Edited by Klaus Biesenbach, Bettina Funcke. Text by Phil Aarons, Marina Abramovic, Sarah Arison, agnès b, Linda Blumberg, Janet Cardiff, Chris Dercon, Peter Eleey, Fred Fisher, Tony Guerrero, Larissa Harris, Alanna Heiss, Jonathan Lill, Glenn D. Lowry, Warren Niesluchowski, Carolee Schneemann, Oliver Shultz, James Turrell, Rebecca H. Quaytman, Jeff Weinstein, Martha Wilson, Andrea Zittel. Historical texts by Vito Acconci, Carl Andre, Rudy Burckhardt, Douglas Davis, Simone Forti, Tina Girouard, Philip Glass, Marcia Hafif, Jene Highstein, Nancy Holt, Patrick Ireland, Les Levine, Sol LeWitt, Richard Nonas, Lucio Pozzi, Charlemagne Palestine & Carol Parker, Hannah Wilke.
Hbk, 9 x 10.5 in. / 304 pgs / 300 color. | 10/22/2019 | Awaiting stock ISBN 9781633450691 | $65.00
Edited with text by Donatien Grau. Foreword by Azzedine Alaïa. Preface by Edgar Morin, Adonis. Text by Diego Moldes, Philippe Rouyer, Maria-Inés Rodriguez, Olivier Zahm, Diana Widmaier Picasso. Interviews by Klaus Biesenbach, Hans Urich Obrist.
Hbk, 6.75 x 9.5 in. / 128 pgs / 80 color. | 8/22/2017 | In stock ISBN 9782330075408 | $30.00
Edited by Klaus Biesenbach, Anna-Catharina Gebbers, Aino Laberenz, Susanne Pfeffer. Contributions by Klaus Biesenbach, Chris Dercon, Anna-Catherina Gebbers, Jörg van der Horst, Elfriede Jelinek, Laurence Kardish, Alexander Kluge, Aino Laberenz, Susanne Pfeffer, Christoph Schlingensief, Franziska Schößler, Tilda Swinton.
Pbk, 7.5 x 10 in. / 544 pgs / illustrated throughout. | 4/30/2014 | In stock ISBN 9783863354954 | $59.95
Published by The Museum of Modern Art. Edited by Klaus Biesenbach, Bettina Funcke. Text by Phil Aarons, Marina Abramovic, Sarah Arison, agnès b, Linda Blumberg, Janet Cardiff, Chris Dercon, Peter Eleey, Fred Fisher, Tony Guerrero, Larissa Harris, Alanna Heiss, Jonathan Lill, Glenn D. Lowry, Warren Niesluchowski, Carolee Schneemann, Oliver Shultz, James Turrell, Rebecca H. Quaytman, Jeff Weinstein, Martha Wilson, Andrea Zittel. Historical texts by Vito Acconci, Carl Andre, Rudy Burckhardt, Douglas Davis, Simone Forti, Tina Girouard, Philip Glass, Marcia Hafif, Jene Highstein, Nancy Holt, Patrick Ireland, Les Levine, Sol LeWitt, Richard Nonas, Lucio Pozzi, Charlemagne Palestine & Carol Parker, Hannah Wilke.
The first-ever history of New York's pioneering art space, with film stills, ephemera and photography in a scrapbook style Since its inception in the early 1970s, MoMA PS1 in Long Island City, Queens, has been a crucible for radical experimentation. Committed to New York City as well as to maintaining an international scope, PS1 has always put the artist at the center, engaging practitioners at work in every discipline from performance, music, dance, poetry and new media to painting, sculpture, photography and architecture. This groundbreaking publication captures the vibrancy of a long and venerable tradition that began with the legendary series of performances and events organized by founder Alanna Heiss under the Brooklyn Bridge in 1971. Organized into four main sections that delve into the former school’s rich history as an art center during the 1970s, 1980s and 1990s up to the present, the book features in-depth conversations between Heiss and Klaus Biesenbach, the director of MoMA PS1 from 2010 to 2018, and more than 40 recollections by artists, curators and critics closely associated with the institution—including Marina Abramovic, James Turrell, agnès b, Rebecca Quaytman, Carolee Schneemann and Andrea Zittel. Presenting extensive photographic documentation of historic exhibitions and performances and related ephemera from the archives, plus an illustrated chronology and comprehensive exhibition history, this indispensable volume offers a vivid chronicle of the extraordinary history of MoMA PS1.
Published by Fondazione Prada. Edited by Chiara Costa, Mario Mainetti. Foreword by Miuccia Prada, Patrizio Bertelli, Monica Maggioni, Antonio Campo Dall'Orto. Text by Maria Pia Ammirati, et al.
TV 70 is a project by artist Francesco Vezzoli (born 1971) developed in collaboration with Rai, Italy’s national broadcasting company. With archival material and testimonials, it explores 1970s TV production.
Published by Actes Sud/Azzedine Alaïa. Edited with text by Donatien Grau. Foreword by Azzedine Alaïa. Preface by Edgar Morin, Adonis. Text by Diego Moldes, Philippe Rouyer, Maria-Inés Rodriguez, Olivier Zahm, Diana Widmaier Picasso. Interviews by Klaus Biesenbach, Hans Urich Obrist.
PascALEjandro is the first monograph devoted to the work of the eponymous artist’s collective composed of the director, poet, writer, comic-book writer and playwright Alejandro Jodorowsky (born 1929) and painter, costume and set-designer and photographer Pascale Montandon-Jodorowsky (born 1972).
The work primarily catalogues the couple’s illustration work, in which Alejandro Jodorowsky provides the lines and Pascale Montandon-Jodorowsky the color. The vibrant universe they create brims with ancestral myths, contemporary tales and metaphysical reflections on life; it is peopled by angels, clowns, mystical lovers and dream beings.
In addition to cataloguing their illustrations, the volume includes movie stills from the pair’s film work (they provided the color for Jodorowsky’s recent The Dance of Reality and Endless Poetry), as well as various essays and interviews with the artists by Klaus Biesenbach and Hans Ulrich Obrist.
Published by MoMA PS1. Edited by Mia Locks. Foreword by Klaus Biesenbach. Text by Mia Locks, Samara Golden, Sarah Lehrer-Graiwer.
Los Angeles–based artist Samara Golden (born 1973) creates immersive installations that explore what she calls the sixth dimension, where a multitude of pasts, presents and futures exist concurrently. For The Flat Side of the Knife, curated by Mia Locks and organized by MoMA PS1, Golden presented her largest installation to date, filling the double height of MoMA PS1’s Duplex Gallery with staircases, beds, couches, lamps, musical instruments, video and sound. The Flat Side of the Knife combines physical spaces with illusory spaces that appear only in mirrors, akin to psychological and hallucinatory spaces in the mind. Her use of mirrors in conjunction with sculptural elements made from a silvery insulation board allows the illusion of space to expand in multiple directions. This catalogue includes documentation of this exhibition alongside the artist’s major works to date.
Published by Walther König, Köln. Edited with text by Ellen Blumenstein. Text by Thomas Miessgang. Conversation with Ryan Trecartin, Klaus Biesenbach, Stuart Comer, Laura Hoptman.
Los Angeles–based artist Ryan Trecartin (born 1981), whom The New Yorker called "the most consequential artist to have emerged since the 1980s," is best known for his highly stylized videos, often installed in special environments designed by his longtime collaborator, Lizzie Fitch, that draw on Internet and youth cultures, with characters and images that are familiar and utterly unfamiliar at the same time. Site Visit is published to accompany Trecartin's exhibition at Berlin's KW Institute for Contemporary Art, which includes a new multichannel film and site-specific installation designed with Fitch. The look and feel of the catalogue reflects the forceful, frenetic pace and complex layering of Trecartin's movies, with lavish, full-bleed illustrations and dynamic typography. Also included in this volume is a conversation between Trecartin, Klaus Biesenbach, Stuart Comer and Laura Hoptman.
Published by The Museum of Modern Art, New York. Edited with text by Klaus Biesenbach, Christophe Cherix. Text by Julia Bryan-Wilson, Jon Hendricks, Yoko Ono, Clive Phillpot, David Platzker, Francesca Wilmott, Midori Yoshimoto.
Yoko Ono: One Woman Show, 1960–1971 examines the beginnings of Ono's career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. It begins in New York in December 1960, where Ono initiated a performance series with La Monte Young in her Chambers Street loft. Over the course of the decade, Ono earned international recognition, staging "Cut Piece" in Kyoto and Tokyo in 1964, exhibiting at the Indica Gallery in London in 1966, and launching with John Lennon her global "War Is Over!" campaign in 1969. Ono returned to New York in the early 1970s and organized an unsanctioned "one woman show" at MoMA. Over 40 years after Ono's unofficial MoMA debut, the Museum presents its first exhibition dedicated exclusively to the artist's work. The accompanying publication features three newly commissioned essays that evaluate the cultural context of Ono's early years, and five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction by a guest scholar, artwork descriptions, primary documents culled from newspapers, magazines and journals, and a selection by the artist of her texts and drawings. Born in Tokyo in 1933, Yoko Ono moved to New York in the mid-1950s and became a critical link between the American and Japanese avant-gardes. Ono's groundbreaking work greatly influenced the international development of Conceptual art, performance art and experimental film and music. In celebration of Ono's eightieth birthday in 2013, the Schirn Kunsthalle Frankfurt organized a major traveling retrospective.
Klaus Biesenbach is the Director at MoMA PS1 and Chief Curator at Large at MoMA.
Christophe Cherix is the Chief Curator of Drawings and Prints at MoMA.
Jon Hendricks is a collector, artist, and the Fluxus Consulting Curator at MoMA.
Clive Phillpot is the former Director of the MoMA Library.
David Platzker is a Curator in the Drawings and Prints department at MoMA.
Published by The Museum of Modern Art, New York. Text by Klaus Biesenbach, Alex Ross, Nicola Dibben, Timothy Morton, Sjón.
Björk is a contemporary icon whose contributions to music, video, film, fashion and art have influenced a generation worldwide. Designed by top graphic design agency M/M as a slipcased world of wonders, this publication—which accompanies The Museum of Modern Art's spring 2015 exhibition on Björk—is composed of six parts: four booklets, a paperback and a poster. Each booklet contains illustrated texts by, respectively, curator Klaus Biesenbach, New Yorker music critic Alex Ross, British professor of musicology Nicola Dibben and the philosopher Timothy Morton (in conversation with Björk), while the poster features artwork from Björk's albums and singles. The main book focuses on her seven major albums and the personas created for each one. Poetic texts by longtime collaborator, Icelandic poet Sjón, are accompanied by shots of Björk performing live; multiple stills from music videos made by directors including Michel Gondry, Chris Cunningham and Spike Jonze; images of Björk in breathtaking costumes by designers such as Alexander McQueen and Hussein Chalayan; and shots by star photographers such as Nan Goldin, Juergen Teller, Stéphane Sédnaoui, Inez van Lamsweerde & Vinoodh Matadin and Araki. All combine to form an extraordinary design masterpiece, celebrating the magical world of Björk.
Klaus Biesenbach is the director of MoMA PS1 and chief curator at large at The Musuem of Modern Art, New York.
Alex Ross is an American music critic. He has been on the staff of The New Yorker magazine since 1996. He also authored the books The Rest Is Noise: Listening to the Twentieth Century (2007) and Listen to This (2011).
Nicola Dibben is Senior Lecturer in Music at the University of Sheffield, co-editor of the journal Empirical Musicology Review and former co-ordinating editor of Popular Music.
Timothy Morton is the author of Hyperobjects: Philosophy and Ecology after the End of the World, Realist Magic: Objects, Ontology, Causality (New Metaphysics), The Ecological Thought and Ecology without Nature: Rethinking Environmental Aesthetics.
Sigurjón Birgir Sigurðsson, known as Sjón, is an Icelandic poet, novelist and lyricist. His pen name (meaning "sight") is an abbreviation of his given name (Sigurjón). Sjón frequently collaborates with Bjork and has performed with The Sugarcubes as Johnny Triumph. His works have been translated into more than 35 languages.
Published by JRP|Ringier. Edited by Lionel Bovier, Marc Spiegler. Introduction by Marc Spiegler. Text and interviews by Nadim Abbas, Klaus Biesenbach, Douglas Fogle, Carsten Nicolai, Hans Ulrich Obrist, Sarah Thornton, et al.
Art Basel | Year 45 retraces and documents the dynamic experience of 2014's three Art Basel fairs in Basel, Miami Beach and Hong Kong. Designed by Gavillet & Rust (Geneva), the publication has an A-to-Z format that maps the world of Art Basel alongside profiles spotlighting each of the 528 galleries participating across the three shows in 2014. It features works from all sectors of the different shows, highlights events and talks, offering vivid and varied perspectives on the global artworld as seen through the eyes of Art Basel. Giving art world experts, curators, and collectors a platform for sharing their expertise, the publication provides an insightful and immersive art experience for the reader. Interviewees and contributors include Nadim Abbas, Harry Bellet, Klaus Biesenbach, Stuart Comer, Paula Cooper, Cosmin Costinas, Bice Curiger, Douglas Fogle, Alex Gartenfeld, Massimiliano Gioni, Hou Hanru, Yuko Hasegawa, Chrissie Iles, Joan Jonas, Nadia Kaabi-Linke, Ruba Katrib, Chus Martinez, Ryan McNamara, Jessica Morgan, Carsten Nicolai, Hans Ulrich Obrist, Taiyana Pimentel, Sarah Thornton, Wolfgang Tillmans, Jane & Louise Wilson, Xu Zhen, and many others whose work contributed this year to the fairs on all three continents.
Published by Hatje Cantz. Text by Klaus Biesenbach, Jacques Herzog, Sam Keller, et al.
For 14 Rooms, curators Klaus Biesenbach and Hans Ulrich Obrist invited artists to each activate a room and explore the relationship between space, time and physicality with an artwork whose "material" is the human being. Artists featured include Marina Abramovi´c, Allora & Calzadilla, Damien Hirst, Joan Jonas, Laura Lima, Roman Ondák, Yoko Ono and Tino Sehgal.
Published by Damiani. Edited with introduction by Meredith Mowder. Text by Klaus Biesenbach, Gavin Brown, Jeffrey Deitch, Warren Fischer, Casey Spooner.
Founded by artists Warren Fischer and Casey Spooner in 1998, Fischerspooner began as a philosophical provocation that sought to explore the expressive potential located in the gap between popular entertainment and art. Soon swelling from a duo to an army of dancers, stylists, photographers and musicians, the group has activated a variety of spaces such as traditional concert halls, nightclubs, construction sites, parades, art galleries and museums. Their Brechtian theatrics lay bare the potential honesty of spectacle and device by not only revealing their inner workings but also celebrating them. Fischerspooner ultimately proposes that artifice and surface can be recombined to create a new concept of authenticity--a “new truth.” This kaleidoscopic monograph provides unprecedented insight into the first five years of the Fischerspooner project. From a debut performance in a New York City Starbucks, to a blitz of the international art world, to more mainstream visibility via a major label recording contract, New Truth chronicles Fischerspooner’s quest to profoundly upend the boundaries of art, music and performance. Invested in liminal spaces and the in-between, Fischerspooner also captures a unique millennial moment that seemed to prophesy a future where the avant-garde could be translated into a vernacular of pure joy. Warren Fischer and Casey Spooner met at the School of the Art Institute of Chicago and formed Fischerspooner in New York in 1998. As an art pop performance project, Fischerspooner’s practice involves music, dance, fashion, film and photography. They have released three full-length music albums, #1 (2001), Odyssey (2005) and Entertainment (2009).
Published by Walther König, Köln. Edited by Klaus Biesenbach, Anna-Catharina Gebbers, Aino Laberenz, Susanne Pfeffer. Contributions by Klaus Biesenbach, Chris Dercon, Anna-Catherina Gebbers, Jörg van der Horst, Elfriede Jelinek, Laurence Kardish, Alexander Kluge, Aino Laberenz, Susanne Pfeffer, Christoph Schlingensief, Franziska Schößler, Tilda Swinton.
Christoph Schlingensief (1960-2010) was a German film and theatre director, actor, artist and author. Starting as an independent underground filmmaker, Schlingensief later began staging productions for theatres and festivals, which often were accompanied by public controversies. Edited by his friends and associates Klaus Biesenbach, Anna-Catharina Gebbers, Aino Laberenz and Susanne Pfeffer, Christoph Schlingensief is an overview of the artist's works that includes over 500 pages of photographs from Schlingensief's films, plays and projects. In the preface the publication, the editors write: "Just how far ahead of his time Christoph Schlingensief was with regard to artistic, political and social themes and subjects is evident only in retrospect ... He still challenges and overwhelms viewers with his overflowing images, his deliberate confusion of fact and imagination, and the sociopolitical volatility of the issues he tackles."
Published by Moderne Kunst Nürnberg. Text by Bettina Paust, Klaus Biesenbach, Norman Bryson, Alexander Grönert, Peter Moritz Pickshaus.
Since the late 1960s, acclaimed Czech experimental photographer Katharina Sieverding (born 1944) has worked with photography, film, video and slide projections to address political and ecological concerns as well as the construction of identity. Before Jeff Wall or the post-Becher generation, Sieverding was making large-scale photographs as posters, or walls of posters. This catalogue surveys her career, documenting in particular her newest project, Looking at the Sun at Midnight. For this piece, Sieverding downloaded about 100,000 images of the surface of the sun made by NASA between May 2010 and June 2013, condensing them into a dynamic portrait of its surface. In this volume this new work is placed in dialogue with a representative selection of series from 1968 to 2013.
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.
At nearly 500 pages, this tome is the first comprehensive monograph on Eike Becker Architekten, a Berlin firm that operates at the intersection of architecture and urban planning. Featuring 28 projects, Superferenz provides insight into the architects’ ideas and methods with reproductions from sketchbooks, paintings, collages, models, drawings, photographs and writings.
Published by Walther König, Köln. Introduction by Angelique Campens, Fredi Fischli, Magdalena Magiera, Jakob Schillinger, Scott Cameron Weaver. Foreword by Klaus Biesenbach, Christine Macel, Hans Ulrich Obrist.
Based in Berlin showcases some 80 emerging artists currently living and working in Berlin, pursuing practices ranging from painting and drawing to sculpture, photography, film and video, text, performance and installation. The publication is produced through the initiative of the same name, and is the result of hundreds of studio visits made since November 2010.
Published by MoMA PS1. Edited by Peter Eleey. Introduction by Peter Eleey. Foreword by Klaus Biesenbach. Text by W.H. Auden, Alexander Dumbadze, Peter Eleey, Robert Hullot-Kentor, Alexander Kluge, W.J.T. Mitchell.
The attacks of September 11, 2001 were among the most pictured disasters in history, yet they remain, a decade later, underrepresented in cultural discourse--particularly within the realm of contemporary art. Responding to these conditions, MoMA PS1 curator Peter Eleey brings together more than 70 works by 41 artists--many made prior to 9/11--to explore the attacks’ enduring resonance. Eschewing both images of the event itself and art made directly in response, the exhibition and its accompanying catalogue provide a subjective framework within which to reflect upon the attacks and their aftermath, and explore the ways that they have altered how we see and experience the world in their wake. Opening on the tenth anniversary of the attacks, September 11 includes works by Diane Arbus, John Chamberlain, Bruce Conner, Christo, Ellsworth Kelly, Mary Lucier, Stephen Vitiello and others.
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 The Museum of Modern Art, New York. Edited by Mark Godfrey, Klaus Biesenbach. Text by Eduardo Abaroa, Klaus Biesenbach, Francesco Careri, Carla Faesler, Mark Godfrey, Boris Groys, Miwon Kwon, Tom McDonough, Cuauhtémoc Medina, Laymert Garcia dos Santos, Eyal Weizman.
Working in a variety of media and a range of scales, from humble works on paper to monumental staged performances, Francis Alÿs (born 1959) has established himself as one of the world's leading contemporary artists. Based in Mexico City since 1986, the artist fashions much of his work from the street life he observes during long walks throughout the city. Bringing together a variety of participants, from Mexican sign-painters to British Guardsmen, his collaborations have produced several well-known works, including "When Faith Moves Mountains" (2002), in which he enlisted 500 volunteers to attempt to move a sand dune one foot from its original position using shovels, and "The Modern Procession" (2002), a ceremonial procession commemorating MoMA's temporary move to Queens, New York, that included a brass band and uniformed participants carrying reproductions of the Museum's most famous works across the Queensboro bridge. Published to accompany the largest retrospective of Alÿs' work to date, this publication is more a guidebook than a conventional monograph, reflecting the spirit of the artist's wandering practice. It features an introductory essay by Mark Godfrey, a curator at the Tate Modern, an index of quotes from Alÿs' previous writings and interviews compiled by Klaus Biesenbach, Director of P.S.1 Contemporary Arts Center, and descriptions of works written by Alÿs and Cuauhtémoc Medina, freelance curator and art critic, as well as responses to the artist's work from a wide range of critics and commentators.
Published by MoMA PS1. Text by Klaus Biesenbach, Cornelia H. Butler, Neville Wakefield.
The third iteration of the quintennial exhibition organized by P.S.1 Contemporary Art Center and The Museum of Modern Art, Greater New York 2010 showcases emerging artists who are living and working in the metropolitan New York area. Covering a full range of practices and media, and eagerly anticipated throughout the art community, the 2010 exhibition and catalogue present new works by more than 70 artists of diverse backgrounds, allowing each of them a significant area of space in P.S.1’s expansive galleries in which to show new work or work that has been made in the past five years. This year, Greater New York is organized by Klaus Biesenbach, P.S.1 Director and MoMA Chief Curator at Large; Connie Butler, MoMA Robert Lehman Foundation Chief Curator of Drawing; and Neville Wakefield, P.S.1 Senior Curatorial Advisor.
Published by JRP|Ringier. Edited by Agustín Pérez Rubio, Madeleine Schuppli. Text by Agustín Pérez Rubio, Klaus Biesenbach, Beatrix Ruf, Madeleine Schuppli.
Mixing menace and unease with buoyancy and optimism, Swiss-born, New York-based artist Ugo Rondinone (born 1963) infuses his sculptures, drawings, videos, photographs, sound art and text works with a wide repertoire of fantasies and fears. Rondinone is famed for his celebratory, rainbow-colored "Hell, Yes!" sign, emblazoned on the New Museum's frontage on the occasion of its 2007 opening. At the other end of his emotional-artistic spectrum lie his outsized monster heads and contorted trees that could be modeled from illustrations to a children's ghost story, and somewhere in between lie such works as his curiously ominous series of heavily augmented doors and his looming lightbulbs. At nearly 400 pages, and with a wealth of color plates, this enormous new monograph from JRP|Ringier surveys all of these works and more, taking full stock of Rondinone's prolific activity over the past dozen years.
Published by Verlag für moderne Kunst. Edited by Klaus Biesenbach. Text by Jenny Schlenzka, Michael Archer.
Political, Minimal surveys works of art from the past 40 years that use a strongly reduced, geometrical formal vocabulary, but which nonethless manage to retain slim narrative clues, through a repertoire of shapes such as circles, pyramids, balls and cubes. From these most minimal of cues, these versatile artists are able to address subjects that range from ecological observations to body politics, from social and economical matters to ethical questions. Locating an imaginative mid-ground between the "purified" rhetoric of Minimalism and more politicized forms of art, among the artists contributing to this fascinating conceit are Adel Abdessemed, Monica Bonvicini, Tom Burr, Annabel Daou, Edith Dekyndt, Felix Gonzalez-Torres, Hans Haacke, Mona Hatoum, Damien Hirst, Alfredo Jaar, Derek Jarman, Terence Koh, Klara Liden, Kris Martin, Helen Mirra, Seth Price, Gregor Schneider, Santiago Sierra, Taryn Simon, Rosemarie Trockel and Aaron Young.
Published by JRP|Ringier. Edited by Lionel Bovier, Kelly Taylor. Text by Klaus Biesenbach, Alison Gingeras, Elizabeth Peyton.
Orienting himself firmly in the media-present, New York artist Jonathan Horowitz replays the recent past in the incarnations of our times. This reprisal occurs particularly in video works such as "Maxell," in which the name of the now obsolete videotape company is worn down to a VHS blur, and "The Soul of Tammi Terrell," in which 1960s footage of the eponymous pop star singing "Ain't No Mountain High Enough" is juxtaposed with Julia Roberts and Susan Sarandon's rendition of the song in the 1998 film Stepmom. Horowitz himself makes no overt political critique, but always ensures that the work's underlying edge is laid plainly before the viewer. Queer and ecological themes also abound, as does sly humor and a Warholian detachment. This is the first thorough survey of Horowitz's work.
Published by Hatje Cantz. Edited by Klaus Biesenbach. Text by Klaus Biesenbach, Georges Bataille, Susan Sontag.
Editor and P.S. 1/MoMA curator Klaus Biesenbach credits the late Susan Sontag with sparking the idea for this survey of Body and Action art in the course of their conversations about artistic approaches that describe and question the human condition. Into Me / Out of Me gathers work focused on the imagined, descriptive and performative acts of passing into, through and out of the human body--explorations and visualizations of the wet and the dry, the inner and the outer--and the physical exchange of the body with the material world. Spanning over 40 years and featuring an international group of more than 130 artists, it addresses the primordial relationship between the internal and the external in three chapters: "Metabolism" (eating, drinking, excreting); "Reproduction" (intercourse, conception, birth); and "Violence" (shooting, impaling, perforation). Featured works range from Hannah Wilke's unflinching self-portraits in illness to Matthew Barney's performance-based installations to Kara Walker's antebellum figures. Artists include Chris Burden, Valerie Export, Bruce Nauman, Carolee Schneemann, Kiki Smith, Andy Warhol, Vito Acconci, Patty Chang, Felix Gonzalez-Torres, Douglas Gordon, Mona Hatoum, Robert Mapplethorpe, Ana Mendieta, Paul McCarthy, John Miller, Frank Moore, Carolee Schneemann, Rirkrit Tiravanija and Marina Abramovic, among many others.
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.
Published by KW Institute for Contemporary Art. Essays by Norman Bryson, Klaus Biesenbach, Sabeth Buchmann, Katja Diefenbach, Alanna Heiss, Brian O'Doherty, Daniel Marzona, Abigail Solomon-Godeau and Amy Smith Stewart.
This full-color catalogue presents a broad overview of Katharina Sieverding's technically processed and manipulated photographic close-ups. They are reproduced here as full-bleeds--faces close to the lens, eyes staring directly into the camera with proposed implication. Sierverding creates what has been described as a “phantasmagoric series of characters... relentless, confrontational and frightening but also seductive and vulnerable.” Accompanying these 300 images is Joseph Beuys' overview of Sieverding's early work, up to her current works that focus on self-portraits.
Published by Artimo. Essays by Klaus Biesenbach and Matthew Monahan.
Mundane materials such as nylon pantyhose, ties, cloth, foam, rubber, and plastic are indefinitely mutated and transformed in Lara Schnitger's large-scale, site-specific installations. The Dutch-born artist often uses friable, manmade materials that evolve as they disintegrate to emphasize the entropic nature of her work. Her flighty, spatial constructions often consist of fabric stretched and secured by poles and braces. Some are reminiscent of the human figure, while others, once they reach a certain height, begin to resemble architectural models of skyscrapers or totem poles. Other pieces cleave to floors and ceilings like alien creatures, some seem to float, and some are actually airborne. Fragile Kindgom presents over 100 images that showcase the varying qualities found in Schnitger's work.
BOOK FORMAT Paperback, 7.75 x 10.75 in. / 144 pgs / 144 color.
PUBLISHING STATUS Pub Date 3/15/2005 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 143
PRODUCT DETAILS ISBN 9789085460015TRADE List Price: $35.00 CDN $40.00
Published by KW Institute for Contemporary Art. Essay by Klaus Biesenbach. Interview by Kiyoko Lerner.
Henry Darger spent his life working as a janitor in Catholic hospitals, living alone in a rented room on Chicago's north side, attending Mass up to five times a day, and writing a picaresque tale in 15 massive volumes, composed of 145 handwritten pages and 5,084 single-spaced typed pages, and titled The Story of the Vivian Girls, in what is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion. To accompany this enormous literary production, Darger also created several hundred large-scale illustrations--pencil on paper drawings painted over with watercolor and occasional additions of collage--that relate the story: on an unnamed planet, of which Earth is a moon, the good Christian nation of Anniennia wars with the Glandelinians, who practice child enslavement. The heroines are the seven Vivian sisters, Abbiennian princesses, who, after many battles, fires, tempests, and lurid torture, succeed in forcing the Glandelinians to give up their barbarous ways. The Disasters of War offers an affordable introduction to Darger's astonishing outsider oeuvre. It explains the technique, diligence and creativity of the works, illustrates details, and features a conversation between the Darger estate holder and the Kunstwerke's curator. A selection of 12 previously unpublished excerpts from The Realms of the Unreal and from Darger's diary explore the artist's favorite topics: thunderstorms and atrocities. With a biography and exhibition history.
PUBLISHER KW Institute for Contemporary Art
BOOK FORMAT Paperback, 9.5 x 12 in. / 213 pgs / 176 color / 6 bw.
PUBLISHING STATUS Pub Date 4/2/2004 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9783980426534TRADE List Price: $29.95 CDN $35.00
Published by P.S.1 Contemporary Art Center. Edited by Klaus Biesenbach. Essays by Carolyn Christov-Bakargiev, Norman Klein, Anthony Huberman, Giannalberto Bendazzi, John Canemaker, Larissa Harris and, Karyn Riegel. Foreword by Alanna Heiss.
The works in Animations endow unlikely objects with unexpected and uncanny life. During its century-plus history, animation has continually absorbed, hybridized, mutated and melded disciplines and techniques, undergoing both commercial exploitation and artistic exploration. The latter is documented here, focusing on the cross-continental exchange of artists from around the world who are dialoguing in the collective languages of animation. 28 artists are featured here, including Haluk Akakce, Francis Alÿs, William Kentridge, Kristen Lucas, Pierre Huyghe, Liam Gillick and Liliana Porter, demonstrating the unique ways in which contemporary visual practitioners address animation as a medium and subject.
An Exhibition About the Exchange Rates of Bodies and Values
Published by P.S.1 Contemporary Art Center. Edited by Klaus Biesenbach, Alanna Heiss, Anthony Huberman. Contributions by Pedro Reyes, Jonathan Hernndez. Text by Patricia Martin, Guillermo Santamarina, Cuauhtemoc Medina, Gabriel Kuri, Glenn Lowry.
Living in a cramped space where Beverly Hills and Calcutta meet every day, the artists gathered here explore the tension between wealth and poverty, among progress, stagnation, and improvisation, and between the violence and civility that animates the vibrant center that is Mexico City. Compounding the complexity of urban living, high rates of kidnapping, murder and pollution become a daily threat. For the rich, the body becomes an object to be cared for, protected, even exchanged for ransom, while, for an underclass of day laborers, homeless people, and prostitutes, survival depends on participation in physically exploitative situations that place an exact commercial value on the body. Alluding to recent art historical movements such as body art, process art, and arte povera, these artists use everyday objects and situations to form a complex dialogue about Mexico City and its relationship with the first world, focusing on the influence of the global economy on aesthetic values and daily life. Daniela Rossell's series of photographs, Ricas y Famosas, captures the endangered species of the rich and famous in their ornate and overprotective environments, and Francis Als documents people pushing and pulling their wares to and from the marketplace, leveraging their body weight against the commercial value they are physically dragging along.