Edited by Steven Serafin, Susan Yung. Introduction by Kristy Edmunds. Foreword by Katy Clark, Adam E. Max. Preface by Harvey Lichtenstein. Text by Joseph V. Melillo, Tom Sellar, Susan Yung, Wendy Perron, Roger Oliver, Mark Swed, Dan Cameron. Interviews by Anne Bogart, Karen Brooks Hopkins, Colleen Jennings-Roggensack, David Lang, Beth Morrison, José Parlá, Marianne Weems, Jawole Willa Jo Zollar.
Hbk, 9 x 11 in. / 336 pgs / 208 color / 37 bw. | 9/25/2018 | In stock $60.00
Published by Turner. Text by Patricio Pron, Dan Cameron.
Marcos Martín Blanco and Elena Rued began acquiring new European and American figurative painting and photography in 1979, building the collection MER into one of Spain's most important private collections. This publication introduces 100 of its highlights, with works by Clemente, Fischl, Dumas and others.
Published by Print Matters Productions, Inc.. Edited by Steven Serafin, Susan Yung. Introduction by Kristy Edmunds. Foreword by Katy Clark, Adam E. Max. Preface by Harvey Lichtenstein. Text by Joseph V. Melillo, Tom Sellar, Susan Yung, Wendy Perron, Roger Oliver, Mark Swed, Dan Cameron. Interviews by Anne Bogart, Karen Brooks Hopkins, Colleen Jennings-Roggensack, David Lang, Beth Morrison, José Parlá, Marianne Weems, Jawole Willa Jo Zollar.
Brooklyn Academy of Music’s Next Wave Festival, founded in 1983 by impresario Harvey Lichtenstein, gathered performances in which genres mixed and traditions were upended. Events held in downtown lofts were given larger venues at BAM. Choreographers, directors, artists and musicians now had access to bigger audiences. The first festivals included New York artists Trisha Brown, Philip Glass, Bill T. Jones, Laurie Anderson, Robert Rauschenberg, Lucinda Childs and Robert Wilson. International companies were folded into the Next Wave, introducing New York viewers to Pina Bausch, Robert Lepage, Sankai Juku and Anne Teresa De Keersmaeker. During intermissions, art-world luminaries mixed with dance and theater makers. In 1999, Joseph V. Melillo took over the artistic reins of the festival. By 2012, the Fishman Space opened—a venue for smaller-scale performances—joining the Howard Gilman Opera House and the BAM Harvey Theater. This book surveys the festival’s performances by genre, with photos and ephemera from BAM’s archive and a chronology of performances.
PUBLISHER Print Matters Productions, Inc.
BOOK FORMAT Hardcover, 9 x 11 in. / 336 pgs / 208 color / 37 bw.
PUBLISHING STATUS Pub Date 9/25/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2018 p. 148
PRODUCT DETAILS ISBN 9780999297100TRADE List Price: $60.00 CDN $79.00 GBP £53.00
AVAILABILITY In stock
in stock $60.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Damiani/Standard Press/Paul Kasmin Gallery. Text by Cüneyt Çakirlar, Dan Cameron, Serkan Delice.
Well known for his provocative realist paintings, Taner Ceylan (born 1967) began his Lost Paintings Series as a contemporary exploration of the Orientalist gaze. Upsetting both Western and Eastern master narratives, the Lost Paintings Series presents Eastern figures in a fascinating navigation of history, power and narrative. “Esma Sultan,” Ceylan’s depiction of an eighteenth-century Ottoman princess renowned for her cruel disposition, draws on the empowering mythology of passionate, ruthless and assertive womanhood that characterizes accounts of her life. In other works, an Ottoman man gazes defiantly, cigarette in hand; a pair of male lovers give a chaste farewell; a veiled woman stands before Courbet’s “L’Origine du monde.” Ceylan assembles a cast of lost characters and voices that embody the many silenced by both Orientalist and official nationalist histories. The book is published on the occasion of Ceylan’s exhibition The Lost Paintings Series at the Paul Kasmin Gallery in New York.
Published by JRP|Ringier. Edited by Andrea Bellini. Text by Andrea Bellini, Dan Cameron, Laura Chrubini, Christoph Khim, Hans Ulrich Obrist, Marc Olivier Wahler.
A founding member of Arte Povera, Gianni Piacentino (born 1945) has pursued a path that has taken him from early Minimalist structures to sculptures influenced by modern industrial design, celebrating the dynamism of motorcycles, automobiles and planes. This book spans his career from 1966 to the present.
Published by Damiani. Foreword by Ferzan Özpetek. Text by Dan Cameron.
One of Turkey's most prominent artists, Taner Ceylan makes hyperrealist paintings that bespeak absolute technical mastery and precision, but which are also freighted with an emotional and sexual dimension usually absent from the genre--qualities that have set him apart from the prevailing tendencies in contemporary Turkish art, and which at times have also brought him outright abuse in the press. Ceylan's paintings occupy a register somewhere between the mutely homoerotic (as in his portrait of a bloodied and perspiring boxer--possibly an allegory of the artist's own trials) and the overtly sexual (to enter his website “you must be at least 18 years of age” ). Curator Dan Cameron, who has championed the painter, orients him in a tradition of sexually explicit art stemming from Robert Mapplethorpe to Jeff Koons, but points out that the implicit argument of Celyan's work is “a romantic arguing for the wholesomeness of gay male sexuality.”
Published by Charta. Text by Arlindo Machado, Adolfo Montejo Navas, Luciana Brito, Dan Cameron, Regina Silveira.
The genre-defying artist Regina Silveira (born 1939) has long been among the most respected artists in Brazil, though she remains largely unknown in America. This book distills Silveira's work since 1996, during which time she has become a master of distortion, using hand-rendered marks and shaped prints to create impossible anamorphic shadows and the eerie footprints of unseen wildlife.
BOOK FORMAT Hardcover, 8.25 x 10.5 in. / 200 pgs / 114 color / 12 bw.
PUBLISHING STATUS Pub Date 4/30/2011 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 132
PRODUCT DETAILS ISBN 9788881587995TRADE List Price: $55.00 CDN $65.00
Published by Charta/Galerie Brigitte Schenk/Stadtmuseum Siegburg. Edited by Dan Cameron. Text by Brigitte Schenk, Shirin Neshat.
The delicate mixed-media compositions of Iranian-born artist Shahram Karimi (born 1957) grapple with the dislocation and homesickness of Iranian refugees. Karimi's canvases combine floral motifs and his own Farsi poetry with the expressionless faces of the displaced. Karimi has for years worked as Shirin Neshat's key production designer for films, and the book includes essays by Neshat and curator Dan Cameron.
Published by Mitchell-Innes & Nash. Text by Dan Cameron.
Allan D'Arcangelo (1930-1998) was an American Pop artist whose career spanned five decades. His signature style consisted of flat fields of color and sharp perspectives, utilizing a vocabulary of road signs, corporate logos, electrical wires and freeway underpasses to form a graphic, stylized American landscape. This catalogue accompanies the first survey exhibition of D'Arcangelo's work in the United States since 1979.
Published by Jack Shainman Gallery. Text by Nicolas Bourriaud, S. Kalidas, Dan Cameron.
Delhi-based Subodh Gupta uses everyday domestic, rural Indian objects such as pots, pans, squat stools and cow dung in his mixed-media installations. This survey features works from the 1990s to the present.
PUBLISHER Jack Shainman Gallery
BOOK FORMAT Hardcover, 9.75 x 12.75 in. / 318 pgs / 150 color.
PUBLISHING STATUS Pub Date 4/30/2010 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 161
PRODUCT DETAILS ISBN 9780980073515TRADE List Price: $150.00 CDN $200.00
AVAILABILITY In stock
in stock $150.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Yerba Buena Center for the Arts/D.A.P.. Text by Dan Cameron, Kate Eilertsen, Pamela McClusky.
Critic Roberta Smith has written about Chicago-based artist Nick Cave, “Whether Nick Cave's efforts qualify as fashion, body art or sculpture, and almost regardless of what you ultimately think of them, they fall squarely under the heading of Must Be Seen to Be Believed...” Meet Me at the Center of the Earth features sculptures that Cave calls Soundsuits, to evoke the sense of movement, rattles and rustles inherent in the design of the pieces—which are composed of manufactured and handmade fabrics, such as beads, sequins, bottle caps, old toys, twigs and hair, and seem poised to explode into ritual dance. Exploring issues of ceremony, ritual, identity and myth, they embrace various traditions, as well as cultural and historical references, from African fetish objects to Japanese Butoh dance.
Published by Ediciones Polígrafa. Edited by Dan Cameron.
This first volume of a two-volume edition features a decade of work by Lisbon-born multimedia artist Juliăo Sarmento, who represented Portugal in the 1997 Venice Biennale. Volume 1 collects series from 1990-1992: "Dias de Escuro e de Luz," "Emma," "O Rostro das Palavras," "Pina," "New York" and "O Percurso do Sol"; volume 2 will focus on Sarmento's text-based paintings, such as "What Makes A Writer Great" (2000-2001), produced as an ironic discourse on the subject. Sarmento in fact has a particular relationship to writing: "I function almost as a writer, not in the classic sense, but simply in the sense of writing with images." Sarmento's expressive, often figurative work addresses this very tension between text and image through a combination of film, video, sound, painting, sculpture and installation, often describing psychologically charged moments of sensuality, voyeurism or transgression.
Published by Paul Kasmin Gallery. Text by Dan Cameron, Kenny Scharf, Muna Tseng, Lilly Wei.
This handsome volume features 100 works from Tseng Kwong Chi's pioneering series of large-scale black-and-white self-portraits, produced from 1979 to 1989, many of which have never been published. The son of exiled Chinese nationalists, Kwong Chi was part of a 1980s New York circle that included Keith Haring, Kenny Scharf and Cindy Sherman. His ironic portraits of himself posed in a Mao suit--with a visitor badge reading SLUTFORART in front of American tourist destinations--found their way to Communist China through Western magazines smuggled into the country in the 1980s, greatly influencing China's avant-garde. Ann Magnuson, a ubiquitous downtown performer in the 80s, mused, "Just who is this visitor from that forbidden land, who is both tasting the fruits of American freedom and slyly satirizing our home of the brave?"
PUBLISHER Paul Kasmin Gallery
BOOK FORMAT Hardcover, 10.75 x 10.75 in. / 128 pgs / 100 bw.
PUBLISHING STATUS Pub Date 2/1/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 70
PRODUCT DETAILS ISBN 9780979416453TRADE List Price: $80.00 CDN $95.00
Published by PictureBox. Edited by Dan Cameron. Text by Barbara Bloemink, Lolis Eric Elie, Claire Tancons.
As the accompanying publication to the largest exhibition of contemporary art ever assembled in the U.S., the Prospect.1 New Orleans catalogue is one of the most sought-after art books of 2008-09. Featuring new illustrated essays on New Orleans and its place in twenty-first century America by Prospect.1 organizer Dan Cameron, art historian Barbara Bloemink, journalist Lolis Eric Elie and curator Claire Tancons, the book also includes a fully illustrated section on each of the 81 participating artists, who include William Kentridge, Trenton Doyle Hancock, Fred Tomaselli, Cai Guo Qiang, Sanford Biggers, Tony Fitzpatrick, Amy Sillman, Malick Sidibe, Clare E. Rojas and Monica Bonvicini, among many others. Locating contemporary art in the cauldron that is New Orleans adds a new dimension to the book and its visuals: It's an incisive statement on art making and humanity today. Dan Cameron, the Director and Curator of Prospect.1 New Orleans, is an international New York-based curator who was inspired to organize an exhibition in New Orleans shortly after Hurricane Katrina in 2005. Cameron has been a frequent visitor to New Orleans since the late 1980s, and he organized the 1995 New Orleans Triennial for the New Orleans Museum of Art. In May 2007 Cameron took on the position of Visual Arts Director at the New Orleans Contemporary Arts Center (CAC), one of the leading venues for new art in the South, and a principal venue for Prospect.1 New Orleans.
Published by D.A.P./The Progressive Collection. Foreword by Toni Morrison. Text by Dan Cameron, Peter B. Lewis, Toby Devan Lewis, Mark Schwartz.
Including work by Vito Acconci, Francis Al˙s, John Baldessari, Tina Barney, Petah Coyne, Gregory Crewdson, Frank Gehry, Nan Goldin, Andy Goldsworthy, Andreas Gursky, David Hockney, Sherrie Levine, Allan McCollum, Takashi Murakami, Robert Rauschenberg, Cindy Sherman, Richard Tuttle and Andy Warhol among many others, this striking compendium presents a cross-section of the world-class collection put together by the Cleveland-based Progressive Corporation since the 1970s. The nearly 300 works gathered here were selected from more than 6,000 pieces in the Progressive Corporation's collection and serve to document a mission rather than catalogue an inventory. This art is not mere food for thought. This is fuel for fire.
Fittingly, Nobel Prize-winning author Toni Morrison's insightful foreword, "The Habit of Art," sets a perceptive tone for all that follows--including an intimate, chronological overview by Toby Devan Lewis, full of details about the collection's formation; an in-your-face position statement by the collection's founder, Peter B. Lewis; and a clear-eyed essay by Dan Cameron, "Work + Art = Life," which provides both a seasoned art-world perspective on the works themselves and a conceptual framework for the whole notion of corporate collecting. Does art work? This book is more than evidence. It's proof.
Toni Morrison is the Robert F. Goheen Professor Emerita in the Council of Humanities at Princeton University. Morrison has won a host of literary prizes for her eight major novels, children's books and essay collections. In 1993 she was the first African-American woman to win a Nobel Prize for Literature and the first American woman to win the award since 1938. Other honors include the Pulitzer Prize, National Book Critic's Circle Award, the American Academy of Arts and Letters Distinguished Writer Award and the Anisfield-Wolf Book Award.
Dan Cameron is director of visual arts at the Contemporary Arts Center in New Orleans. From 1995 to 2007 he was senior curator at the New Museum of Contemporary Art in New York. Cameron has organized exhibitions in Spain, Italy, Portugal, Greece, Russia, Austria, Sweden and Mexico. He was artistic director for the 8th Istanbul Biennial (2003) and was one of the curators of the Taipei Biennial in Taiwan (2006). Cameron has written extensively on contemporary art in various publications, including Artforum, Arts Magazine and Parkett and has contributed to numerous museum catalogues.
Toby Devan Lewis is a philanthropist, art collector, author and curator. For more than 20 years, she amassed a collection of art works by emerging artists for The Progressive Corporation. She is the recipient of the Cleveland Arts Prize/Martha Joseph Citation for Distinguished Service to the Arts and the Award of Excellence from the International Association for Professional Art Advisors (IAPAA). In 1998 she was honored by the New Museum for her "significant contribution in bringing the visual arts and creative experience to the work environment."
PUBLISHER D.A.P./The Progressive Collection
BOOK FORMAT Hardback, 10.5 x 12 in. / 292 pgs / 552 color.
PUBLISHING STATUS Pub Date 12/15/2007 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 83
PRODUCT DETAILS ISBN 9781933045726TRADE List Price: $55.00 CDN $65.00
Published by Hatje Cantz. Introduction by Friedhelm Hütte. Text by Dan Cameron, Nicholas Mirzoeff, Zhu Qingsheng, Ariane Grigoteit.
Cai Guo-Qiang, born in Fujian Province in 1957, may be the most widely known Chinese artist of his generation. He is now based in New York, where his work has been presented at The Metropolitan Museum of Art, among other venues. He recently curated the Chinese Pavilion at the 51st Venice Biennale. And he conceived the works that appear in this book-within-a-book (a book inlaid inside a larger book, designed by Stefan Sagmeister) for the Deutsche Guggenheim. This project reflects both his own heritage and Berlin's, combining symbols of the Middle Kingdom with Western elements--notably gunpowder and fireworks with a stage set of a German house, which Cai blew sky high, videotaping the proceedings. Elsewhere a pack of 99 life-sized wolves barrels towards a glass wall: both bloodlust and transparency still seem topical half a century after World War II. Also includes a selection of earlier works.
Published by Charta. Essays by Dan Cameron, Achille Bonito Oliva, Jean Hubert Martin, Cornelia Lauf, Irina Karasik, Olesya Turkina and Nena Dimitrijevic.
The Sarajevo-born artist Braco Dimitrijev'c has forged a strongly personal and original artistic path through the great movements of the postwar period, from kinetic and op art to conceptual and performance art. Throughout his work, he has returned to questions of fame and fate: what is it that catapults certain people into the historical limelight, and what causes others to be mere "casual passersby"? Dimitrijevic gained international attention in the 1970s for his supersized portraits of unknown subjects hung in large public spaces, and ever since his work has been focused on questions of "post-history," a set of ideas he formulated in 1976. This monograph provides a comprehensive look at his arresting theory in action.
BOOK FORMAT Hardcover, 9.5 x 12 in. / 400 pgs / 204 color and 241 bw.
PUBLISHING STATUS Pub Date 11/15/2006 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2006 p. 138
PRODUCT DETAILS ISBN 9788881585908TRADE List Price: $85.00 CDN $100.00
Published by Hatje Cantz. Artwork by Carroll Dunham, Matthew Ritchie. Edited by Dan Cameron. Text by A. M. Homes, Klaus Kertess, Lisa Phillips, Sanford Schwartz.
The extensive oeuvre of American painter Carroll Dunham has infused the discourse of representation versus abstraction with new life, while simultaneously pointing to a number of new directions in 20th-century painting, such as surrealism, action painting, abstract painting, and pop art. His unusual, original color compositions and independent use of forms and materials had a significant influence on contemporary artists like Fred Tomaselli and Matthew Ritchie. In Dunham's works, pictorial elements reminiscent of cartoons became recognizable details within an enlivened, abstract picture surface as early as the beginning of the 80s. Later in that decade, Dunham turned to larger formats, painting the expanses of his canvases with visually constant forms in fluid gesture: bodily shapes, reduced to pictographs, appeared repulsive and hairy, resembling tumors, teeth, or lips, in expressionist colors and with an impressive painterly quality. Recently, Dunham's pictures have become distinctly more figurative, displaying aggressive male and female caricatures, with buildings, planets, and boats becoming additional vehicles of human emotions and unbridled primary energies.
Published by Walther König, Köln. Essays by Dan Cameron and Juan Carlos Roman.
Combining a manifest lack of prejudice with a vigorous brutality, Sue Williams' caustic paintings of domestic violence and sex rippled, bulged and slammed off the colored surface, admitting no prudishness or ignorance. Then, in the last few years, they went abstract, pulling funny, slippery, teasing forms and lines from her earlier brashness. Here they are, all fluids running together across the page spread.
PUBLISHER Walther König, Köln
BOOK FORMAT Paperback, 11.5 x 11 in. / 104 pgs / 71 color.
PUBLISHING STATUS Pub Date 5/2/2003 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2003
PRODUCT DETAILS ISBN 9783883756585SDNR30 List Price: $40.00 CDN $50.00
Published by Hatje Cantz. Artwork by Francesco Vezzoli. Edited by Gianfranco Maraniello, Dan Cameron, Barbara Steiner, Jan Winkelmann.
Next to his film and video works, the needleworks of Milan-based artist Francesco Vezzoli constitute a second important artistic output, in which the artist deals with the stars and divas of film, advertising, fashion, and TV. Through artfully, obsessively embroidered portraits, Vezzoli explores both the glamour that surrounds celebrities and the loneliness and transigence of their fame.
Published by Parkett. Essays by Daniel Birnbaum, Jan Avgikos, Dan Cameron, Rudi Fuchs, James Rondeau, Jens Hoffmann, Daniel Pinchbeck and Paul Bonaventura, et al.
Presenting unparalleled investigations and discussions of important international contemporary artists by esteemed writers and critics for 20 years, Parkett's investigations continue in issue No. 68, which features collaborations by German painter Franz Ackermann, Finnish artist and filmmaker Eija-Liisa Ahtila, and American Conceptual artist Dan Graham. Studies in the multiple perspectives of several simultaneous vantage points mark the pages of this volume. Authors include Joshua Decter, Douglas Fogle, and Raimar Stange on Ackermann; Gertrud Koch and Taru Elfving on Ahtila, with a conversation between Chrissie Iles and Ahtila; Marie-Paule MacDonald, Nicolas Guagnini & Karin Schneider, and Massimiliano di Bartolomeo on Graham, and an interview with Graham by Carmen Rosenberg-Miller. Also in this issue: Gregor Jansen on Dirk Skreber, Jens Hoffmann on Tino Sehgal, Bernard Frize interviewed by Hans Ulrich Obrist, and an insert by Jonathan Monk. For Parkett No. 69, the featured collaboration artists are Belgian Conceptual artist Francis Al˙s, German sculptor and mixed-media artist Isa Genzken, and the Indian-born, London-based sculptor Anish Kapoor. Authors include Saul Anton, Robert Storr, and Kitty Scott on Als; Pamela Lee and Jörg Heiser on Genzken, and an interview with Genzken by Michael Krajewski; and Norman Bryson, Marina Warner, and Kurt Forster on Kapoor. Other features include Philip Kaiser on Amelie von Wulffen, Stuart Comer on Swetlana Heger, and a special Parkett Inquiry on consensus in contemporary art world entitled, “The Economy of Attention.” The twentieth-anniversary issue, Parkett No. 70, will be published in summer 2004, with special collaborations and projects to be announced.
Published by Hatje Cantz. Edited by Ann Bremner. Essays by Carlos Basualdo, Dan Cameron, Helio Oiticica, Ivana Bentes. Introduction by Sherri Geldin, Udo Kittelmann, and Lisa Phillips.
One of the most important exponents of contemporary art in South America, Helio Oiticica creates multimedia room installations which intertwine social themes, experimental elements, and appropriations from popular culture, film, and music. This book focuses on works which have rarely been seen elsewhere, works in which Oiticica questions the traditional relationship between the audience and the world of the movies, such as his "quasi-cinemas," which combine slide projections and music. The lavish nine-part sequence "Black Experiments in Cosmacocoa" is published here for the first time, alongside Oiticica's own notes and critical texts.
Published by Charta. Edited by Gianfranco Maraniello, Sergio Risaliti, and Antonio Somaini. Essays by Jean Baudrillard, Dan Cameron, Jean-Luc Nancy, Harald Szeemann.
Hovering potentially between generosity and insult, seduction and trap, homage and defiance, the gift is a gesture with which relations are established and desires intertwined. In a world in which personal interactions are more and more sternly regulated, in which the symbolic value of things has been eroded, to reflect upon the work of art as a gift means to emphasize its ability to establish new types of relationships and encounters. Fifty artists, including Marina Abramovic, Vito Acconci, Louise Bourgeois, Clegg & Guttmann, Nan Goldin, Felix Gonzalez-Torres, Cai Guo-Qiang, Mona Hatoum, Alfredo Jaar, Joseph Kosuth, Piero Manzoni, Ana Mendieta, Yoko Ono and Gabriel Orozco, have fashioned gifts of object and self, gifts of one's own body and of symbols, discreet and intrusive gifts, free handouts and exaggerated donations. In the spirit of giving, a bountiful range of philosophers, anthropologists, art critics and essayists offer their own musings on the idea of the gift.
BOOK FORMAT Paperback, 6.75 x 9.5 in. / 520 pgs / 120 color / 126 bw.
PUBLISHING STATUS Pub Date 2/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9788881583331TRADE List Price: $39.95 CDN $50.00
Published by Hatje Cantz. Edited by Beatrix Ruf. Essays by Markus Brüderlin and Dan Cameron.
Fascinated with the White Cube, the neutral yet ideologically charged, institutionalized container for art, Elmgreen & Dragset's project for the Kunsthalle Zurich transformed the museum into a construction site of sorts--a construction site for art. Taking Place revealed and suspended the state in which non-public, art administrative space is reorganized into public, art presentation space.
Published by Rectapublishers. Essays by Georges Bataille, Dan Cameron, Salvador Dalí, Milan Kundera, Domique Laporte, Gerardo Mosquera, Dieter Roelstraete, Peter Sloterdijk and Peter Bexte.
Borrowing its name from the ancient sewer in Rome, Belgian conceptualist Wim Delvoye's new and improved "Cloaca" is a room-sized shit-making machine whose bowels process two meals a day, serving up a mouthful of complex themes: scatalogy and disgust, high and low culture, man as machine and vice-versa, and the inversion of art semiotics. Many of these same concerns are processed in Delvoye's other work, like the life-sized carved walnut replica of a cement truck, the wood cabinet stocked with 32 circular saw blades painted with scenes in Delft China blue, and a herd of pigs tatooed by Antwerp's finest needle-men. Feces and other anal subjects are parsed in accompanying essays by such luminaries as Milan Kundera, Gerardo Mosquera, Dan Cameron, Georges Bataille and Salvador Dali.
BOOK FORMAT Hardcover, 9.25 x 12 in. / 152 pgs / 143 color.
PUBLISHING STATUS Pub Date 2/2/2002 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9789090153872TRADE List Price: $35.00 CDN $40.00
Published by Hatje Cantz. Artwork by Paul McCarthy. Edited by Dan Cameron. Text by Lisa Phillips, Anthony Vidler, Amelia Jones.
Working in a pioneering fusion of sculpture and conceptually based performance, Paul McCarthy is one of the most influential figures in contemporary art--and yet the full range is of his oeuvre is still not fully appreciated or understood. While his architectural installations incorporating video and performance artifacts have received plenty of critical and curatorial attention, few viewers are familiar with the trajectory of his artistic evolution, or with the impact of his works on two generations of Los Angeles artists. This catalogue--accompanying McCarthy exhibitions at the Museum of Contemporary Art, Los Angeles, and the New Museum of Contemporary Art in New York--covers more than 100 works from all areas of his activity, and gives an exemplary insight into McCarthy's works form the early 70s up to the present day. Experts on his work give comprehensive descriptions and analyses of the artist's performances and installations, examine the unique ties between his works and the cinematic arts, and explore the ongoing dialogue between the artistic cultures of New York and Los Angeles (particularly in terms of the development of Conceptual art).
Published by The Center for Art, Design and Visual Culture/Georgia O'Keeffe Museum. Edited by Maurice Berger. Introduction by Barbara Buhler-Lynes. Conversations with Alexander Alberro, Maxwell Anderson, George Baker, Stefano Basilico, Jonathan Binstock, Dan Cameron, Donna de Salvo and Olu Oguibe.
What is the future of the art museum? Should artists and critics have greater say in museum programming? What role can new museum technologies play in the future of the art museum? How should art museums address and correct past histories of prejudice and exclusion? Are art museums doomed to extinction? These pertinent questions and others are asked, discussed and sometimes even answered in Museums of Tomorrow--documentation of a two-week online conference on the role and future of art museums. Thirty scholars, artists, museum directors and curators participated in the discussion which was moderated by curator and essayist Maurice Berger for the Georgia O'Keeffe Museum's Research Center Website.
Published by D.A.P./San Francisco Museum of Modern Art. Edited by Madeleine Grynzstejn. Essays by Dan Cameron, Amada Cruz, Jessica Morgan, Ralph Rugoff and Katy Siegel. Foreword by Neal Benezra.
su-per-no-va: n., pl. A rare celestial phenomenon involving the explosion of most of the material in a star, resulting in an extremely bright, short-lived object that emits vast amounts of energy. Given the massive shift in the West's cultural sensibility in the wake of the 9/11 attacks and the current global political situation, the 1990s and its over-the-top, anything-goes art scene suddenly appear much more historical than contemporary. If we really are at the turning point that we seem to be, then we've arrived at a particularly opportune moment for reconsideration, for assessing the legacy of the decade after the frenzy has subsided. Supernova brings together a number of curators and critics--each of whom was actively involved in constructing the 1990s art discourse--to step back and consider what trans-identity, broad-based thematic trends can now be identified as emblematic of, or seminal to, the decade.
The Kent and Vicki Logan collection of contemporary art offers a compelling and visually alluring vehicle to consider such issues, as these ambitious collectors were firmly planted at the center of the scene--acquiring some of the most challenging and iconic art of the period, including works by Young British Artists (YBAs), Asian practitioners and a diverse array of influential women artmakers. In Supernova, reproductions of these artists' works are dispersed among contributors' essays, which explore such themes as beauty and the abject, iconoclasm and the role of social activism in art.
Published by Hatje Cantz. Edited by Christina Bechtler. Essays by Dan Cameron, Amy Cappellazzo, Ewa Lajer-Burcharth, Rosa Martinez, Nancy Spector, Marina Warner.
Janine Antoni has played a leading role in performance and installation art during the past decade. She had placed her own body at the center of her work, exploring how the body is both absent and present, visible and invisible. Part of Antoni's groundbreaking method has been to use her body both as an art object and as a functioning tool, as canvas, palette and paintbrush--she ''draws'' with a twitch of her eyelashes, ''paints'' with her hair, and ''sculpts'' blocks of fat with her teeth. On the other hand, Antoni just as often takes as her point of departure the sleeping, resting, more or less prenatal body. In Slumber, an electric encephalograph is used to record the instinctive movements of her pupils, and the resulting graphic pattern is integrated into a weaving piece the day after, which, in turn, serves as her blanket at night. The first monograph devoted to Antoni, this brilliant new volume documents the artist's major works in full color, alongside insightful essays.