Edited with text by Falk Wolf, Kasper König. Text by Daniel Baumann, Tobia Bezzola, Laszlo Glozer, Robert Jones, Veit Loers, Katharina Neuburger, Maria Anna Potocka, Nina Schallenberg, Barbara Schellewald, Robert Storr, Manja Wilkens.
Pbk, 8.25 x 11 in. / 328 pgs / 254 color. | 2/23/2016 | In stock ISBN 9783775740593 | $45.00
Published by JRP|Ringier. Edited with text by Daniel Baumann. Text by Pablo Larios, Paulina Pobocha, Ali Subotnick.
Georgian artist Andro Wekua (born 1977) uses painting, collage, drawing, installation, sculpture and film to reflect on childhood, memory and political history in his depictions of fictional and dream-like realities, documented in this first comprehensive publication.
Published by FRONT/Cleveland Museum of Art. Edited by Michelle Grabner. Text by Daniel Baumann, Mary Jane Jacob, Dieter Roelstraete, Hamza Walker, Dan Byers, David Getsy, Tina Kukielski, et al.
Published for the inaugural exhibition of the Cleveland Triennial, this book features essays and conversations by leading curators and critics of biennials who investigate what it means to stage a large-scale biennial today, in an American Midwestern city. Richly illustrated with all exhibitions and outdoor site-specific projects included.
The first edition of FRONT is an expansive program of 11 interconnected "Cultural Exercises" that address aesthetics in relation to political change and societal uncertainty. The exhibition interweaves critical approaches to museum exhibitions, public and educational programs, residencies, publications and research strategies in a multi venue presentation unfolding across Cleveland and its surroundings.
PUBLISHER FRONT/Cleveland Museum of Art
BOOK FORMAT Flexi, 9 x 11.5 in. / 160 pgs / 300 color.
PUBLISHING STATUS Pub Date 10/23/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2018 p. 160
PRODUCT DETAILS ISBN 9781935294665TRADE List Price: $30.00 CDN $40.00 GBP £27.00
AVAILABILITY In stock
in stock $30.00
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Published by Aspen Art Press/Contemporary Arts Museum Houston/Kunsthalle Zürich. Text by Anja Aronowsky Cronberg, Bill Arning, Daniel Baumann, Bob Buck, Johanna Burton, Wade Guyton, Rem Koolhaas, Heidi Zuckerman.
New York–based artist Cheryl Donegan (born 1962) is well known for her integration of performance and video with painting and installation, and her subversive spin on issues pertaining to gender, sex and art. This first substantial survey of her work, published for her 2018 traveling exhibition, examines her paintings, and includes new, highly conceptual work that continues to transgress traditional media, often merging painting with fashion and appropriated imagery gleaned from pop culture.
Published by Verlag für moderne Kunst. Text by Thomas Trummer, Hans-Peter Wipplinger, Helge Timmerberg, Daniel Baumann, et al.
Music Tames the Beast is the most comprehensive overview of Austrian painter Constantine Luser’s (born 1976) work to date. At the core of Luser’s oeuvre lies the notion of translation--translating a drawing into the physical world of touch, sound and movement.
Published by Hatje Cantz. Text by Daniel Baumann, Nico Baumbach.
In 1936 an American ornithologist named James Bond published the definitive taxonomy Birds of the West Indies. Ian Fleming, an active bird-watcher living in Jamaica, appropriated the name for his novel’s lead character. He found it "flat and colourless," a fitting choice for a character intended to be "anonymous ... a blunt instrument in the hands of the government." In Field Guide to Birds of the West Indies, Taryn Simon casts herself as James Bond (1900–89) the ornithologist, and identifies, photographs and classifies all the birds that appear within the 24 films of the James Bond franchise. The appearance of many of the birds was unplanned and virtually undetected, operating as background noise for whatever set they happened to fly into. Simon’s ornithological discoveries occupy a liminal space—confined within the fiction of the James Bond universe and yet wholly separate from it. This taxonomy of 331 birds is a precise consideration of a new nature found in an alternate reality. Taryn Simon (born 1975) is a multidisciplinary artist who has worked in photography, text, sculpture and performance. Guided by an interest in systems of categorization and classification, her practice involves extensive research into the power and structure of secrecy and the precarious nature of survival. Simon’s works have been the subject of monographic exhibitions at Ullens Center for Contemporary Art, Beijing (2013); The Museum of Modern Art, New York (2012); Tate Modern, London (2011); Neue Nationalgalerie, Berlin (2011); and the Whitney Museum of American Art, New York (2007). Permanent collections include The Metropolitan Museum of Art, Tate Modern, the Guggenheim Museum, Centre Georges Pompidou and the Los Angeles County Museum of Art. Her work is included in the 56th Venice Biennale (2015). She is a graduate of Brown University and a Guggenheim Fellow. Simon lives and works in New York.
Published by Hatje Cantz. Edited with text by Falk Wolf, Kasper König. Text by Daniel Baumann, Tobia Bezzola, Laszlo Glozer, Robert Jones, Veit Loers, Katharina Neuburger, Maria Anna Potocka, Nina Schallenberg, Barbara Schellewald, Robert Storr, Manja Wilkens.
Difficult to categorize and branded as “naive,” the oeuvres of the great autodidact painters of the late 19th and early 20th centuries continue to pose problems for art history. Artists such as Henri Rousseau, André Bauchant, Morris Hirshfield, Bill Traylor, Alfred Wallis and Séraphine Louis are far too often isolated in the light of an exotic primitivism, so to speak. Instead, this publication and the exhibition it accompanies at the Museum Folkwang contextualize their powerful creations with key works from the modern era, by artists such as Honoré Daumier, Paul Gauguin, Pablo Picasso and, more recently, Blinky Palermo and Mike Kelley. It is not by chance that many of the autodidacts fascinated the canonical modernist artists with their paintings and sculptures, who often publically supported them. From this perspective, even contemporaries such as Miroslav Tich? make a contribution to the development of art and are no longer merely its antagonists.
Published by Mousse Publishing. Edited with text by Tina Kukielski, Christopher Lord. Text by Daniel Baumann.
The collaborative work of Ramin Haerizadeh (born 1975), Rokni Haerizadeh (born 1978) and Hesam Rahmanian (born 1980) calls for a radical redefinition of the artists’ collective, encompassing the collective and individual efforts of the three artists. The first comprehensive monograph on the group, Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian, details the three artists’ collaborative activities since 2009, from the chaotic creative centrifuge of their shared home in Dubai to their exuberant, more-is-more exhibitions that blur the lines between their individually produced works and further expand their sphere to incorporate friends, works by other artists and spontaneous interventions. Published on the occasion of the collaborators’ first institutional exhibition in Europe, Slice a Slanted Arc into Dry Paper Sky at Kunsthalle Zürich, this volume is a curated introduction to the artists’ world, thought and, most importantly, their particular brand of humor.
PUBLISHER Mousse Publishing
BOOK FORMAT Hardcover, 7.5 x 10.5 in, 112 pgs
PUBLISHING STATUS Pub Date 1/26/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 135
PRODUCT DETAILS ISBN 9788867491353TRADE List Price: $38.00 CDN $50.00
AVAILABILITY In stock
in stock $38.00
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Published by Hatje Cantz. Text by Daniel Baumann, et al.
In 1936, an ornithologist called James Bond released the definitive taxonomy of birds found in the Caribbean, titled Birds of the West Indies. Ian Fleming, an active bird watcher living in Jamaica, subsequently appropriated the name for his novel’s lead character. This co-opting of names was the first in a series of substitutions that would become central to the construction of the James Bond narrative. In a meticulous and comprehensive dissection of the Bond films, artist Taryn Simon inventoried women, weapons and vehicles, constant elements in the films between 1962 and 2012. The contents of these categories function as essential accessories to the narrative’s myth of the seductive, powerful and invincible western male. Maintaining the illusion the narrative relies upon––an ageless Bond, state-of-the-art weaponry, herculean vehicles and desirable women––requires constant replacements, and a contract exists between Bond and the viewer, which binds the narrative to that set of expectations. Continually satisfying those obligations allowed Bond to become a ubiquitous brand, a signifier to be activated with each subsequent novel and film. In Birds of the West Indies, Simon presents a visual database of interchangeable variables used in the production of fantasy, through which she examines the economic and emotional value generated by their repetition.
Taryn Simon was born in New York in 1975. She is a graduate of Brown University and a Guggenheim Fellow. Her photographs and writing have been the subject of solo exhibitions at institutions including The Museum of Modern Art, New York (2012), Museum of Contemporary Art, Los Angeles (2012); Tate Modern, London (2011); Neue Nationalgalerie, Berlin (2011); Whitney Museum of American Art, New York (2007) and P.S.1 Contemporary Art Center, New York (2003). In 2011 her work was included in the 54th Venice Biennale.
Published by Carnegie Museum Of Art. Edited and with text by Daniel Baumann, Dan Byers, Tina Kukielski. Text by Amanda Donnan, Lauren Wetmore, Gabriela Burkhalter, Robert Bailey.
The 2013 Carnegie International at Carnegie Museum of Art celebrates art as play, experimentation and dissonance, welcoming difference as an alternative to the standardization of cultural production. A major exhibition of new international art, the survey also encompasses an experimental playground project, a display and examination of the museum’s permanent collection of postwar art, and a pioneering engagement with the city of Pittsburgh, putting the 2013 Carnegie International at the forefront of contemporary art and thinking. Organized by the curatorial team of Daniel Baumann, Dan Byers and Tina Kukielski, the catalogue provides rich background on each of the exhibition’s components--including never-before-published pictures of projects and artworks--with an expanded artist section that features original interviews and in-depth texts on specific works by 35 artists from 19 countries in Asia, North America, South America, Europe, Africa and the Middle East: Ei Arakawa/Henning Bohl, Phyllida Barlow, Yael Bartana, Sadie Benning, Bidoun Library, Nicole Eisenman, Lara Favaretto, Vincent Fecteau, Rodney Graham, Guo Fengyi, Wade Guyton, Rokni Haerizadeh, He An, Amar Kanwar, Dinh Q. Lê, Mark Leckey, Pierre Leguillon, Sarah Lucas, Tobias Madison, Zanele Muholi, Paulina Olowska, Pedro Reyes, Kamran Shirdel, Gabriel Sierra, Taryn Simon, Frances Stark, Joel Sternfeld, Mladen Stilinovi, Zoe Strauss, Henry Taylor, Tezuka Architects, Transformazium, Erika Verzutti and Joseph Yoakum.
Published by Arbor Vitae. Edited by Terezie Zemánková. Text by Manuel Anceau, Daniel Baumann, Eric Förster, Marie-Françoise Chanfrault-Duchet, Walter Morgenthaler, Barbara Safárová, Terezie Zemánková.
Adolf Wölfli is the original outsider artist. Before Darger, Rizzoli and Rodia, there was Wölfli: orphan, laborer, criminal, artist and the subject of a 1921 monograph titled A Psychiatric Patient as Artist, authored by his doctor--the first publication on an outsider artist--which won him the admiration of André Breton and Jean Dubuffet, and gave birth to the outsider phenomenon. “Wölfli’s creations treat the eye to a roller-coaster ride through a terrain bounded by Piranesi, biblical myth, illuminated manuscripts, tantric mandalas and Swiss cuckoo clocks,” New York Times critic Roberta Smith once wrote--“in other words, a dizzying multi-cultural universe.” Adolf Wölfli: Creator of the Universe is the most comprehensive publication on Wölfli ever published. It surveys his entire artistic and literary oeuvre, scrutinizing his intricately detailed drawings and collages and explicating his complex personal mythology. Translated here are texts such as Wölfli’s “Short Biography,” written shortly after his arrival at the Waldau Clinic in Bern, in 1895; his astoundingly bizarre list of inventions; and other prose works, alongside Wölfli’s doctor’s 1921 catalogue essay and other critical examinations. Visual and textual selections are included from the epic From the Cradle to the Grave, in which the artist recounts a fictitiously idyllic childhood; the Geographic and Algebraic Books, which describe his elaborate cosmology; and the St. Adolf Giant Creation, a chant in which Wölfli transposes music into abstract sounds and numbers.
Orphaned at the age of ten, Adolf Wölfli (1864–1930) was arrested for sexual crimes in his late 20s. Upon his second arrest for such offences, in 1895, he was admitted to the Waldau clinic in his native town of Bern, Switzerland, where he soon began to draw, eventually amassing an oeuvre of thousands of works on paper. After his death, the Adolf Wölfli Foundation was formed to preserve his art.
Published by JRP|Ringier. Edited by Clément Dirié. Text by Daniel Baumann, Balthazar Lovay.
Invited to curate an exhibition at the museum Le Manoir de Matigny in Switzerland, artist Balthazar Lovay displayed the work of 60 artists, photographers and press cartoonists among a collection of artifacts, mixing works of different genres and time periods. Thus a piece by artist duo Guyton/Walker is seen alongside fourteenth-century religious sculpture, among other combinations.
Published by JRP|Ringier. Edited by Ruedi Bechtler. Text by Daniel Baumann, Heike Munder, Pipilotti Rist.
Swiss artist Ruedi Bechtler (born 1942) studied mechanical engineering, and since the 1980s has been making sculptures and installations that merge his obsessions with natural science and technology. Play, coincidence, wonder, decay and waste are all characteristics of the work of this under-recognized artist, who functions as a fascinating intermediary between science and philosophy.
Published by Hatje Cantz. Edited by Martina Weinhart, Max Hollein. Text by Daniel Baumann, Christiane Cuticchio, Michael Bonesteel.
The realm of outsider art provides for the untrained artist a haven from the art industry, populated as it is by those too bizarre to function within official culture. The fabulous universes depicted in Henry Darger's collaged watercolors represent but one of the more celebrated instances of outsider art's tendency to flout the conventions of reality. World Transformers: The Art of the Outsiders presents a wide range of art by artists working beyond the bounds of conventional artistic production, ranging from the nineteenth century to the present day, including the dream worlds of Swiss artist Aloïse, whose work was collected by Dubuffet; the precise mathematical utopias of George Widener; and the "Ewigkeitenendeland" (End-of-Eternities Land) of Austrian artist August Walla. Others represented here are A.C.M., Emery Blagdon, Darger, Auguste Forestier, Magde Gill, Karl Junker, Friedrich Schröder-Sonnenstern, Judith Scott, Oskar Voll, Adolf Wölfli and Birgit Ziegert.
Published by JRP|Ringier. Edited by Christoph Keller. Text by Michael Lailach, Anita Kühnel, Daniel Baumann.
Kiosk, Christoph Keller's famous art publications archive, has been exhibited at 27 institutions and biennials internationally since 2001, including the ICA (London), the Witte de With (Rotterdam), Artists' Space (NY), the Emily Carr Institute (Vancouver), MUDAM (Luxembourg) and biennials such as Manifesta 4, the 25th Graphic Biennial of Ljubljana and the Istanbul Biennial. To date, it contains more than 7,000 publications by approximately 500 independent art publishing projects, from magazines, fanzines, newspapers, journals, audio and video labels to institutional publishing, covering the entire bandwidth of publishing possibilities. On the occasion of the archive's final public presentation at the Kunstbibliothek, Berlin, this overview on independent art publishing activities today surveys the Kiosk project. This catalogue contains documentary illustrations and provides information on the contributing publishing projects.
Published by Witte de With Publishers. Text by Ina Blom, Daniel Baumann.
Taking off from Saâdane Afif's 2008 Witte de With exhibition Technical Specifications, this volume examines the artist's practice in relation to music. In addition to tracing the evolution and reconfigurations of the works in the show, it includes documentation of Afif's radio show, 53:56--which broadcast related words and songs.
Published by Walther König, Köln. Edited by Yilmaz Dziewior, Janneke de Vries. Interviews by Yilmaz Dziewior, Daniel Baumann, Scott Rothkopf, Janneke de Vries.
This first monograph on the prominent New York City artist, Wade Guyton, whose name has lately been appearing on the international art circuit with increasing regularity (often together with his sometimes-collaborator, Kelley Walker), features a selection of Guyton's chromatically cool, large-format serial prints on canvas. These object-like, Minimalistic "paintings," which sometimes connect directly to Bauhaus aesthetics, sometimes to Constructivism, Concrete, Appropriation or Conceptual art, convey a particular kind of humor and beauty, conjuring a re-formation and re-structuring of Modernist art and decor. Incorporating scanned pictures of flames, stripes, squares, points and holes drawn in the computer, as well as typed U's and X's, the works feel resolutely undefined and open to interpretation, even as the book's title refers directly to the advertising slogan for Olympus digital cameras: "Color. Power. Style. Find your Verve." Amen.