Foreword by Paul Ha. Edited by Katie Holten. Text by Lia Gangitano. Contributions by Elizabeth Kolbert, James Howard Kunstler, A. M. Homes, Rebecca Solnit, Fritz Haeg, J.G. Ballard, Andrea Zittel, Anne Whiston Spirn.
Paperback, 6.25 x 8 in. / 120 pgs / 60 color. | 5/1/2007 | In stock $25.00
Published by Museum of Contemporary Art, Chicago and MIT List Visual Arts Center. Foreword by Madeleine Grynsztejn, Paul Ha. Text by Ana Teixeira Pinto, Tirdad Zolghadr. Interview by João Ribas, Julie Rodrigues Widholm.
This volume accompanies the first major solo museum exhibition in the United States of the work of Argentinean-born, London-based artist Amalia Pica (born 1978). Pica explores metaphor, communication and civic participation through drawings, sculptures, large-scale photographic prints, slide projections, live performances and installations. Using simple materials such as photocopies, lightbulbs, drinking glasses, beer bottles, bunting and cardboard, Pica creates work that is both formally beautiful and conceptually rigorous. Pica is particularly interested in the limits and failures of language and human communication, and the ways in which thought translates to action, idea to object. Her work is optimistic in its reflection of moments of shared experience, often incorporating signifiers of celebration and communal gatherings such as fiesta lights, flags and banners, and confetti. Amalia Pica is the fourth volume in MCA Chicago’s MCA Monographs series and features essays by writer Ana Teixeira Pinto and writer and curator Tirdad Zolghadr as well as an interview with the artist and exhibition co-organizers MIT<\p>List Curator João Ribas and MCA Pamela Alper Curator Julie Rodrigues Widholm.
Published by Walther König, Köln. Introduction by Paul C. Ha. Text by Simon Baier, Yve-Alain Bois, Ann Lauterbach. Interview by Joao Ribas.
Cheyney Thompson has made the technology, production and distribution of painting the subject of his work. His Chronochromes (2009–2011) are composed using the color system devised by Albert H. Munsell in the early 1900s. Thompson grafts this system onto a calendar: each day is assigned a complementary hue pair, with every hour changing the value, and every month changing the saturation, of each brushstroke.
Published by JRP|Ringier. Edited by Paul Ha. Text by Dominic Molon, Matthew Higgs.
Through media as various as paintings, diaristic calendars and performative videos, New York-based artist Sean Landers (born 1962) articulates his personal self-doubts and humiliations, attempting a sincere and unflinching excavation of the artist's consciousness. Landers foregrounds the artist's personality as an object worthy of study, and in his relentless articulation of emotion, at its most base and its most noble--from self-loathing to empathy and love--he reconceives and renews this persona. This volume, and the exhibition it accompanies at the Contemporary Art Museum Saint Louis, takes the years between 1990 and 1995 as Landers' formative and decisive period, and examines the conceits that he has cultivated over the course of his 20-year career, from the early yellow legal pads featuring the fictional artist Chris Hamson as autobiographer to the reclaiming of the persona by Landers' own voice.
Published by Contemporary Art Museum St. Louis. Foreword by Paul Ha. Introduction by Dominic Molon. Text by Laura Fried, Forrest Nash.
Traversing abstraction, drawn or printed text, collage, sculptural effects and humorous figuration, the work of Richard Aldrich (born 1975) constitutes an index of possibilities in painting. Aldrich frequently integrates objects such as canvas scraps or book pages in his works, citing rather than deploying the idea of a picture plane, and also loads his works with literary and personal references. For his first solo museum exhibition at the Contemporary Art Museum St. Louis, Aldrich presents 20 large-scale works alongside paintings by Edouard Vuillard, Pierre Bonnard and the Irish portraitist Sir William Orpen, selected from the Museum's permanent collection. These three nineteenth-century artists have very little in common with Aldrich, and yet are ideally counterpointed against his paintings, refocusing the works of all four in fascinating ways. Published on the occasion of this exhibition, this volume records this exemplarily adventurous exhibition.
PUBLISHER Contemporary Art Museum St. Louis
BOOK FORMAT Paperback, 8 x 10.75 in. / 104 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 9/30/2011 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 86
PRODUCT DETAILS ISBN 9780977752874TRADE List Price: $30.00 CDN $40.00 GBP £27.00
Published by Blaffer Gallery, The Art Museum of the Univeristy of Houston. Edited by Terrie Sultan. Preface and Acknowledgments by Paul Ha, Jane Farver, Rina Carvajal, Terrie Sultan. Texts by Claudia Schmuckli, William Arning, Klaus Ottmann, Rina Carvajal, Terrie Sultan.
Since 1968, Brussels-born, Paris-based Chantal Akerman has produced over 50 film and video works, in the genres of documentary and French New Wave-inspired fictional narrative. She is one of the foremost auteur-directors working today, yet she has never had a solo museum exhibition in the United States, nor has there been significant scholarly inquiry into her body of work. Her early experiments with Structuralist, Marxist and Feminist filmmaking have expanded what is possible in film today. Asserting Akerman's contribution to the genre, this volume introduces her work to those who have not had a chance to see it firsthand. With interpretive and anecdotal commentary on Akerman's oeuvre, the documentary films covered here have not been explored elsewhere.
Published by Aspen Art Museum/Contemporary Art Museum St. Louis. Introduction by Paul Ha. Text by Heidi Zuckerman Jacobson, Laura Fried. Epilogue by Matthew Thompson.
Combining classical cinematic devices with a distinctively jarring, low-tech sensibility, New York-based Aïda Ruilova creates dark, narrative video work. Her short video loops often feature characters performing cryptic and physically uncomfortable actions, revealing her fascination with the conjunction of horror movie aesthetics and the sublime. This volume accompanies the artist's first one-person museum exhibition, which originated at the Aspen Art Museum and was co-curated by Paul Ha and Heidi Zuckerman Jacobson.
Published by Contemporary Art Museum St. Louis. Foreword by Paul Ha. Edited and with an introduction by Susan Cahan. Text by Susan Cahan, José Muñoz.
I Remember Heaven explores shared affinities in the work of the Pop art superstar Andy Warhol, and contemporary artist Jim Hodges. This cross-generational study looks at both artists' work within a continuum of art production that finds history in everyday artifacts and uses aesthetic representation as a means to understand visibility and invisibility, sexuality, selfhood, love and death. Essayist Jose Esteban Muñoz discusses the artists' work in relation to queer aesthetics before and after Stonewall. Susan E. Cahan examines the personal and social aspects of collective grief, a subject which preoccupied both artists. I Remember Heaven captures a sense of the America of the 60s as not so different from today: Once again, the American public is fiercely divided over social issues; once again, an unpopular war enters American homes via television; and once again, American culture is experiencing an explosion of information--this time spawned by the Internet.
Published by Contemporary Art Museum St. Louis. Foreword by Paul Ha. Edited by Katie Holten. Text by Lia Gangitano. Contributions by Elizabeth Kolbert, James Howard Kunstler, A. M. Homes, Rebecca Solnit, Fritz Haeg, J.G. Ballard, Andrea Zittel, Anne Whiston Spirn.
In her first museum exhibition in the United States, Irish artist Katie Holten joins the Contemporary Art Museum, St. Louis, as an artist-in-residence to create her largest and most ambitious work to date. The exhibition presents a new site-specific indoor installation comprised of sculpture, drawings and paintings and an outdoor performance that collectively explore global ecology and social gestures within moments of environmental crisis. Interested in our fragile ecology from an international perspective--while also considering local concerns--Holten's work is a relative, aesthetic proposition for community-friendly solutions. She renders nature essential, and in the process asks individuals and communities to ponder their natural environment, and to consider human fragility in an uncertain future. Holten collaborates with communities around the globe to raise awareness of environmental issues through a visual consideration of nature. Her exhibitions heighten a sense of urgency and action through beautifully rendered work that expresses the fragile ecology of local environments.
Published by Contemporary Art Museum St. Louis. Edited by Kate Wagner. Essays by Paul Ha and Catherine Morris.
When curators at Saint Louis's Contemporary Art Museum asked Cindy Sherman whether there was a moment in her career whose resonance might be underappreciated, one around which she might like to develop an exhibit and a book, she selected her earliest adult creative years, beginning while she was still a student at Buffalo State College in the mid-1970s. Working Girl is full of rarely seen pieces, and it features, for the first time, documentation of and stills from Sherman's 1975 animated short Doll Clothes, which is among the pieces that bring Sherman's early exploration of gender and identity into focus. The mostly small-scale work, including many early black-and-white, hand-colored, and sepia-toned photographs, is culled primarily from the artist's family members' collections and her own, and includes the pieces that laid the groundwork for her first major success, the acclaimed Film Stills series. Working Girl is a unique glimpse into the early development of Sherman's artistic practice, and into the genesis of her inimitable substance and style. It illuminates her conceptual approach to photography and foretells the career that would be launched in the late 1970s, positioning her as one of the most significant artists of our time.
Published by Contemporary Art Museum St. Louis. Edited by Ivy Cooper. Essay by Shannon Fitzgerald. Foreword by Paul Ha.
Self-taught, Chicago-based artist Dzine (born Carlos Rolon in 1970) has gone from graffiti on the streets to showing in the galleries of Tokyo, Paris, Madrid and New York. His vibrant canvases--some in neon colors with biomorphic forms, some in softer palettes with patterned lines and curves--pulse with the energy of the city, but have ventured from the look of the street into accomplished abstracts, most recently encrusted with shimmering glass beads. The creative force behind an experimental record label that works with world-renowned DJs and producers such as DJ CAM, Gotan Project and Guidance Recordings, Dzine combines music with his art in this catalogue from his solo show at the Contemporary Art Museum of St. Louis: Punk Funk includes a CD by DJ CAM, featuring a soundtrack made especially for the exhibition.
Published by Contemporary Art Museum St. Louis. Edited by Shannon Fitzgerald. Essays by Melissa Chiu, Tan Lin and Gregory Volk. Foreword by Paul Ha.
From a distance, Yun-Fei Ji's traditional brush paintings hark back to the atmospheric landscapes of the Sung Dynasty painters. Step closer though, and Ji's mists are revealed to be toxic clouds, and his craggy mountains are shown to be piles of overflowing garbage and abandoned vehicles. His misty imagery also includes stylized abstractions that may or may not refer to intestines, explosions or bubbling slime. Using traditional materials (inks, Chinese brushes and handmade mulberry paper) Ji employs age-old methods to illuminate historic and contemporary concerns. This full-color monograph/catalogue includes a new thematic group of six large-scale works made especially for the exhibition. Multi-page gatefolds of these paintings are included.
Published by Contemporary Art Museum St. Louis. Edited by Ivy Cooper. Essays by Shannon Fitzgerald and Frances Stark. Foreword by Paul Ha.
Michael Lin wouldn't mind if someone stepped on his art: he creates all-encompassing visual floral cornucopias--often on the floor. Long interested in Asian textiles and influenced by Chinese, Japanese and American culture, many of the fabrics appropriated by the artist are designs culled from Taiwanese wedding fabrics. Included here is “The Architect & The Housewife”--Frances Stark's rare essay on public and private space; extensive installation documentation; an illustrated exhibition history; and a complete artist biography.
Published by Contemporary Art Museum St. Louis. Edited by Shannon Fitzgerald. Essays by Shannon Fitzgerald, Tyler Stallings and Sue Spaid. Foreword by Paul Ha.
Documented here is Los Angeles-based artist Ruby Osorio's creation A Story of a Girl (Who Awakes Far, Far Away)--an enchanting magical environment based on her unique drawings and works on paper. This series of gouache paintings incorporates thread and ink and presents this young artist's exploration into female identity and more tellingly, the construction of that identity through what is becoming a hallmark of her hand--whimsy with a punch. In this new series of painterly drawings, Osorio pushes the range of her work in scale, medium and content; thus transforming the gallery into a delicate room that presents a “feminine aesthetic” through the use of cartoon-like drawings of women, girls, animals, objects and natural landscapes (some directly on the wall) that grow from tiny thumbnail sketches to large mural-sized narratives. The images within and the design of this book and the limited edition reference the delicacy and preciousness of Osorio's hand and concepts.
Published by Contemporary Art Museum St. Louis. Edited by Shannon Fitzgerald and Tumelo Mosaka. Essays by Okwui Enwezor, Salah Hassan, Gilane Tawadros, Orlando Britto Jinorio, Ery Camara. Foreword by Paul Ha.
A Fiction of Authenticity presents seminal moments for challenging prevailing notions about interculturalism and postcolonial subjects. This full-color catalogue features specially commissioned work by 11 contemporary artists of African descent--each of whom lives and works in either the United States or Europe and examines the invented idea of an “authentic” Africa. Each of these artists has positioned themselves outside the frame of Africa, but each remains connected, and by doing so has created a shift in the way the world considers postmodern and postcolonial art production. The participating artists are Siemon Allen, Fatma Charfi, Godfried Donkor, Mary Evans, Meschac Gaba, Kendell Geers, Moshekwa Langa, Ingrid Mwangi, Odili Donald Odita, Owusu-Ankomah and Zineb Sedira. Also included are seven new essays by some of the most exciting and critical voices working internationally today. A Fiction of Authenticity considers the diasporic positioning of these artists, as well as paradigms of discourse concerned with aesthetics, nationhood, citizenship, community, locality and sense of place.
Published by Walther König, Köln. Essay by Catherine Morris. Foreword by Markus Muller.
In honor of Food, the restaurant which Gordon Matta-Clark established in Soho, New York, this publication is presented in the form of a restaurant menu, and documents the artist's varied and imaginative work, including sculptures, film stills, and photos.
PUBLISHER Walther König, Köln
BOOK FORMAT Paperback, 8.25 x 12 in. / 48 pgs / 56 bw
PUBLISHING STATUS Pub Date 5/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9783883754352SDNR30 List Price: $14.00 CDN $15.00