresting male nudes on canvas today. Ranging from life-sized, full-frontal portraits of a nude Cary Grant at home in his suave, mid-century-movie-star manse (2001-2003) to the artist's most recent portraits of god-like, real-life Canadian hockey stars of the 1960s and 70s, this volume presents work that is perverse, liberated and rightly hilarious alongside essays by Wayne Koestenbaum and Pepe Karmel.
Published by Charta/Irish Museum of Modern Art. Introduction by Jack Pierson. Text by Enrique Juncosa, Wayne Koestenbaum, Rachael Thomas, Richard D. Marshall.
This publication--at once a daybook, a survey (it accompanies the artist's first exhibition in Ireland) and an artist's book--collects eight previous publications on the American artist Jack Pierson, several of which are long out of print. Pierson was among the first photographers to print pages with the imagery bleeding out of its usual white frame, and to deploy a bleached-out and overexposed style of photography that connotes a longing for a recent but already dimming past, littered with the props and players of yesterday's parties. By small increments, an emotional tone builds that is both warmly homoerotic and unabashedly wistful. All of these books were designed by the artist and are here reproduced in their original size and in chronological order. Jack Pierson makes photographs, word sculptures, installations, drawings and artist's books that excavate the emotional undercurrents of everyday life, from the intimacy of romantic attachment to the remote idolizing of the famous. Pierson has often engaged celebrity culture, refusing ironic treatment of the subject to instead confess, or seem to confess, his own attraction to the fantasy life depicted in his artworks. He has had recent solo exhibitions at Cheim & Read, New York; Alison Jacques Gallery, London and Regen Projects, Los Angeles. His work is held in the collections of The Metropolitan Museum of Art, the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, The Museum of Contemporary Art, Los Angeles and the San Francisco Museum of Modern Art.
PUBLISHER Charta/Irish Museum of Modern Art
BOOK FORMAT Paperback, 6.75 x 9.5 in. / 436 pgs / 384 color / 21 bw.
PUBLISHING STATUS Pub Date 9/1/2008 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2008 p. 95
PRODUCT DETAILS ISBN 9788881586776TRADE List Price: $59.95 CDN $70.00
Published by Institute of Contemporary Art, University of Pennsylvania. Introduction by Claudia Gould. Text by Ingrid Schaffner, Scott Rothkopf, Joel Lobenthal, Dominic Molon, Wayne Koestenbaum.
Published on the occasion of the first major museum survey of Karen Kilimnik's work, a traveling exhibition with stops in Philadelphia, Miami, Aspen and Chicago, this chic but scholarly catalogue is the most substantial on the artist to date. It highlights an important American artist whose work objectifies mass-cultural desire with glittering poignancy and includes a nuanced selection of 15 years worth of collage-based activity in the realms of painting, drawing, photography, sculptural installation and object-making, as well as new work. Fully illustrated at 180 pages, it features an essay by exhibition curator Ingrid Schaffner which analyzes the development of the artist's work and its historic contexts as well as four contributions from authors who address a theme or image within the work. Thus, cultural critic Wayne Koestenbaum addresses gossip; dance historian Joel Lobenthal writes on ballet; Associate Curator at the Museum of Contemporary Art Chicago, Dominic Molon, focuses on influence; and Artforum Senior Editor Scott Rothkopf considers Kilimnik's titles. Includes a complete bibliography and an illustrated exhibition chronology. Called "sharp and witty" and "long overdue" for major recognition by The New York Times' Holland Cotter, Kilimnik is an important international artist with an extensive publication and exhibition history. Born in Philadelphia in 1955, she studied architecture at Temple University and continues to live in the region. Since 1991, her work has been represented by 303 Gallery in New York. She has had recent solo exhibitions at the Museum of Modern Art, Ireland, and White Cube, London. In 1992, ICA Philadelphia presented Kilimnik's first museum show as part of its "Investigations" series.
Published by Gregory R. Miller & Co.. Text by Wayne Koestenbaum.
Works on Paper marks the first major publication of the work of noted New York painter Amy Sillman, whose rapidly growing reputation and increasingly recognized influence on other artists make its timing ideal. Her paintings and drawings are at once narrative and decorative, filled with quirky figures and diminutive, patterned elements. Her works on paper, which she considers particularly central to her art-making practice and her wider portfolio, are often made up of multiple components. They create the feeling of an extended and meandering sequence of events, and have been described as reminiscent of both film loops and long letters to her viewers. Works on Paper consists of four major series of Sillman's drawings, all recent and documented by brilliant full-color photographs. It also includes an essay by acclaimed writer Wayne Koestenbaum, who has long been celebrated for both his poetry and prose, and who has become one of our most innovative and influential writers on contemporary art and culture. His lavish, seductive and humorous writing style is the perfect complement to Sillman's lyrical works. This book is a delightful introduction to a rising star.
Published by Walker Art Center. Edited by Joan Rothfuss and Elizabeth Carpenter. Essays by Elizabeth Alexander, A.S. Byatt, Dave Eggers, Arthur C. Danto, Wayne Koestenbaum, James Lingwood, Linda Nochlin, Annie Proulx, David Shapiro, Charles Simic, Howard Singerman, Hamza Walker et al.
One of the premier institutions of contemporary art in the country, the Walker Art Center also holds an important collection of over 11,000 objects from the early twentieth century to the present. These holdings reflect the Center's renowned multidisciplinary program, and include paintings, sculpture, prints, photography, film, video, installations and digital arts that range in date from classic early Modernist to cutting edge contemporary.
Published by KW Institute for Contemporary Art. Essays by Callie Angel, Mary Lea Bandy, Klaus Biesenbach, Laurence Kardish and Wayne Koestenbaum. Forewords by Glenn D. Lowry and Tom Sokolowski.
Prolific, mercurial, thought-provoking, charming, engaging, dynamic, confusing--just like the artist himself, Andy Warhol's films explore the gamut of human emotion. From the time he obtained his first film camera in 1963, up until his death in 1987, Warhol explored and created moving images ranging from epic films, to personal portraits, to programs for cable television, to music videos. In fact, in a mere five years (1963-1968) he produced nearly 650 films including hundreds of silent screen tests--portrait films--and dozens of full-length movies, in styles ranging from minimalist avant-garde to commercial “sexploitation.” His films and videos capture the rich and raw texture of the fertile cultural milieu in which he lived and worked, and are crucial to the understanding of Warhol's work in other media. Andy Warhol: Motion Pictures focuses on the artist's screen tests and non-narrative films from 1963-73. Within it we see sequences of his “most beautiful women”--screen tests featuring “Baby” Jane Holzer, Ivy Nicholson, Edie Sedgwick--and other works that showcase a parade of friends, actors, and models--Dennis Hopper, Gerard Malanga and Walter Burn to name just a few. This collection of tests is followed by the artist's non-narrative films including Eat, Sleep, Kiss and Blow Job. All of the artist's film works are enhanced by texts from Mary Lea Bandy, Klaus Biesenbach and others. The worlds of art, photography, film, criticism, lifestyle and fashion unite in Andy Warhol: Motion Pictures, as 200 fascinating, full-bleed, remarkably clear, black and white stills provide access into territories both familiar and unexplored.