The Abby Aldrich Rockefeller Sculpture Garden at The Museum of Modern Art
Published by The Museum of Modern Art, New York. Edited with text by Peter Reed, Romy Silver-Kohn. Text by Quentin Bajac, Ann Temkin.
The story of MoMA's sculpture garden
The Abby Aldrich Rockefeller Sculpture Garden at the Museum of Modern Art holds a special place in the hearts of many, whether artists or museumgoers, New Yorkers or visitors from around the world. It is a respite from the crowds and skyscrapers that surround it, as well as a place to commune with major works of modern and contemporary art.
Through essays and archival images, this lavishly illustrated volume pays tribute to the Sculpture Garden's beauty and remarkable history over the past 80 years. Oasis in the City: The Abby Aldrich Rockefeller Sculpture Garden at The Museum of Modern Art features the sculptures that have become synonymous with the space, Philip Johnson's elegant and enduring design, and the Garden's diverse array of activities and events. From its inception in 1939, the Sculpture Garden—which launched the very concept of the garden as outdoor gallery for changing installations—has hosted exhibitions of sculpture by Alexander Calder, structures by Buckminster Fuller and Marcel Breuer, performances by Yayoi Kusama, and served as an important venue for music, dance, social gatherings and even protest.
Along with offering a behind-the-scenes history, this unique publication debuts a portfolio of images of the Sculpture Garden by eight prominent contemporary artists and photographers: Richard Pare, Candida Höfer, Tina Barney, Thomas Struth, Carrie Mae Weems, James Welling, Vera Lutter and Hiroshi Sugimoto. These projects demonstrate that while the outdoor gallery is constantly changing with the seasons, new programming, and rotations of art on display, it continues to be an inspiration to artists and the broader public alike.
Quentin Bajac is former Chief Curator of the Photography Department at the Museum of Modern Art, New York. He is currently the director of the Galerie Nationale du Jeu de Paume in Paris.
Peter Reed is Senior Deputy Director for Curatorial Affairs at The Museum of Modern Art, New York.
Romy Silver-Kohn is Research Assistant at The Museum of Modern Art, New York.
Ann Temkin is Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at the Museum of Modern Art, New York.
Published by The Museum of Modern Art, New York. Edited with text by Quentin Bajac, Olivier Michelon, Suzanne Pagé. Text by Glenn Lowry, et al. Chronology by Michelle Elligott.
Published to accompany an exhibition of highlights from the collection of The Museum of Modern Art at the Fondation Louis Vuitton, in Paris, Being Modern tells the stories of 120 works of art and design acquired by the Museum between its founding in 1929 and the present, providing a unique insight into one of the world’s greatest collections of modern and contemporary art.
Featuring paintings, prints, drawings, photographs, sculptures, video, film, architecture and design—from Paul Cézanne’s iconic painting "The Bather" (c. 1885) to a set of the 176 digital emoji we use on our mobile phones every day—the catalogue underscores the diversity and relevance of MoMA’s collection while providing a fresh perspective on the modern canon.
The book is organized chronologically according to the year each artwork entered the Museum’s collection. Short texts by curators accompany the plates, giving an overview of each work’s significance as well as a behind-the-scenes look at the process by which MoMA acquired it. An essay by the Museum’s director, Glenn D. Lowry, outlines the history of the institution and puts the collection in context, and a concise chronology charts the Museum’s growth. A departure from the usual “highlights” book, this unique catalog presents MoMA’s extraordinary collection from a new angle, telling the story of modern art through the growth of an institution that embraced an aesthetic revolution in the early 20th century and evolved along with it into the 21st.
Published by The Museum of Modern Art, New York. Edited with text by Quentin Bajac, Lucy Gallun, Roxana Marcoci, Sarah Hermanson Meister. Text by Geoffrey Batchen, Michel Frizot, Shelley Rice, Bonnie Yochelson.
Photography at MoMA: 1840 to 1920 is the final volume in a set of three books that together present a new and comprehensive history of photography through works in The Museum of Modern Art’s collection.
Illustrated with over 400 reproductions, the book charts the photographic medium from early examples in the 1840s through its participation in international art movements such as Pictorialism and modernism. An in-depth introduction is followed by eight chapters of full-color plates, each introduced by a short essay, offering a fresh lens through which to appreciate works of exceptional significance, surprise and influence, and encouraging creative new readings. Masterworks by photographers such as Julia Margaret Cameron, Roger Fenton, Nadar, Frances Benjamin Johnston, Henry Fox Talbot, August Sander, Edward Steichen and Carleton Watkins appear alongside lesser-known gems and vernacular forms of photography.
Quentin Bajac is former Chief Curator of Photography at the Museum of Modern Art, New York.
Geoffrey Batchen is Professor of Art History, Classics, and Religious Studies at the Victoria University of Wellington, New Zealand.
Michel Frizot is former Professor at the Ècole du Louvre, Paris, and editor of A New History of Photography (1998).
Lucy Gallun is Assistant Curator in the Department of Photography at the Museum of Modern Art, New York.
Sarah Hermanson Meister is Curator in the Department of Photography at The Museum of of Modern Art, New York.
Roxana Marcoci is Senior Curator in the Department of Photography at The Museum of Modern Art, New York.
Shelley Rice is Arts Professor at New York University.
Bonnie Yochelson is an independent curator and art historian based in New York.
Published by The Museum of Modern Art, New York. Edited with text by Quentin Bajac. Text by David Campany, Kristen Gaylord, Martino Stierli.
Organized into 60 thematic sections, this magisterial volume provides a complete overview of Shore's career—from the early portraits of Warhol's Factory to his latest Instagram images
One of the most influential photographers of our time, Stephen Shore has often been categorized as one of a group of artists of the 1970s who captured American popular culture in straightforward, unglamorous color images. While this is true, it is only part of the story: Shore has worked with many forms of photography, switching from cheap automatic cameras to large format in the 1970s, pioneering the use of color film before returning to black and white in the 1990s, and, in the 2000s, taking up the opportunities offered by digital photography, digital printing and social media.
Published to accompany the first comprehensive survey of Stephen Shore’s work in the US, this catalog reflects the full range of his contribution, including the gelatin silver prints he made as a teenager (and sold to The Museum of Modern Art); his photographs of the scene at Andy Warhol’s Factory, in New York; the color images he made during cross-country road trips in the 1970s; his recent explorations of Israel, the West Bank and Ukraine; and his current work on digital platforms, including Instagram.
This book offers a fresh, kaleidoscopic vision of the artist’s extensive career, presenting more than 400 reproductions arranged in a thematic framework, each grouping accompanied by a short but wide-ranging essay. This unique encyclopedia-style format makes visible the artist’s versatility of technique and the diversity of his output, reflecting his singular vision and uncompromising pursuit of photography’s possibilities.
Stephen Shore (born 1947) was the first living photographer to have a solo show at the Metropolitan Museum of Art in New York since Alfred Stieglitz (40 years earlier). He has also had solo shows at The Museum of Modern Art, New York; George Eastman House, Rochester; Kunsthalle, Dusseldorf; Hammer Museum, Los Angeles; Jeu de Paume, Paris; and the Art Institute of Chicago. Since 1982 he has been the director of the Photography Program at Bard College, New York, where he is the Susan Weber Professor in the Arts.
Quentin Bajac is former Chief Curator of Photography at the Museum of Modern Art, New York.
David Campany is an artist, writer and Reader in Photography at the University of Westminster, London.
Kristen Gaylord is Assistant Curator of Photographs at the Amon Carter Museum, Texas.
Martino Stierli is the Philip Johnson Curator of Architecture and Design at the Museum of Modern Art, New York and the Swiss National Science Foundation Professor at the University of Zurich’s Institute of Art History.
Published by The Museum of Modern Art, New York. By Quentin Bajac. Text by Sarah Hermanson Meister.
This survey explores 60 remarkable photographs from the collection of The Museum of Modern Art, all acquired with the support of Robert B. Menschel and meticulously selected for the book by the museum’s chief curator of photography, Quentin Bajac.
Ranging from the contemporary artist Andreas Gursky to William Henry Fox Talbot, one of the medium’s founding figures, these works collectively tell the story of photography from its beginnings, but upend and newly illuminate that story through their arrangement in reverse chronological order. Each image is the subject of a brief, elegant text. The book borrows its title from a work by Carrie Mae Weems, one of the many great photographs that Menschel has contributed to the collection.
Quentin Bajac is The Joel and Anne Ehrenkranz Chief Curator of Photography at The Museum of Modern Art, New York.
Sarah Hermanson Meister is a Curator in the Department of Photography at MoMA, New York.
Published by Silvana Editorale. Text by Nathalie Dietschy, Jan Koenot, Germano Celant, Quentin Bajac.
Andres Serrano (born 1950) has photographed the homeless, Ku Klux Klansmen, corpses and feces, but he is most famous--or infamous, in some circles--for his “Piss Christ” (1987), showing a crucifix submerged in the artist’s urine. Serrano returns again and again to scandalous or uncomfortable themes like religion, death, sex and violence, and his work prompts debate or even violent reaction, making vandalism and censorship inexorably part of the story of Serrano’s art as well.
Published to accompany a major exhibition at the Royal Museum of Fine Arts of Belgium, Andres Serrano: Uncensored Photographs presents the many faces of Serrano and his work, tracing the trajectory of his career in more than 100 photographs.
PUBLISHER Silvana Editorale
BOOK FORMAT Hardcover, 9 x 11 in. / 240 pgs / 150 color.
PUBLISHING STATUS Pub Date 9/27/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2016 p. 139
PRODUCT DETAILS ISBN 9788836632619TRADE List Price: $55.00 CDN $72.50
AVAILABILITY In stock
in stock $55.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by The Museum of Modern Art, New York. Edited with text by Quentin Bajac, Lucy Gallun, Roxana Marcoci, Sarah Hermanson Meister. Text by Douglas Coupland, Kevin Moore, Drew Sawyer, Pepper Stetler.
An epic dive into modernist photography by the museum that helped shape its history
The history of photography has been told many times, but never before through the incomparable collection of photographs at The Museum of Modern Art. As the second volume in a set of three books that together present a new and comprehensive history of photography through works from MoMA’s collection, this publication charts the medium during the height of the modernist period, from 1920 to 1960.
Only one other volume--Looking at Photographs, published in 1973--highlights the photographic treasures of MoMA’s collection; neither Beaumont Newhall’s classic History of Photography nor John Szarkowski’s Photography Until Now used the Museum collection as a springboard to approach photography’s distinctive history. The Museum’s significant role in the development of this history, and in the construction of a canon that championed photography as an art form (but also eclipsed certain alternative or unfamiliar practices) requires a reconsidered history for the 21st century. This publication offers a fresh critical lens through which to appreciate works of exceptional significance, surprise and influence, encouraging creative new readings.
The book begins with an in-depth introduction followed by eight chapters of full-color plates, each introduced by a short essay. Masterworks by photographers such as Alfred Stieglitz, Dorothea Lange, Man Ray and Aleksander Rodchenko appear alongside lesser-known gems, and diverse notions of modernism enrich classic interpretations, so that the beautiful fictions and messy realities of photography are complicated, refreshed and, above all, enjoyed.
Quentin Bajac is The Joel and Anne Ehrenkranz Chief Curator of Photography at The Museum of Modern Art, New York.
Lucy Gallun is Assistant Curator in the Department of Photography at MoMA.
Roxana Marcoci is Senior Curator in the Department of Photography at MoMA.
Sarah Hermanson Meister is Curator in the Department of Photography at MoMA.
Douglas Coupland is a Canadian novelist, visual artist and designer.
Published by The Museum of Modern Art, New York. Edited with text by Mitra Abbaspour, Lee Ann Daffner, Maria Morris Hambourg. Text by Quentin Bajac, Jim Coddington, Constance McCabe, Matthew Witkovsky, et al.
OBJECT:PHOTO contains brilliant photographs from the first half of the twentieth century--the most dynamic and radical period in the development of modern photography--but it explores them using a new approach: instead of privileging the content of the images, it shifts the dialogue to the photographic object--the actual, physical thing created by a particular artist using particular techniques at a precise time, surviving into the present with a unique history. This perspective provides new insight into the singular nature of each work and the density of references that each contains while also acknowledging the cultural importance of photography from the interwar period--as well as the rarity of its best examples. Recognition of this importance informed The Museum of Modern Art’s acquisition, in 2001, of the 341 modernist photographs that now constitute the Thomas Walther Collection, each presented in this volume in special 5 color reproductions and accompanied by an unprecedented degree of detailed information, constituting new standards for the field. OBJECT:PHOTO represents the culmination of four years of research by the Museum’s Departments of Photography and Conservation and by more than two dozen visiting scholars, demonstrating in its varied voices their remarkable collaborations with the works and with each other. Essays by historians, curators and conservators consider such topics as the political and cultural pressures shaping the formation of the photographic avant-garde in Europe, the reception of modernist photography at the time and in subsequent revivals of interest in it, the intellectual backgrounds that were then generating new histories of photography, the standards and rationale for material analysis of photographs and the physical qualities of the photographs in the Walther collection as evidence of the development of photographic materials during the period. Thematic object-based case studies demonstrate new multidimensional approaches to the photograph as a cultural and artistic object in its own right.
Mitra Abbaspour is an art historian and curator, formerly Associate Curator in the Department of Photography at the Museum of Modern Art.
Lee Ann Daffner is Conservator of Photographs at The Museum of Modern Art.
Maria Morris Hambourg is the founding curator of the Department of Photographs at the Metropolitan Museum of Art.
Quentin Bajac is The Joel and Anne Ehrenkranz Chief Curator of Photography at The Museum of Modern Art.
Jim Coddington has served as The Agnes Gund Chief Conservator at The Museum of Modern Art since 2002.
Constance McCabe is Head of the Photograph Conservation Department at The National Gallery of Art.
Matthew S. Witovsky is the Richard and Ellen Sandor Chair and Curator, Department of Photography, at The Art Institute of Chicago.
Published by The Museum of Modern Art, New York. Edited with text by Quentin Bajac, Lucy Gallun, Roxana Marcoci, Sarah Hermanson Meister. Text by David Campany, Noam Elcott, Eva Respini, Robert Slifkin.
The Museum of Modern Art has one of the greatest collections of 20th-century photography in the world. As one of three volumes dedicated to a new history of photography published by the Museum, this publication comprises a comprehensive catalogue of the collection post-1960s and brings much-needed new critical perspective to the most prominent artists working with the photographic medium of the late 20th and early 21st centuries. At a moment when photography is undergoing fast-paced changes and artists are seeking to redefine its boundaries in new and exciting ways, Photography at MoMA serves as an excellent resource for understanding the expanded field of contemporary photography today. The book begins with an in-depth introduction followed by eight chapters of full-color plates, each introduced by a short essay. Over 250 artists are featured, including Diane Arbus, John Baldessari, Jan Dibbets, Rineke Dijkstra, William Eggleston, Lee Friedlander, Louise Lawler, Zoe Leonard, Helen Levitt, Sigmar Polke, Cindy Sherman, Wolfgang Tillmans, Jeff Wall, Carrie Mae Weems, Hannah Wilke and Garry Winogrand, among many others.
Quentin Bajac is former Joel and Anne Ehrenkranz Chief Curator of Photography at The Museum of Modern Art, New York.
David Campany is an artist, writer and reader in photography at the University of Westminster, London.
Noam M. Elcott is Assistant Professor in the Department of Art History and Archaeology at Columbia University, New York.
Lucy Gallun is Assistant Curator in the Department of Photography at The Museum of Modern Art, New York.
Roxana Marconi is Senior Curator in the Department of Photography at The Museum of Modern Art, New York.
Sarah Hermanson Meister is Curator in the Department of Photography at The Museum of Modern Art, New York.
Eva Respini is Barbara Lee Chief Curator at the Institute of Contemporary Art, Boston, and a former Curator in the Department of Photography at The Museum of Modern Art, New York.
Robert Slifkin is Assistant Professor of Fine Arts at the Institute of Fine Arts, New York University.
Published by Spector Books. Text by Quentin Bajac, Hans Dickel, Sabrina Mandanici, Stefan Römer, Wolfgang Ulrich, Peter Daners, Florian Ebner, Inka Schube, et al.
TXT IMG brings together forty-one projects by Katharina Gaenssler, from her first photo installation in 2003 up to her latest project, Bauhaus Staircase, on display on the stairs of the Museum of Modern Art in New York. Like her photo installations, where hundreds of single images come together to create a large-scale work, this monograph is shaped by the contrast between the fragment and the whole. It includes all the thirty-four texts that have been written to date about Gaenssler’s work and every one of the 407,954 photographs she has taken to provide the material basis for her projects. The myriad tiny individual images combine on the pages of the book to form abstract colour sequences — taken as a whole they can be interpreted anew, becoming a photographic manifestation somewhere between a colour code and a dynamic spatial expanse.
Published by La Fábrica/Universidad de Córdoba. Text by Quentin Bajac, Kathy Kubicki, Alfonso de la Torre.
This catalogue accompanies the first retrospective of Karen Knorr (born 1954), winner of the Fifth Pilar Citoler International Contemporary Photography Award. The full range of her 35 years of work is presented here, from Punks (1976–1977), Gentlemen (1981–1983) and Connoisseurs (1986–1990), to Academies (1994–2005), Fables (2003–2008) and India Song (2008–2011).
Published by Editions Xavier Barral. Text by Quentin Bajac.
Photographer Philippe Chancel (born 1959) has mined the terrain between art, documentary and journalism for over 20 years. Between 2007 and 2009, Chancel made several visits to the United Arab Emirates, and found a country overwhelming in its architectural giganticism and astounding in its determination to domesticate a hostile environment. The resultant feeling of artifice is ubiquitous: the desert grows green, seawater is desalinated and new islands rise out of the sea. Moving from one air-conditioned space to another, from apartment to limousine, from limousine to shopping mall, from shopping mall to theme park, Chancel found irresistible pictures to take at every turn. Under his gaze, the United Arab Emirates is laid bare as the realization of the consumer society ideal, in which humans exist in a wholly manmade domain. With his characteristic frontal, distanced framing, devoid of judgment and emotion, Chancel portrays a country that is at once baffling and fascinating.
Published by La Fábrica/MNAC, Museu Nacional d'Art de Catalunya. Edited by David Balsells. Text by Maite Ocaña, Oliva María Rubio, David Balsells, Jan Mlcoch, Quentin Bajac, Juan Naranjo, Salvador Dalí.
Examining the revolution in photography that took place across Europe between 1918 and 1945, this enormous and bold survey orients its examination of the era around three cities, each of which served as a nexus for major developments in the medium: París, Prague and Barcelona. Until the First World War, photography had largely followed the aesthetics of painting; during and after the war, such movements as Constructivism, Moholy-Nagy's New Vision and Surrealism led photography to new frontiers, developing techniques and styles that took the medium strictly on its own terms. Demonstrating the interconnectedness of these tendencies, this volume assesses the contributions of each of these cities. Photographers based in Paris during these years include Man Ray, Brassai, Emmanuel Sougez, Hans Bellmer, Jacques-André Boiffard, Germaine Krull, André Kertész, François Collar, Claude Cahun, Florence Henri, Andreas Feininger, Eli Lotar, Dora Maar, Roger Parry and Raul Ubac; in Prague, Josef Sudek, Frantisek Drtikol, Jaroslav Rössler, Eugen Wiskovsk, Jaromír Funke, Karel Teige, Ladislav Berka, Jan Lauschmann, Josef Bartuska, Jindrich Styrsky and Karel Kasparik; and in Barcelona, Pere Català Pic, Josep Masana, Josep Sala, Josep Lladó, Emili Godes, Antoni Arissa, Gabriel Casas, Salvador Dalí and Joaquim Gomis.
Published by Magnum Photos. Contributions by Azzedine Alaïa, Rick Owens, Carla Sozzani, Quentin Bajac.
This edition of Fashion Magazine is devoted solely to the work of French photographer Lise Sarfati. In her portraiture, Sarfati dramatizes the intensities of fashionably clad adolescence in the insolently sensual creatures she encounters on the roads of America. Couching their lightly worn street elegance in moody sobriety, Sarfati presses pause on the activities in which her subjects are engaged and extracts their quintessential sensuality, to produce a type of photography that partakes of both fashion and portraiture idioms without quite belonging to either. Redolent in this respect of Alain Resnais' Last Year at Marienbad, in which the camera deliberately and continually "overgrooms" the emotional drama, Sarfati's work is likewise utterly seductive and compelling. Lise Sarfati obtained a master's degree in Russian studies from the Sorbonne in Paris, where she was the official photographer of the Académie des Beaux-Arts. She moved to Russia in 1989 and photographed there for 10 years. She has received the Prix Niépce in Paris and the Infinity Award from the International Center of Photography in New York for her work and is a member of Magnum Photos. In recent years she has been living and working in the United States. Sarfati is represented by Yossi Milo Gallery in New York, Rose Gallery in Los Angeles and Magnum Gallery in Paris.
PUBLISHER Magnum Photos
BOOK FORMAT Paperback, 8 x 10.5 in. / 216 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 1/1/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 35
PRODUCT DETAILS ISBN 9782952410229TRADE List Price: $39.95 CDN $50.00