Edited by Germano Celant. Text by Clare Bell, Tobia Bezzola, Paola Bonani, Ester Coen, Vincenzo De Bellis, Veronica Locatelli, Lola Lorant, Elizabeth Mangini, Gianfranco Maraniello, Massimo Minini, Luca Pietro Nicoletti, Massimo Romeri, et al.
Flexi, 6.75 x 9.5 in. / 336 pgs / 220 color. | 4/23/2019 | In stock $60.00
Foreword by Germano Celant. Text by RoseLee Goldberg. Contributions by Marc Arthur, Mark Beasley, Adrienne Edwards, Claire Bishop, Shelton Lindsay, Rozalia Jovanovic, Lia Gangitano, Robin Rhode, Jesper Just, David Hallberg, Ryan Gander, Erika Vogt, Pauline Curnier Jardin, Jérôme, Juliana Huxtable, Edgar Arceneaux, Oscar Murillo, Wyatt Kahn, Christodoulos Panayiotou, Justene Williams, et al.
Pbk, 7 x 9 in. / 256 pgs / 160 color. | 5/5/2020 | In stock $29.95
Introduction by Germano Celant. Text by Jo Applin, Luciano Chessa, Chiara Costa, Christoph Cox, Geeta Dayal, Patrick Feaster, Christoph E. Hänggi, Bart Hopkin, Douglas Kahn, Alan Licht, Andrea Lissoni, Noel Lobley, Deirdre Loughridge, Mario Mainetti, Simone Menegoi, Holly Rogers, Jonathan Sterne, David Toop, John Tresch, Eric de Visscher, Rob Young. Preface by Miuccia Prada, Patrizio Bertelli.
Flexi, 8.25 x 11.5 in. / 520 pgs / 146 color. | 9/30/2014 | In stock $95.00
Introduction by Germano Celant. Preface by Miuccia Prada, Patrizio Bertelli. Text by Beatriz Colomina, Charles Esche, Nicholas Fox Weber, Elena Gigli, Constance W. Glenn, Maria Gough, Magdalena Holzhey, Adina Kamien-Kazhdan, Karen Koehler, Liz Kotz, Tatyana Vasilevna Kumzerova, Ulrich Lehmann, Annette Malochet, Marie Rebecchi, Julia Robinson, Gianni Emilio Simonetti, Antonio Somaini, Anne Thurmann-Jajes.
Hbk, 8.5 x 11 in. / 340 pgs / illustrated throughout. | 10/31/2012 | Not available $120.00
Published by Silvana Editoriale. Edited by Germano Celant.
Edited by Germano Celant, this volume spans the artistic career of assemblage artist Arman (1928–2005) from his first group exhibition in France in the 1950s to 1974, when the La Jolla Museum of Contemporary Art in California organized its landmark retrospective.
Published by Gregory R. Miller & Co.. Foreword by Germano Celant. Text by RoseLee Goldberg. Contributions by Marc Arthur, Mark Beasley, Adrienne Edwards, Claire Bishop, Shelton Lindsay, Rozalia Jovanovic, Lia Gangitano, Robin Rhode, Jesper Just, David Hallberg, Ryan Gander, Erika Vogt, Pauline Curnier Jardin, Jérôme, Juliana Huxtable, Edgar Arceneaux, Oscar Murillo, Wyatt Kahn, Christodoulos Panayiotou, Justene Williams, et al.
Celebrating ten years since the founding of the historic Performa biennial in 2005, Performa 15 once again explored the most exciting innovations in contemporary visual arts, dance, film, radio, sound and architecture.
This edition brought together a total of more than 30 artists from 12 countries around the world—premiering new works by artists Robin Rhode (South Africa), Pauline Curnier Jardin (France/The Netherlands), Edgar Arceneaux (United States) and Erika Vogt (United States), Performa alums Jérôme Bel (France) and Jesper Just (Denmark), and Francesco Vezzoli (Italy) in special collaboration with dancer David Hallberg (United States), among many others.
Performa 15 documents all of Performa’s programming along with significant texts from leading art historians and curators. Fully illustrated with works and performance photos, and featuring interviews with the curators and artists, Performa 15 captures a critical juncture in the evolution of performance art and the world’s leading performance biennial.
Published by Silvana Editoriale. Edited by Germano Celant. Text by Clare Bell, Tobia Bezzola, Paola Bonani, Ester Coen, Vincenzo De Bellis, Veronica Locatelli, Lola Lorant, Elizabeth Mangini, Gianfranco Maraniello, Massimo Minini, Luca Pietro Nicoletti, Massimo Romeri, et al.
This substantial overview on Nouveau Réaliste collage pioneer Mimmo Rotella (1918–2006) traces every stage of his career, from his first abstractions to pop-art works, with extensive detail on his décollage and poster works.
The work of Italian artist Marco Bagnoli (born 1949) is characterized by two different approaches: his research is rooted in the scientific traditions of the Italian Renaissance and, at the same time, is influenced by mystic poetry and Sufi philosophy. Functioning almost as a catalogue raisonné, this hefty volume gathers around 350 reproductions of Bagnoli's sculptures and installations.
Published by Walther König, Köln. Text by Lewis Biggs, Germano Celant, Lynne Cooke, Demosthenes Dawetas, Catherine Grenier, Thomas Mc Evilley, Peter Schjeldahl, Jon Wood.
Between 1986 and 2000, Anthony Cragg (born 1949) transitioned from making sculptures using found objects to a more studio-based practice in which the found materials themselves became the subject and content of his sculptures. This publication begins where the previous volume, Sculpture 1969–1985, left off.
Published by Walther König, Köln. Text by Germano Celant, Demosthenes Davvetas, Mark Francis, Michael Newman, Jon Wood.
The second volume in the series documenting the works of British artist Anthony Cragg (born 1949) covers his sculptural oeuvre from 1969 to 1985, highlighting key bodies of work and exhibitions through an extensive selection of images.
Published by Lévy Gorvy. Edited by Germano Celant. Text by Michelangelo Pistoletto, Gilberto Zorio, et al.
This two-volume publication accompanies the exhibition Ileana Sonnabend and Arte Povera held at Hauser & Wirth New York in 2017. The larger of the two books includes a comprehensive chronology, including every exhibition presented by the Sonnabend galleries between 1962 and 2014, with expanded sections on Arte Povera exhibitions featuring artists Giovanni Anselmo, Pier Paolo Calzolari, Jannis Kounellis, Mario Merz, Giulio Paolini, Michelangelo Pistoletto and Gilberto Zorio. This generous volume also includes never-before-published archival photographs from the Sonnabend Archive; an interview with Germano Celant about his friendship with Ileana Sonnabend and the global dissemination of Arte Povera; texts written by the artists in the exhibition; and extensive bibliographies for each artist, the Sonnabend galleries and the Arte Povera movement, respectively. The second book in the set features color plates of each artwork in the exhibition, installation views from Lévy Gorvy and a complete checklist of the works included.
Italian postwar artist Nuvolo (1926–2008) extended the two-dimensional rectangular format of painting with commonplace textiles and materials such as deerskin. With works produced between 1952 and 1965, this book contextualizes his work.
Published by Dominique Lévy. Edited by Begum Yasar. Text by Germano Celant, et al.
This book explores parallels in thought and strategies between Italian Conceptualist Giulio Paolini’s (born 1940) work, especially of the 1960s and the ‘70s, and the work of a younger generation of artists based in New York City today: Sebastian Black, Kerstin Brätsch (with Boško Blagojevic), Seth Price and Antek Walczak.
Published by Silvana Editoriale. Edited with text by Francesco Moschini. Text by Germano Celant, Deyan Sudjic, Ermanno Ranzani, Marco Sammicheli, Francesco Maggiore, Martina Motta, Kenneth Frampton, et al.
That 1987 exhibition examined his activities as a designer; the year proved to be a watershed for Bellini, who from then on devoted himself primarily to architecture and urban design. Italian Beauty is therefore a tribute to the multifaceted achievement of a designer who has achieved success on both the small scale (with objects and furnishings that have become icons in homes and offices around the world), and the large (conference centers, trade-fair venues, the Department of Islamic Art at the Louvre and museums from Japan to the USA, Germany and Australia).
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 Skira. Edited by Germano Celant. Contributions by Antonella Soldaini, Veronica Locatelli.
Divided into four volumes, the catalogue raisonné dedicated to Mimmo Rotella’s oeuvre looks at the career, spanning almost sixty years, of one of the great interpreters of Italian and international contemporary art. ?This first volume of the catalogue raisonné focuses on the period from 1944 to 1961.
Germano Celant, a celebrated art historian, critic, and theorist, has curated hundreds of exhibitions worldwide and published more than one hundred books and catalogs.
This book on Virginia Dwan and her galleries in Los Angeles and New York tells for the first time the unique story of a fundamental player on the global art scene, who has rarely been explored. The Dwan Gallery opened in Los Angeles in 1959 and showed works by artists such as Arman, Yves Klein, Claes Oldenburg, Robert Rauschenberg, Niki de Saint Phalle, and Jean Tinguely, becoming a West Coast point of reference for international art. In 1965, Virginia Dwan also opened a gallery in New York, where she exhibited pieces by the protagonists of Minimalism and Conceptual Art. Through a rich collection of images and rare testimonies published for the first time, as well as a detailed chronology, in this volume Germano Celant recounts the years 1959–1971 in the Dwan Gallery, whose shows were as important as those organized by figures such as Leo Castelli and Ileana Sonnabend, also focusing on earlier and subsequent events in Virginia Dwan’s career up to the present.
Virginia Dwan (born October 18, 1931), an American art collector and art patron, is the former owner and executive director of Dwan Gallery Los Angeles (1959–1967) and Dwan Gallery New York (1965–1971), a contemporary art gallery closely identified with the American movements of Minimalism, Conceptual Art, and Earthworks. Germano Celant, a renowned art historian, critic, and theorist, has served as the curator of hundreds of exhibitions worldwide and published more than one hundred books and catalogs.
This publication is an attentive analysis of the work of Mimmo Paladino, one of the most innovative and established contemporary artists in the world.
This book covers his entire oeuvre from 1963 to 2015 and his role in renewing painting that, after including environmental interventions, shifted to photography and sculpture, architecture and cinema, opera and theater.
The publication is also full of memories and poetry and a comprehensive iconographic section enriched by previously unpublished material regarding different periods of his life as an artist. It is a thorough view of the many artistic languages Paladino adopted to express his vision on the relationship between memory and the present.
Germano Celant is an art historian, critic, and theorist known for his theories on Arte Povera. In 1987, he received the Frank Jewett Mather Award. He has been director of the Fondazione Prada in Milan since 1995, and he became its Artistic and Scientific Conservator in 2015.
Published by Silvana Editoriale. Edited with text by Germano Celant. Text by Christo, Jeanne-Claude.
Water Projects presents the complete series of large-scale projects implemented or devised by Christo and Jean-Claude from 1961 to 2016. In addition to the renowned wrapped monuments, from the Kunsthalle in Bern (1967–1968) to the Reichstag in Berlin (1971–1995), the works featured include installations made of barrels and fabrics such as Wall of Oil Barrels: The Iron Curtain (Paris, 1961–1962) and Valley Curtain (Rifle, Colorado, 1970–1972); huge inflatable objects like 42,390 Cubic Feet Package (Minneapolis, 1966) and 5,600 Cubic Meter Package; the project for Documenta IV (Kassel, 1967–1968); and paths (Wrapped Walk Ways, Kansas City, 1977–1978) and portals (The Gates, New York, 1979–2005).
Also included are preparatory drawings for Christo’s latest work, Floating Piers (2014–2016), a walkway stretching nearly two miles that connects two small islands in Lake Iseo, in Italy’s Lombardy region, to each other and to the mainland.
PUBLISHER Silvana Editoriale
BOOK FORMAT Flexi, 6.75 x 9.5 in. / 344 pgs / 400 color.
PUBLISHING STATUS Pub Date 9/27/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2017 p. 154
PRODUCT DETAILS ISBN 9788836633579FLAT40 List Price: $40.00 CDN $56.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Fondazione Prada. Edited by Germano Celant, Chiara Costa. Foreword by Miuccia Prada. Text by Germano Celant, Gianni Piacentino, Carlo Barbatti.
The art of Gianni Piacentino (born 1945) represents a universe of perfection, calculation and concentration, one of geometrical and primary forms. Combining this sensibility with an appreciation of pop culture, Piacentino turned to the world of velocity and transportation including cars, motorcycles and planes, creating industrial-inspired sculptures that straddle the line between design and art.
This three-volume publication comprises more than 90 works, retracing the artist’s output in reverse chronological order, starting with his most recent works from 2015 and working backwards to those from 1965, when Piacentino veered between Pop art and minimalism but ultimately developed a practice that fit neither category. Featuring images of sketches and art works, text by Germano Celant, a conversation with the artist and a chronology of his exhibition history, this is a handsome introduction to the artist’s work.
Published by DESTE Foundation for Contemporary Art. Edited with text by M/M (Paris). Text by Germano Celant, Dennis Freedman, Dakis Joannou, Mark Wasiuta.
For eight years, fueled by Dakis Joannou’s belief that “although art is considered eternal and fashion ephemeral, both are contemporary creative processes,” creators from art, design, literature, film, architecture and fashion selected items from each year’s fashion collection and interpreted them in the lexicon of their own discipline. Edited and designed by M/M (Paris), this publication follows the conceptual framework of the destefashioncollection exhibition at the Benaki Museum in Athens that presented the eight “capsules” (as each selection was called)--M/M (Paris), 2007; Juergen Teller, 2008; Helmut Lang, 2009; Patrizia Cavalli, 2010; Charles Ray, 2011; Athina Rachel Tsangari, 2012; Diller Scofidio + Renfro, 2013; and Maria Papadimitriou, 2014--as a fluid archipelago, emphasizing the shifting relationship between the various capsules and, therefore, the art and fashion worlds as a whole. An essay by Germano Celant charts Joannou’s remarkable journey.
Published by Walther König, Köln. Edited by Gerhard Finckh. Text by Germano Celant, Lynn Cooke, Peter Schjeldahl, Jon Wood, Thomas McEvilley.
Since British sculptor Anthony Cragg (born 1949) began working in the 1970s and came to fame in the 1980s as part of the New British Sculpture generation, his work has undergone a number of permutations while consistently remaining motivated by a fundamental concern with the qualities of his materials--whether they be found objects, raw materials or manufactured compounds like fiberglass. From his early installations featuring modest arrangements of found objects to his recent sculptural forms that look like natural accretions experiencing computer glitches, Cragg remains deeply committed to material and to sculpture.
Cragg’s work is immensely varied, encompassing drawing, sketching, modeling and photography, as well as the production of finished sculptures. All these elements of Cragg’s oeuvre are accounted for in Anthony Cragg: Parts of the World, the artist’s first retrospective monograph. Objects are arranged in roughly chronological order, and supplemented by texts drawn from the same chronological span, allowing the reader to reconstruct a history of Cragg’s reception as well as his artistic production. Including texts by Germano Celant, Lynn Cooke, Peter Schjeldahl and Thomas McEvilley written since the 1980s, Anthony Cragg: Parts of the World concludes in the present, with an essay by Jon Wood and a recent interview with the artist.
Published by Silvana Editoriale. 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 Editoriale
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 Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Fondazione Prada. Edited with introduction by Germano Celant, Toby Kamps. Text by Gwen Allen, Paul R. Franklin, Alison Gingeras, Jonathan Griffin.
William N. Copley (1919–96) was a multifaceted American artist and art-world catalyst. Creator of madcap narrative paintings, drawings and installations, Copley was a unique figure in postwar art history well known for his humorous and sarcastic imagery. Known by his nom de plume CPLY, he was a self-taught artist pushing the limits of art-world decorum, as well as a collector, gallerist and connector of some of the most important artists of the 20th century, in particular European Surrealists and Dadaists such as Max Ernst, Man Ray and Marcel Duchamp, and American Pop artists. William N. Copley assembles works from all phases of the artist’s creation, from the Parisian years to the last period spent mostly in solitude in his home in Sugarloaf Key, Florida, tracing the development of his painterly style and continual experiments with line, color, pattern and allegory. In Paris in the early 1950s, Copley developed a unique, ribald figurative style that bucked prevailing trends toward abstraction, taking inspiration from Surrealist painting, American, cartoon and silent-movie imagery. Throughout his career, he repeatedly returned to subjects like nudes, cars and nationalism; later works reveal his abiding interest in political and psychosexual themes, surrealist visual punning and vaudevillian Americana, making Copley a link between European Surrealist and American Pop circles. Featuring approximately 250 paintings and works on paper, the volume accompanies the first comprehensive presentation of the artist’s work in an American museum, also scheduled to travel to Italy.
Published by DESTE Foundation for Contemporary Art. Edited by Karen Marta, Nell McClister, Eleni Michaelidi. Text by Germano Celant, Dakis Joannou.
A hybrid of archive and oral history, Deste 33 Years: 1983–2015 tells the colorful and nontraditional story of Deste Foundation for Contemporary Art and its founder, Dakis Joannou, whose deeply personal approach has informed the foundation’s ability to embody a given cultural moment—all while defying convention. "Deste was always really about ideas," Joannou says. "And the first idea was to create a museum of contemporary culture. Looking back, I’m not sure I was really collecting art. I think I was collecting relationships." Retracing more than three decades of one of the world’s most important contemporary art foundations through archival photographs, press clippings, critical reviews, correspondence and unabashed conversations with many main protagonists—Maurizio Cattelan, Jeffrey Deitch, Urs Fischer, Massimiliano Gioni and Jeff Koons, among others—this more than 850-page book walks the reader through not only the extraordinary, artist-centric work, but also through the recent and entertaining history of contemporary art itself.
Published by Gregory R. Miller & Co.. Introduction byTom Eccles, Beatrix Ruf, Hans Ulrich Obrist. Text by Johanna Burton, Germano Celant. Interview with Hans Ulrich Obrist, Tom Eccles, Beatrix Ruf.
Primarily known for his paradigmatic "shelves" displaying everyday objects, Haim Steinbach (born 1944) has developed a practice that evolved from early minimalist painting with grids and monochromes to later large-scale installations that have seldom been seen in the US. Growing out of a traveling exhibition that features works drawn from throughout Steinbach's career, as well as archival materials and new site-specific installations, Object and Display urges readers to take a closer look at this seminal artist's works. Hundreds of full-color illustrations document the exhibition, which included photographs, models and recreations from past works, along with photography of the site-specific installations that appeared at each institution. New essays by writers Johanna Burton and Germano Celant explore the evolution of Steinbach's practice and his investigations into what constitutes an art object and how art and objects are displayed.
Published by Independent Curators International (ICI). By Terry Smith. Edited by Kate Fowle, Leigh Markopoulos. Preface by Kate Fowle, Terry Smith. Interviews by Terry Smith with Zdenka Badovinac, Claire Bishop, Zoe Butt, Germano Celant, Carolyn Christov-Bakargiev, Okwui Enwezor, Boris Groys, Jens Hoffmann, Mami Kataoka, Maria Lind, Hans Ulrich Obrist, Mari Carmen Ramírez.
Since the publication of Thinking Contemporary Curating in 2012, art historian Terry Smith has continued his travels through the globalizing art world, talking to curators. The dozen searching conversations in this book--with Carolyn Christov-Bakargiev, Claire Bishop, Zdenka Badovinac, Mami Kataoka, Mari Carmen Ramírez, Okwui Enwezor, Germano Celant, Jens Hoffmann, Hans Ulrich Obrist, Maria Lind, Zoe Butt and Boris Groys--provide a vivid sense of contemporary curatorial thought at work. They show curators deeply immersed in thinking about the exigencies of practice, the contexts of exhibition-making, the platforms through which art may be made public, and about what their work can contribute toward understanding what it means to be alive today. Terry Smith is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh. In 2010 he was named Australia Council Visual Arts Laureate by the Australian Government, and won the Mather Award for art criticism conferred by the College Art Association (USA). He is the author of Making the Modern: Industry, Art and Design in America (University of Chicago Press, 1993); The Architecture of Aftermath (University of Chicago Press, 2006), What is Contemporary Art? (University of Chicago Press, 2009), Contemporary Art: World Currents (Laurence King and Pearson/Prentice-Hall, 2011) and Thinking Contemporary Curating (Independent Curators International, 2012).
Published by Silvana Editoriale. Edited by Germano Celant.
This volume provides the definitive survey of the graphic work of Aldo Rossi (1931-97), reproducing 300 prints. In the 1970s and 80s, Rossi attained equal preeminence as an architect, theorist and artist, and it was in the latter capacity that his imagination took full flight. Colorful and humorous, and utilizing simple forms such as cones, cylinders and cubes, Rossi's graphic output extends his vision of the city as a unified entity composed of consistent rather than unconnected structures. Rossi's architectural vocabulary synthesized medieval and Renaissance precedents (most famously in his floating theatre created for the 1979 Venice Biennale) in a manner that led him to be tagged a postmodernist in the 80s, especially in the US where he taught for many years at Yale and Cornell, and erected buildings in Pennsylvania, Florida and Texas. As the work of Rossi and his generation receives renewed critical attention, this volume celebrates one of the postwar era's leading architectural imaginations.
PUBLISHER Silvana Editoriale
BOOK FORMAT Paperback, 9 x 11 in. / 256 pgs / 300 color.
PUBLISHING STATUS Pub Date 11/24/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 159
PRODUCT DETAILS ISBN 9788836630844TRADE List Price: $50.00 CDN $67.50
AVAILABILITY In stock
in stock $50.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
This volume is a retrospective of Matthias Schaller's (born 1965) photography, presenting all his major bodies of work from the last 13 years, such as the series Studio Gursky (2000), documenting Andreas Gursky's Düsseldorf studio, and Die Mühle (2001-2), showing the studio-home of Bernd and Hilla Becher. Presenting thumbnail images of numerous series and a bibliography, this book is the perfect entry point to Schaller's oeuvre.
Published by Fondazione Prada. Introduction by Germano Celant. Text by Jo Applin, Luciano Chessa, Chiara Costa, Christoph Cox, Geeta Dayal, Patrick Feaster, Christoph E. Hänggi, Bart Hopkin, Douglas Kahn, Alan Licht, Andrea Lissoni, Noel Lobley, Deirdre Loughridge, Mario Mainetti, Simone Menegoi, Holly Rogers, Jonathan Sterne, David Toop, John Tresch, Eric de Visscher, Rob Young. Preface by Miuccia Prada, Patrizio Bertelli.
Art or Sound examines the rich overlap and areas of ambiguity between musical instruments and works of art. Looking at examples spanning the seventeenth century to the present, this gorgeously produced book, with its thick vinyl cover, offers a fascinating reinterpretation of the musical instrument and the ways in which it can become a sculptural-visual entity (and vice versa). It opens with instruments made from precious materials in the seventeenth century, eighteenth-century musical automata by Pierre Jaquet-Droz and various customized instruments from the Victorian and early modern eras. Research in the field of synesthesia is presented along with works from the historical avant-gardes, such as Luigi Russolo's celebrated Intonarumori (1913). Also included are scores by John Cage, works by Robert Morris and Nam June Paik, sound installations such as Robert Rauschenberg's Oracle (1962–65) and Laurie Anderson's Handphone Table (1978). Examples of artistic appropriations of musical instruments (by the likes of Arman, Richard Artschwager and Joseph Beuys) and hybrid instruments by Ken Butler and William T. Wiley are considered alongside the more recent research of artists such as Christian Marclay, Janet Cardiff, Martin Creed and Doug Aitken, and a younger generation, represented by Anri Sala, Athanasios Argianas, Haroon Mirza, Ruth Ewan and Maywa Denki, among others. Esteemed writers, musicians and scholars such as Christoph Cox, Douglas Kahn, Alan Licht, David Toop and Rob Young contribute contextualizing essays.
Twenty-five years after Mapplethorpe’s death, an overview on his nudes, portraits, self-portraits, floral still lifes, and other works compiled by the art critic Germano Celant. Robert Mapplethorpe’s wide, provocative, and powerful body of work has established him as one of the most important artists of the twentieth century. Since 1977, Germano Celant has studied the life and work of Robert Mapplethorpe, participating in interviews and writing essays for several publications and exhibitions. For the first time, this volume gathers the complete anthology of Celant’s writings on the artist: from the 1983 exhibition at Palazzo Fortuny, Venice, with the collaboration of the artist himself, to the posthumous writings published in the catalogs prepared on the occasion of the exhibitions at the Guggenheim Museum, New York, and the Hermitage Museum, St. Petersburg, since 1990.This publication, through over 140 images and texts that appear both personal and scientific, aims to pay tribute to Robert Mapplethorpe’s contribution to the history of photography.
Germano Celant, a renowned art historian, critic, and theoretician, has served as the curator of hundreds of exhibitions worldwide and published more than one hundred books and catalogs.
Sculptures, paintings, and other art objects by one of the most original Young British Artists in an unparalleled exhibition catalog. Published on the occasion of the exhibition at the 55th Venice Biennale, this catalog gathers a number of works by this renowned British artist. It is “a journey from the origins of life” that, according to the artist, through very powerful works celebrates “the awe and wonder of the world in which we live.”
Marc Quinn began his career exploring issues such as the relationship between art and science, the human body and its survival mechanisms, life and its preservation, and beauty and death. Through an interview of the artist with the editor Germano Celant, the volume offers in-depth insight into Quinn's conceptual practice, which incorporates sculpture, painting, and installations. The artist's preoccupation with the metamorphic ability of both human life and nature points to his fascination with our innate spirituality. Quinn questions the codes of nature through his adoption of uncompromising materials, such as ice, blood, marble, glass, and lead. Through the use of such materials, his works are at once poetic and confrontational and explore life, death, sexuality, and religion. Quinn transforms the very act of seeing by forcing viewers to question what is around them, pushing them into the unknown in order to rediscover life.
Internationally known for his writings on Arte Povera, Germano Celant has been a contributing editor at Artforum since 1977 and at Interview since 1991. The director of Fondazione Prada, Milan, since 1995, Celant is also curator of Fondazione Aldo Rossi in Milan and of Fondazione Emilio e Annabianca Vedova in Venice.
Protagonists, Movements and Themes of Art from 1900 to the Present Day
Published by Skira. By Gabriella Belli, Carlo Bertelli, Germano Celant, Ester Coen, Ida Gianelli. Edited by Valerio Terraroli.
In a new exclusive slipcase, the prestigious four-volume series covering the fundamental events and pivotal works of international art in the twentieth century. This series offers a complete, up-to-date survey of the artistic culture of the twentieth century through an original, transversal, and interdisciplinary analysis. This special edition of the series gathers the four volumes into an exclusive lenticular slipcase inspired by a masterpiece that significantly marked the art of the twentieth century. The books provide an extraordinary repertory of images and a vast source of information, enriched through “focus on” windows and technical information by experts in the field. The essays investigate and analyze in chronological order the transformations of the world’s artistic culture, the major personalities, and the different movements that have characterized the development of modern and contemporary art. Roughly 2,000 pages and a number of illustrations provide a broad and complex overview of the movements, artists, works, and cultural phenomena characterizing the last century in an extraordinary publication that examines in depth the tendencies of modern and contemporary art.
Valerio Terraroli teaches History of Modern Art at the University of Verona.
Published by Skira. Edited by Germano Celant. Text by Clare Bell, Richard Calvocoressi.
An exceptional selection of Lichtenstein’s sculptures from 1968 to the end of the artist’s life, from early ceramic sculptures to large-scale public works. The planned exhibition at the Fondazione Vedova in Venice (Biennale Arte 2013) will encompass Roy Lichtenstein’s sculptural production throughout his career, from the early 1960s through the late 1990s, covering the influential artist’s sculptural œuvre in ceramic, bronze, wood, porcelain, steel, and aluminum, as well as drawings, collages, and maquettes that describe the artist’s working processes. This catalog—a major chronology of Lichtenstein’s sculptures—not only documents the process of the artist, from sketches and drawings to collages, maquettes, metal sculptures, and large-scale interventions in urban contexts, it also approaches Lichtenstein’s work from the perspective of fabrication methods and industrial techniques.
Internationally known for his writings on Arte Povera, Germano Celant has been a contributing editor at Artforum since 1977 and at Interview since 1991. Clare Bell is program manager and researcher at ths Roy Lichtenstein Foundation. Richard Calvocoressi is director of the Henry Moore Foundation.
A complete monograph dedicated to one of the most important American artists of the twentieth century. This gorgeous monograph presents an impressive collection of 560 works: 100 large-format works in full-page reproductions and 460 reproductions of installations, collages, and designs, arranged in chronological order. The works are accompanied by some 200 images of documents, photographs, magazine articles, as well as 50 works by her contemporaries.
Germano Celant is author of more than one hundred publications, including both books and catalogues.
A glimpse into the mind of one of the most unique sculptors of the twentieth century. This monograph considers Mattiacci’s historic adventures starting from the 1960s, when the artist was associated with the Italian avant-garde movement Arte Povera.
Germano Celant was the senior curator of contemporary art at the Guggenheim Museum in New York from 1989 to 2008. He has been a contributing editor at Artforum since 1977 and at Interview since 1991. Among his books are Anselm Kiefer: Salt of the Earth (Skira, 2012); Louise Bourgeois: The Fabric Works (Skira, 2011); and Piero Manzoni (Skira, 2009), among others.
Published by Fondazione Prada. Edited by Germano Celant. Introduction by Miuccia Prada. Preface by Miuccia Prada, Patrizio Bertelli. Text by Gwen L. Allen, Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert. Interviews with Thomas Demand, Rem Koolhaas.
In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a dialogue with the Bern Kunsthalle, and Celant has reprised its spirit by placing the works in dialogue with the Ca’ Corner della Regina--a very different building, in its Venetian grandeur, to the Kunsthalle. This publication is divided into three parts: the first reproduces photo documentation of the original exhibit, the second compiles essays and interviews on Celant’s project and the third includes the installation views of the show in Venice. The book is completed by a "Register" of works included in both shows.
Published by Kerber. Edited by Martin Engler, Max Hollein. Text by Martin Engler, Germano Celant, Massimiliano Gioni, Francesca Pola, Dominique Laporte, Franziska Leuthäusser.
Few artists have combined conceptual ingenuity with devastating critique as deftly and wittily as Piero Manzoni (1933–1963). Fifty years after his death at the tender age of 29, Manzoni remains unsurpassed as a provocateur: his Artist's Breath and Artist's Shit editions, which now sell for hundreds of thousands of dollars, are unanswerable satirical attacks on art-world economics and values, and his designations of various persons (such as Umberto Eco and Marcel Broodthaers) as "living artworks" prefigure many strains in performance art. Manzoni thus effected some of the most decisive paradigm shifts in postwar art, something for which he is only rarely given full credit. This comprehensive survey accompanies a major retrospective at the Städel in Frankfurt (the first major Manzoni retrospective outside Italy in more than two decades), and is published on the occasion of what would have been his eightieth birthday. It reproduces more than 100 works from all phases of the artist's brief but massively influential career, from his early Klein-influenced monochromes (or "Achromes") and the Art Informel years to his role as a leading member of the Zero group (alongside Mack, Piene, Tinguely, Klein, Fontana) and beyond.
Over the past four decades, Anselm Kiefer has produced a diverse body of work in painting, sculpture, and installation that has made him among the most important artists of his generation.
His subject matter includes sources as diverse as Teutonic mythology and history, alchemy, and the nature of belief, all depicted in a bewildering variety of materials, including oil paint, dirt, lead, models, photographs, woodcuts, sand, straw, and all manner of organic material. By adding found materials to the painted surface of his immense tableaux, he invents a compelling third space between painting and sculpture.
With more than 400 color images of the artist’s works, this catalog presents works which have rarely shown in public and his most recent works.
It includes critical essays, an interview with the artist, and a chronology detailing his long career.
Germano Celant was senior curator of contemporary art at the Solomon R. Guggenheim Museum in New York from 1989 to 2008. Internationally known for his writings on Arte Povera, in 1987 he received the Frank Jewett Mather Award, the most prestigious American prize for art criticism. He has been a contributing editor at Artforum since 1977 and at Interview since 1991.
An unparalleled exhibition catalogue of Lucio Fontana’s architectural work. For the first time in the United States, the exhibition Lucio Fontana: Ambienti Spaziali presents a substantial number of the spatial environments conceived by the artist between 1948 and 1968, works that can be regarded as forerunners of the environments created by figures such as Allan Kaprow and Robert Irwin and the light art of the likes of Dan Flavin and Bruce Nauman. The book reproduces all the works in the exhibition, including drawings, sketches, environments, sculptures, and paintings.
Germano Celant was senior curator of contemporary art at the Solomon R. Guggenheim Museum in New York from 1989 to 2008. Internationally known for his writings on Arte Povera, in 1987 he received the Frank Jewett Mather Award. He has been a contributing editor at Artforum since 1977 and at Interview since 1991. Among his books: Anselm Kiefer: Salt of the Earth (Skira, 2012); Louise Bourgeois: The Fabric Works (Skira, 2011); Piero Manzoni (Skira, 2009), among many others.
Published by Damiani. Introduction by James Frey. Text by Germano Celant.
Holy Works is the culmination of Andres Serrano’s vision of Christian iconography, reinterpreted photographically for the present. Serrano’s intention with these works is not to recreate specific medieval or renaissance religious paintings, nor to invest them with the iconoclasm that made his name in the 1980s, but rather to renew the genre of sacred portraiture: “Rather than destroy sacred icons,” says the artist, “I reinvent and reinforce them.” Serrano’s subjects for this series are selected from among his friends and acquaintances, emphasizing (like Caravaggio before him) the ordinariness of human features. The genres and themes are familiar, and Holy Works includes a “Last Supper” and a “Stations of the Cross” (rendered as a triptych panel), as well as bolder portrayals typical of Serrano--a “Blood Madonna” and a “Chinoise Madonna,” for example. This volume is Serrano’s major statement of his religious and artistic belief.
Published by Walther König, Köln/Koenig Books. Edited by Sophie O’Brien, Melissa Larner, Rosalind Furness. Text by Germano Celant, Julia Peyton-Jones, Hans Ulrich Obrist, Michelangelo Pistoletto.
For his 2011 exhibition at the Serpentine Gallery, recorded in this volume, Arte Povera veteran Michelangelo Pistoletto (born 1933) devised a chest-high labyrinth made of cardboard, to draw visitors through the galleries and steer them into encounters with various sculptures.
Published by Damiani. Introduction by James Frey. Text by Germano Celant.
This signed and numbered limited edition of Holy Works, the culmination of Andres Serrano's reinterpretation of Christian iconography, comes in a cloth box and includes a print. Serrano's intention with his newest works is not to recreate specific medieval or renaissance religious paintings, nor to invest them with the iconoclasm that made his name in the 1980s, but rather to renew the genre of sacred portraiture: "Rather than destroy sacred icons," says the artist, "I reinvent and reinforce them." Serrano's subjects for this series are selected from among his friends and acquaintances, emphasizing (like Caravaggio before him) the ordinariness of human features. The genres and themes are familiar, and Holy Works includes a "Last Supper" and a "Stations of the Cross" (rendered as a triptych panel), as well as bolder portrayals typical of Serrano-a "Blood Madonna" and a "Chinoise Madonna," for example. This volume is Serrano's major statement of his religious and artistic belief.
Published by Progetto Prada Arte. Edited by Germano Celant.
The Fondazione Prada vigorously supports the contemporary arts through exhibitions, installations and publications. This volume documents the breadth of its activities, from its preservation work on the eighteenth-century building housing its Venice exhibition space, to collaborations with artists such as Thomas Demand, to its special collection, including works by Louise Bourgeois, Donald Judd, Jeff Koons, Frank Stella, Damien Hirst and many more.
Published by D.A.P./University of California, Berkeley Art Museum and Pacific Film Archive. Edited by Lawrence Rinder, Dena Beard. Text by Alex Baker, Natasha Boas, Germano Celant, Jeffrey Deitch.
Published on the occasion of the first major survey of Barry McGee’s work, this monumental volume records more than two decades of incredible fecundity, over the course of which McGee has pioneered a new iconography of sharp street vitality and graphic snap. McGee began as a graffiti artist on the streets of San Francisco, working under such tags as Ray Fong, Twist and Twisto, and his work since then has hugely expanded the terms of both street art and contemporary art. The freshness of McGee’s work stems in part from his virtuoso handling and consolidation of a whole panoply of influences, from hobo art, sign painting and graffiti to comics, Beat literature and much else. His extraordinary skill as a draughtsman is energized by his insistence on pushing at the parameters of art--his work can be shockingly informal in the gallery and surprisingly elegant on the street--and by his keen nose for social malaise. This volume revisits McGee’s most influential installations in art spaces, and considers the evolution of his aesthetic within institutional settings. Previously unseen photographs by Craig Costello document the artist’s work on the streets of San Francisco in the early 90s, highlighting the contributions of his friends and mentors. Also included are images from the artist’s famous slide lecture, compiled and refined over the past 20 years, and an oral history of the Bay Area’s Mission School by McGee’s friends, mentors and collaborators. Featuring 450 images, including many never before published, the book is designed by the artist in collaboration with Conny Purtill.
Barry McGee (born 1966) began exhibiting his work in the 1980s--not in a museum or gallery setting but on the streets of San Francisco. In the early 90s he was closely associated with the Mission School and the San Francisco Bay Area’s graffiti boom. In 2001 his work was included in the Venice Biennale.
Published by Progetto Prada Arte. Introduction by Germano Celant. Preface by Miuccia Prada, Patrizio Bertelli. Text by Beatriz Colomina, Charles Esche, Nicholas Fox Weber, Elena Gigli, Constance W. Glenn, Maria Gough, Magdalena Holzhey, Adina Kamien-Kazhdan, Karen Koehler, Liz Kotz, Tatyana Vasilevna Kumzerova, Ulrich Lehmann, Annette Malochet, Marie Rebecchi, Julia Robinson, Gianni Emilio Simonetti, Antonio Somaini, Anne Thurmann-Jajes.
From Futurism to Fluxus, virtually every twentieth-century avant-garde produced art multiples of some kind, whether to defuse the auratic power of the unique artwork, or to foster a more democratic art culture. The Small Utopia provides a thorough overview of this tendency, looking at Malevich’s tea sets, Bauhaus textiles and toys, early audio multiples, Duchamp’s readymades, films by Fischinger and Moholy-Nagy, Maciunas’ Fluxus kits, Minimalist and Pop art multiples, artist’s books and small press magazines, among other examples. Some of the field’s finest scholars contribute to this volume, including Maria Gough on Russian Productivism; Elena Gigli on Giacomo Balla; Annette Malochet on Sonia Delaunay’s Atelier Simultané; Karen Koehler on Bauhaus; Antonio Somaini on early sound art; Adina Kamien-Kazhdan on readymades; Marie Rebecchi on abstract cinema; Nicholas Fox Weber on Josef and Anni Albers; and Julia Robinson on Nouveau Realisme and Fluxus multiples. A superbly illustrated chronology rounds out this essential and handsome publication.
Emilio Vedova's artistic career began in Venice in the mid-1930s. He immediately felt the deep allure of grand Venetian painting and sculpture and, guided by the restless agitation and dynamic mobility of the baroque, was soon plunged into total and extreme three-dimensional involvement. The work in Emilio Vedova Scultore originates precisely from his feeling of being a living and breathing part of the beloved spaces he encountered along his way, inexhaustible sources of stimuli and incitement, which he transformed into volumetric works of sculpture, architecture, opera and theatre. In his 1958 exhibition in Warsaw, the geometrical work mounted on the ceiling of the Zachenta Palace confirms Vedova's interest in sculpture and his penchant for articulating spatial implications.
This is followed in 1959 in Venice by the L-shaped teleri in the painting/ambient of Palazzo Grassi and then by his opera Intolleranza '60 (Intolerance '60) at the Teatro La Fenice, in collaboration with Luigi Nono. With the Plurimi (1961-1965), foreshadowed by the Rilievi (Reliefs, 1960-1964), Vedova removes the painting from the wall and installs it in the space of a fragmented, intersected set of surfaces somewhere between painting, sculpture and architecture. In Berlin he creates the Plurimi of the Absurdes Berliner Tagebuch '64, which found their natural development a few years later in Spazio/Plurimo/Luce (Space/Plurimo/Light), executed for Expo 1967 in Montreal. In this work, fourteen glass slides produced by the artist on Murano are projected simultaneously up to a height of 16 metres in the asymmetrical space by an equal number of large-format projectors. In 1977-1978, he works on the Plurimi/Binari from his Lacerazione (Laceration) cycle, where sliding, superimposed surfaces and black and white paintings squeezed into massive steel frames create images in continual transformation. In the same period he also dedicates himself to the Frammenti/Schegge (Fragments/Splinters) cycle - precarious, solitary and asymmetrical presences - and to the ... Cosiddetti Carnevali... (... So-called Carnivals...). Lastly, in the 1980s Vedova began his large installations of the Dischi (Discs) and Tondi - refound, vital and aggressive repossessions of space.
This book addresses the artist's entire career as a sculptor and includes a study of his series of models - his way of taking notes in three dimensions - which mark out his tireless daily quest for expression of the total work, towards which Emilio Vedova was inexorably drawn.
Germano Celant has been Director of the Prada Foundation (Milan) since 1995, and Curator of the Aldo Rossi Foundation (Milan) since 2007. In 2008 he was appointed Curator of the Emilio and Annabianca Vedova Foundation (Venice), and in 2009 became head of Art and Architecture at the Triennale di Milano. From 1989 to 2008 he was Senior Curator of Contemporary Art at the Solomon R. Guggenheim Museum in New York. Internationally known for his writings on Arte Povera, in 1987 he received the Frank Jewett Mather Award, the most prestigious American prize for art criticism. In 1997 he curated the XLVII Biennale di Venezia. He served as artistic supervisor for “Genoa - European Culture Capital 2004“, curating for that occasion the exhibition “Arti&Architettura, 1900-2000“. He has been a contributing editor at Artforum since 1977 and at Interview since 1991 (both in New York); since October 1999 he has collaborated with the Italian weekly L'Espresso (Rome).
A groundbreaking work, edited by Germano Celant in collaboration with the artist and her New York studio, which enriches our knowledge of Louise Bourgeois. Over a long career she worked through most of the twentieth century's avant-garde artistic movements from abstraction to realism, yet always remained uniquely individual, powerfully inventive, and often at the forefront of contemporary art. She was one of the world’s most respected sculptors, best known for her public-space pieces, grand-scale sculptures of spiders so large they must rest outside. But beginning in the 1960s, she used her own clothing and that of her loved ones as components of her sculptures and designs: a reincarnation of her childhood and her past. Her art would expand into new realms in 2002 when she began to weave together scraps of iridescent-colored fabric, creating works that vary from figures of flowers to chromatic abstractions, constituting a repertoire of truly surprising interweaves. This set of images is collected here in its entirety for the first time, constituting the closest thing yet to a general catalog.
Germano Celant, PhD in contemporary art and theory, is the author of more than 100 publications. He is also the curator of hundreds of exhibitions in the most prominent international museums and institutions.
Nearly three decades after its first printing, Book as Artwork 1960-1972 remains a widely-cited landmark in the critical literature on artists' books. Penned by the critic and curator Germano Celant to accompany an exhibition at Nigel Greenwood Gallery in London, it was the first critical consideration of the artist's book. A bibliography lists over 300 historic artist-produced publications from this golden age of the medium.
PUBLISHER 6 Decades Books
BOOK FORMAT Paperback, 5.5 x 7 in. / 104 pgs.
PUBLISHING STATUS Pub Date 1/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 135
PRODUCT DETAILS ISBN 9780982969403TRADE List Price: $20.00 CDN $25.00
A splendid, surprising, and original work of photography, this book is ideal for lovers of contemporary art and the boldest means of expression. Seventy images reveal the painful truth that beauty is fleeting. Giovanni Gastel, who has been exalting beauty for years, challenges himself by confronting one of the deepest philosophical and literary themes.
Germano Celant is the author of more than one hundred publications.
Published by Charta. Text by Germano Celant, David Vaughan, Barbara Frost, Yvonne Rainer, Paul Taylor, Lucinda Childs, John Cage, Karole Armitage, Nam June Paik, Jasper Johns, Merce Cunningham, et al.
Merce Cunningham (1919–2009) pioneered the contemporary conception of dance as a moving image of life. His innovations in the field date back to the 1940s, when, after meeting composer John Cage, he proposed the separation of music and dance and applied chance procedures to the structure of his dances; later, he used technology to further extend and blur the medium's boundaries. Collecting testimonies from Cunningham's friends and collaborators, this volume surveys the milestones in Cunningham's career, from 1944 to 1999. Composers such as Gordon Mumma, Earle Brown and John Cage, artists such as Jasper Johns, Robert Rauschenberg and Nam June Paik and dancers such as Yvonne Rainer, Douglas Dunn and Carolyn Brown describe their collaborations with Cunningham over the past half-century, in interviews, essays and memoirs, alongside Cunningham's own writings and a wealth of illustrations.
BOOK FORMAT Paperback, 6.75 x 9.5 in. / 320 pgs / 57 bw / 21 duotone.
PUBLISHING STATUS Pub Date 9/30/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2010 p. 81
PRODUCT DETAILS ISBN 9788881582587TRADE List Price: $45.00 CDN $55.00
Published by Fondazione Prada. Text by Germano Celant.
Over the course of 40 years, New York-based Pop painter John Wesley has created a singular body of work with a cast of characters including Dagwood Bumstead, birds and bears all rendered in the same flat sky blue, flesh beige and candy pink palette. Employing a comic strip style and a compositional rigor, Wesley makes warm, sexy paintings with a frequent twist of the bizarre. "When post-global-warming anthropologists begin paddling through the streets of Manhattan in search of visible evidence that this republic was... the cosmopolitan democracy that it purported to be," writes Dave Hickey of this work, "one can only hope that the earnest scientists will stumble across a trove of Wesley's paintings in some tenth-floor loft. If they do, they will almost immediately begin to think better of us. They will think, Hey! These weren't such bad dudes! How could they be? They were cool, generous, and urbane; they encouraged high spirits and valued sex enough to make it elegant and funny."
Piero Manzoni was the enfant terrible of the post-war Italian avant-garde before his untimely death in Milan in 1963 at the age of just twenty-nine. Curated by Germano Celant, the artist’s premier scholar and author of the two editions of the Manzoni catalogues raisonné’s (Milan, 1975 and Milan, 2004), this stunning catalogue spans Manzoni’s entire oeuvre, including works belonging to the Manzoni archives as well as several international museums and private collections. In addition, it presents several works by Manzoni’s American and European contemporaries. Manzoni’s alignments and responses to other artists active at the time, from Robert Rauschenberg to Yves Klein, Lucio Fontana to Robert Ryman, and Cy Twombly to Jasper Johns, demonstrate his own decisive contribution to the art of the late fifties and early sixties. The book is published on the occasion of the first complete retrospective in the U.S. on this artist, installed at the Gagosian Gallery, New York, from January 24 to March 7, 2009. A must-have for every conceptual art fan.
Germano Celant (born Genoa, 1940) has a PhD in contemporary art and theory and is internationally acknowledged for his theories on Arte Povera. Additionally, he is the author of more than one hundred publications, including both books and catalogues. He is also the curator of hundreds of exhibitions in the most prominent international museums and institutions worldwide.
A Century of Off-Media Art, from Futurism to the Web
Published by Skira. Edited by Germano Celant, Gianfranco Maraniello.
Vertigo seeks to document the surge of multimedia art driven by the advent of new technologies, including works produced by great names in art such as Balla, Warhol, Beuys, Anselm Kiefer, Nam June Paik, and Laurie Anderson.
Germano Celant is author of more than one hundred publications and the curator of hundreds of international exhibitions. Gianfranco Maraniello is Director of the MAMbo Museum of Modern Art of Bologna.
As curator of a major U.S. museum, Germano Celant had access to the most influential figures in the scene at a time when America was the eye of the contemporary art storm. This book presents his essays devoted to the most powerful movements in American art from 1960–2000.
Germano Celant is author of more than one hundred publications and is the artistic director of the Milan-New York Prada Foundation.
Published by Progetto Prada Arte. Foreword by Miuccia Prada and Patrizio Bertelli.Text by Germano Celant, Alex Farquharson, Robert Storr, Carlo Bonini.
This elegant, boxed set introduces two new works by Thomas Demand, both presented during the 2007 Venice Biennale. The first volume presents “Processo Grottesco,” a life-sized paper model of a grotto--complete with stalagmites and stalactites--that was exhibited along with other source materials and Demand’s final photographic images. With a section of its pages cut in two, so that one can flip through old cave postcards on top or details of the finished artwork on the bottom, this volume contains rich, exhaustive documentation of the project, including historical documents, working drawings, models in progress, close-up details and final artworks, as well as an essay by Germano Celant. The second, slimmer, silver-edged volume presents the Yellowcake photographs, which portray the Nigerian Embassy in Rome--famous for “sparking” the United States’ 2003 invasion of Iraq. It includes essays by Robert Storr and Alex Farquharson, as well as a summary of “Nigergate” by investigative journalist Carlo Bonini.
Published by Progetto Prada Arte. Foreword by Miuccia Prada and Patrizio Bertelli. Edited by Antonella Soldaini. Text by Germano Celant, Ina Blom.
This instantly collectible exhibition catalogue for German artist Tobias Rehberger's exhibition at Milan’s Fondazione Prada includes two brightly colored volumes bound together by four colored, custom-made elastic bands. Once these are pulled from the set, two very independent pieces are revealed. The first is an exhaustive reconstruction of Rehberger's solo exhibitions from 1990 to 2007, reproduced in glossy color, with installation views and details of his architecture-based sculptures and other works. The second volume is a more concise artist's book, including an interview with prominent curator and art historian Germano Celant. In this second, slimmer book, which presents his audacious film and installation project, On Otto (featuring work by Kim Basinger, Willem Dafoe, Danny DeVito, Ennio Morricone and others), Rehberger investigates the dynamics of filmmaking by reconstructing the process itself, going backwards. This book, imaginatively designed by Double Standard, includes texts by Miuccia Prada, Celant and Ina Blom.
Published by Mitchell-Innes & Nash. Edited by Germano Celant.
Alberto Burri (1915-1995) is a key early figure of the art informel and arte povera movements. This survey of work from the 1940s through the 90s highlights the artist's use of unorthodox materials like burlap, sackcloth, ceramic, plastic and tar and features a new essay by renowned scholar Germano Celant.
Published by Fondazione Prada. Text by Rem Koolhaas, Germano Celant.
Describing the work of the rising Berlin-based Swedish artist Nathalie Djurberg, Miuccia Prada and Patrizio Bertelli write in their introduction to this substantial new volume, "Her videos are characterized by small, animated clay figures that she uses to create surreal atmospheres and often grotesque stories. The rudimentary but ingenious staging of these narrations is created by the artist herself. Sexual reminiscing, references to the macabre, violent and subtle pleasures of cruelty and the vaguely depraved give rise to an ambiguous sense of anxiety and unease." Featuring in-depth documentation of Djurberg's work, an essay by Germano Celant, an interview with the artists and a DVD of "The Prostitute," which was created expressly for this publication, this volume is the most substantial study yet of Djurberg's work.
Nathalie Djurberg was born in Lysekil, Sweden, in 1978 and she currently lives and works in Berlin. Her work was the subject of a recent one-person show at Vienna's esteemed Kunsthalle Wien.
Published by Skira. By Valerio Terraroli, Gabriella Belli, Carlo Bertelli, Germano Celant, Ester Coen, Ida Gianelli.
The Art of the 20th Century is a five-volume project that is distinguished by its innovative style and format. Each volume has narrative text and a full index arranged chronologically by artistic period. In this third volume in the series, the halfway mark of the twentieth century to what many would already describe as the contemporary period is examined.
Valerio Terraroli is professor of the History of Contemporary Art and History of Modern Decorative Arts at the University of Turin.
Published by Fondazione Prada. Edited by Germano Celant.
After more than 15 years--during which it exhibited work by such artists as Louise Bourgeois, Dan Flavin, Carsten Höller, Barry McGee, Tom Friedman, Francesco Vezzoli, Tom Sachs and Nathalie Djurberg and hosted numerous lectures, panels and film festivals of unusual sophistication--Milan's Prada Foundation is widening its exhibition spaces and broadening its cultural perspective with a new compound designed by the renowned Dutch architecture firm, the Office of Metropolitan Architecture (OMA), led, of course, by its Pritzker-Prize-winning founder, Rem Koolhaas. The new art center and permanent exhibition space will be situated in a location that includes early twentieth-century buildings that originally belonged to one of Milan's first spirits manufacturing companies. Preserved in their original condition, the seven preexisting buildings include warehouses, laboratories, brewing silos and workers' residences--surrounded by a large courtyard. OMA/Koolhaas' project adds an exhibition building, an auditorium and a tower to the existing structures, which will house works from the permanent collection. This accessible volume documents the Foundation's past events and future developments, highlighting the ways that contemporary architecture can coexist with a regenerated historic site.
The art of Mimmo Rotella seems to be marked by a constant play of chance and intuition–”the mythical mental radar” to which the artist often alludes in his writings–and can be characterized by his attraction to the unusual, the unexplored and the unforeseen. Germano Celant traces Rotella’s work, in all of its diversified phases and periods from 1946 to the present, including the initial geometrical and pre-décollages works, the decollages and the verso of torn street posters, the artypo and emulsified canvases, the blanks, and the overpaintings. Rotella has been the subject of numerous retrospectives throughout Europe and the United States, including Grand Central Station, New York in 1994; Cuartel del Conde Duque, Madrid also in 1994; Galerie Ernst Hilger, Wien in 1999; and Palazzo della Triennale, Milan in 2004. In 1964, Rotella represented Italy in the Venice Biennale.
Germano Celant is an art historian and Senior Curator for contemporary art at the Solomon R. Guggenheim Museum of New York. He is contributing editor to ArtForum and Interview. He is internationally acclaimed for his work on “Arte Povera.” His recent publications include Architecture & Arts 1900/2004 (Skira 2005) and Manzoni Catalogo delle Opere (Skira 2004).
Published by Skira. By Valerio Terraroli. Contributions by Gabriella Belli, Carlo Bertelli, Germano Celant, Ester Coen, Ida Gianelli.
This second volume in the Art of the Twentieth Century series analyzes and presents the diverse world of artistic production between the two world wars, beginning with the environment that took shape in the immediate wake of World War I. The Artistic Culture Between the Wars is an interdisciplinary survey of this period’s changing artistic climate that included the re-emergence of a figurative approach (the New Objectivity), and the evolution of an avant-garde that is now historicized by its second-generation artists. Also considered are phenomena such as Surrealism, the change in taste from Art Deco to Novecentismo, and the expression of the totalitarian regimes during the outbreak of World War II. The book’s chronological boundaries stretch from the birth of the Dada in Germany to the birth of Abstract Expressionism (1943-1945).
Valerio Terraroli is professor of History of Contemporary Art and History of Modern Decorative Arts at the University of Turin. He is the author of numerous essays and volumes including the Skira Dictionary of Modern and Decorative Arts (2001) .
Published by Fondazione Prada. Artwork by Andreas Slominski. Foreword by Miuccia Prada, Patrizio Bertelli. Edited by Germano Celant.
This collection of Andreas Slominski's recent work includes Christmas ornaments and all kinds of constructions, including traps, made in a host of materials and techniques. They range from large, aggressive-looking boxes for fighting dogs to toys, like Van for Mice, that let the underdog off the hook. Once arranged on the floor of an exhibition space, these snares create a bit of a minefield, an environment where visitors tread with care. Some experiential pieces share the traps' lighthearted focus on practical matters and working professions: the hiring of frogmen to rescue keys thrown from a bridge, of a skyscraper painter to work on a high window, and of seamstresses to take apart and put back together viewers' pants--after which they sew in a label marking them as part of a limited edition. With a preface by Miuccia Prada and Patrizio Bertelli.
Published by Fondazione Prada. Edited by Germano Celant. Essays by Patrizio Bertelli.
Francesco Vezzoli's Trilogia della Morte (Trilogy of Death) explores video and embroidery, an unconventional combination unified by both passion and effectiveness. The 120 Seats of Sodom, inspired by the Italian director and poet Pier Paolo Pasolini's The 120 Days of Sodom, aligns 120 black Charles Rennie Mackintosh chairs with embroidered seats before a tapestry showing erotic scenes from other Pasolini films. Non-Love Meetings, conceived as a reinvention of Pasolini's documentary Love Meetings, in which the director traveled through Italy interviewing people about love and sex, is set in a television studio and evokes Blind Date as much as its titular reference. Like Love Meetings, it seeks to create a psychological territory in which the public speaks openly about sex and love; like reality TV, it stars a showgirl, as well as actresses from the film world, MTV and soap operas, all of whom are courted by unlikely suitors. A fetching and thought-provoking mix of both formal and colloquial entertainment.
Published by Fondazione Prada. Edited and with essay by Germano Celant. Preface by Miuccia Prada and Patrizio Bertelli.
This comprehensive survey of the work of the young and influential American sculptor Tom Sachs is the first of its kind, and long overdue. Sachs appropriates elements from American popular culture, including fast food, skateboarding and hip-hop music, and mixes them with overt references to luxury fashion labels, as well as icons of Modernist art and design. Even as Sachs's work maintains an overt antagonism toward consumerism and globalization, it reveals an inherent idealism, championing transparency of production and homespun craftsmanship. Produced on the occasion of the artist's solo exhibition at the Fondazione Prada, Milan, this book illustrates the prolific and innovative nature of Sachs's career, highlighting his fascination with weapons, conformity, cultural imperialism and craft.
Created in collaboration with the Archivio Opera Piero Manzoni (Onlus) this volume is the first complete cataloging of the work of Manzoni.
A major figure in the art scene of Europe in the late 20th century, Manzoni interpreted the cultural experiences of his time and mixed and matched them, furiously inventing a vast variety of found materials and media, from cotton to “shit,” kaolin to polystyrene, and fiberglass to the human body.
Manzoni (1933-1963) created an immense oevure in an all-too-brief career. During the late 1950s and early 1960s, he persisted in building an art that lay outside of trends and labels: an alchemistic, anarchistic art, constantly ready to divest traditional aesthetic values, seeking a complete reinterpretation of the world. This two-volume catalog is no less than due recognition of Manzoni's courage and genius.
Published by Fondazione Prada. Essays by Germano Celant and Herzog & de Meuron. Introductions by Miuccia Prada and Patrizio Bertelli.
In the Aoyama district of Tokyo, a mixed-use neighborhood of low-rise buildings where not a square meter of land has been left unoccupied, the Swiss architecture team of Herzog & de Meuron has built a new store for Prada. In this chunky, silvery book, they meticulously illustrate the creative process that led to the realization of “a house and a plaza,” a tall and narrow kaleidoscope-like structure that houses a two-story retail space and multiple levels of offices, backed by an outdoor space for the public--a rarity in crowded Tokyo. The finished structure, encased in a visually porous shell or skin, is as decorative as it is architectural--or as architectural as it is decorative--and is both metaphorically and literally linked to its surrounding environment, and to the idea of the garment. Here is the story of a theoretically and structurally complex building told lovingly and simply by its architects, through words, models, sketches, photographs and architectural renderings.
Published by Fondazione Prada. Edited by Germano Celant. Introduction by James Sanders.
The Tribeca Film Festival brings together film lovers from around New York City and around the world to watch and discuss the newest U.S. and international independent and studio films. In addition to the film program is the Tribeca Talks panel series that includes one-on-one discussions with influential filmmakers. This publication is a collection of transcripts from the Tribeca Talks panels of 2002 and 2003. Featured are documents from nine panels, including: New York, New York: A Movie Maker's Muse with Martin Scorsese, Jay Cocks, and Richard Price, moderated by Nick Davis; In Love, in the Movies with Lauren Bacall, James Harvey, Paul Rudnick, and Jennifer Westfeldt, moderated by Nora Ephron; What's So Funny? Laughter in the Movies with Jay Roach, Paul Rudnick, Trey Parker, and Matt Stone, moderated by Lisa Birnbach; and Actors on Acting with Roger Bart, Edie Falco, Helen Hunt, Holly Hunter, and Paul Rudd, moderated by Peter Bart. The introduction by James Sanders explores the history and urban character of Tribeca, including the arrival of the film community in the 1990s, the impact of September 11th, and the subsequent birth of the Tribeca Film Festival under the auspices of the Tribeca Film Institute (founded in 2002 by Robert De Niro, Jane Rosenthal, Martin Scorsese, and Craig Hatkoff). Also included are special selections of favorite New York films by Martin Scorsese and Peter Scarlet, plus quotes from New York filmmakers like Ron Howard, Sydney Lumet, Harold Ramis, and Nora Ephron, as well as a brief glossary and an index of the films shown in the festival's first two years.
Published by Richter Verlag. Essays by David Batchelor, Lynne Cooke, Germano Celant, Danilo Eccher, Carla Schulz-Hoffmann, Mark Francis, Peter Schjeldahl and Ulrich Wilmes.
Tony Cragg embarked on his fine art education in 1969, a time when Minimalism, Land Art, Conceptual Art, and Arte Povera were fresh and present. Those movements marked his artistic beginnings, and thus in his earliest works Cragg started out with found materials, which he stacked, heaped, or spread on to the floor so as to study and analyze their properties. To capture the receptacle forms of vessels and cells--understood as a metaphor for any biological organism--he used traditional materials such as cast iron, bronze, glass, or stone. More recently, his interest has been increasingly directed at converting one idea into numerous variations. For instance, in the Early Forms series, the inner and outer forms become ever more complex; in Rational Beings, the sculptural form becomes ever more volumetric and statuesque. In the end, Cragg's sculptures can never be unambiguously classified; they appear as sensual, poetic creatures, mutable and paradoxical. This present scholarly survey of Cragg's work distinguishes systematic and chronological aspects, reflects on ways of working and material resources, and makes apparent associations, interconnections, and evolutionary strands.
Published by Guggenheim Museum Publications. Essays by Germano Celant, Jennifer Blessing, and Arkady Ippolitov.
Robert Mapplethorpe never concealed his interest in and passion for the human figure in all its sensuous manifestations. His celebrated black-and-white photographs from the later part of the 20th century reveled in the athletic body, the nude body, the exquisite body. This groundbreaking exhibition and its accompanying catalogue explore the relationship between the photography of Robert Mapplethorpe and Classical art, in particular through Mannerist engravings and sculpture. The pairing of works is among the first collaborations between the Guggenheim Museum and the State Hermitage Museum. Robert Mapplethorpe and the Classical Tradition exemplifies the artist's rapport with the elongated and elaborate forms of Mannerist art, namely the study of the human body, highlighting the underlying classicism evident in the clarity and potency of all Mapplethorpe's subjects as well as their explosive energy. The classical ideal was not only a poetic inspiration but also an ethical model and, in his creative quest, Mapplethorpe described photography as "the perfect way to make a sculpture." The potency of love and Eros, which electrifies many of the Mannerist works shown here, is articulated again in the work of Mapplethorpe. The vital anatomical forms of his portraits of models such as bodybuilder Lisa Lyons and the statuesque Derrick Cross find their roots in Antiquity, and here they find their mirror in the likes of Jan Harmensz Muller's Sabine woman and Jacob Matham's Apollo.
The Hermitage's superb collection of Italian painting and sculpture amply illustrates the course of Italian art from the Middle Ages to the 18th century and includes an impressive collection of Mannerist works. Approximately 50 Mannerist works from the Hermitage collection are paired with the same number of works by Mapplethorpe from the Guggenheim's collection, are several Italian, French and Flemish bronze sculptures from the late 16th and early 17th centuries.
Essays by the curators are included: Addressing the return to Classicism at the end of the 16th, 19th, and 20th centuries, Arkady Ippolitov discusses the obsession that defines both the work of Mapplethorpe and the Mannerists. Germano Celant's text further explores the influence this 16th-century style had on Mapplethorpe's artistic practice and sensibility, illuminating the artist's interest in the study of pure form as well as allegorical imagery. Articulated in both word and image, the catalogue also traces Mapplethorpe's complex relationship to the history of art more broadly, ranging from Neoclassicism to Surrealism, with comparisons to the work of Jacques-Louis David, Antonio Canova, Auguste Rodin, Man Ray, and more. A third essay by Guggenheim Curator Jennifer Blessing traces allegorical representations in 19th- and 20th-century photography, with references to Mapplethorpe's oeuvre.
Published by Guggenheim Museum Publications. Edited by Germano Celant and Clare Bell. Interview by Julia Blaut.
Jim Dine is one of America's best-known image-makers. This book, published to accompany the first major exhibition of Dine's work from the 1960s, reproduces a broad selection of his early mixed-media works, paintings and sculptures. Many of the works featured in this volume contain elements of the now-familiar themes of Dine's career: tools, robes, hearts, palettes and domestic interiors. Bringing together fascinating performance photographs with vivid full-color reproductions, the book is the first to explore the complex relationship between Dine's mixed-media works and his environments and theater pieces.
Published by Guggenheim Museum Publications. Edited by Edward J. Sullivan. Essays by Germano Celant, Nelson Auguilar and Emanoel Arajo.
New Lower Price This magnificent volume is a soaring tribute to the harmonious nature of Brazilian art and culture. Juxtaposing Baroque masterpieces from the 17th and 18th centuries with essential works of Modern and contemporary art as well as indigenous and Afro-Brazilian arts, the book's editors explore the integration of sensorial and spiritual experience in Brazilian art--the union of body and soul. Included are some 350 paintings, sculptures, and decorative objects, ranging from a monumental Baroque altarpiece to contemporary photographic works and installations. Throughout, the text reveals the deep cultural links between the different periods, tracing the indigenous, African and European influences in Brazilian art from the Baroque era to the present.
Published by Guggenheim Museum Publications. Edited by Germano Celant and Harold Koda. Essays by Susan Cross and Karole Vail.
Armani has been universally credited with both radically changing the rules of contemporary fashion and, by removing excess ornament and translating traditional sportswear looks into business and evening wear, creating a timeless version of modern dress. A wealth of illustrations, including editorial and advertising shots and new, specially commissioned photographs, charts the evolution of Armani's designs from the earliest sketches to their carefully orchestrated presentation as finished work. Celebrated authors from the worlds of fashion, film, art and design analyze the scope of Armani's achievement and his cultural and sociological impact on the ways both women and men dress today. In addition, personal photographs of Armani's houses and travels offer an intimate look at the man behind the fashion legend. Elegant and unprecedented, this lavish volume accompanies a major exhibition at the Solomon R. Guggenheim Museum, New York, exploring the life and work of the highly influential fashion designer Giorgio Armani.
Published by Fondazione Prada. Essay by Germano Celant. Introduction by Miuccia Prada.
In an effort to implicate a wider public in the experience and production of art, Carsten Höller employs strategies of direct involvement that help to abolish the barrier between the work of art and the spectator. Sculptures and installations designed for the Fondazione Prada insist on visitor interaction, and the act is reciprocated: the works change progressively through intermittent lights that transmit vibrations to the visitor's body. A hallucinatory subversion of private sensation results, in accord with Höller's aspiration to sabotage the complacencies of everyday life. Complete with a biography and bibliography, this catalogue is the most exhaustive documentation of Höller's challenging work to date.
Published by Gagosian Gallery. Artwork by Jim Dine, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Mel Ramos, Robert Rauschenberg, Larry Rivers, James Rosenquist, Tom Wesselmann. Edited by Germano Celant. Contributions by Bob Monk. Text by Scott Rothkopf, Jeremy Gilbert-Rolfe, Judith Goldman, Linda Norden, Lane Relyea, Petrus Graf Schaesberg, Rainer Crone, Dave Hickey, David Shapiro.
A giant, soft drum set by Claes Oldenburg, a white alphabet by Jasper Johns, a combine painting with radio attached by Robert Rauschenberg, a composition with a halved peach, a Buick and a naked lady by James Rosenquist, rows of Campbell's soup cans by Andy Warhol, pin-up girls by Mel Ramos, and a graphic explosion by Roy Lichtenstein: the works gathered here pack more of a big bang than a pop. With signature pieces by the movement's stars, the John and Kimiko Powers Collection of Pop Art is considered one of the most extensive in private hands. Accompanied by individual essays on each of the represented artists.
PUBLISHER Gagosian Gallery
BOOK FORMAT Hardcover, 10.75 x 12.25 in. / 144 pgs / 28 color / 15 bw.
PUBLISHING STATUS Pub Date 3/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9781880154526TRADE List Price: $80.00 CDN $95.00
Published by Fondazione Prada. Artwork by Barry McGee. Edited by Germano Celant, Miuccia Prada. Text by Patrizio Bertelli.
A graffiti artist and tagger by nature, Barry McGee has in the last few years taken a stealth, guerilla art form, one that is typically the subject of complaint, arrest, and general unappreciation, and transformed it into a well-received medium for display in museum and commercial gallery spaces. His drawings, paintings, and mixed-media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray-paint cans, tagged signs, wrenches, and scrap wood or metal into overwhelming, space-transforming interior worlds. Though McGee views graffiti as a vital method of communication, one that keeps him in touch with a larger, more diverse audience than can be reached through the traditional spaces of galleries or museums, he makes fine use of traditional exhibition spaces, using them not only to communicate a subcultural point of view to gallery goers but also to point out ways in which space can be reclaimed. Barry McGee brings together the artist's graffiti work, paintings, installations, and photography, and is published on the occasion of his exhibition at the Fondazione Prada, in Italy. Included is an interview with McGee by Germano Celant, senior curator of contemporary art at the Solomon R. Guggenheim Museum, New York.
Published by Fondazione Prada. Essays by Germano Celant, Darian Leader. Foreword by Miuccia Prada.
Through his use of such unorthodox materials as bread, blood, excrement, silicon, ice, and, more recently, plants and flowers, Marc Quinn works with the fundamental constituents of our existence. His analysis of the physical nature of the body and the mysteries associated with it are expanded in this novel kaleidoscope of a book. Containing images of classical sculptures, old paintings, scenes of war, disasters, car and plane crashes, portraits of disabled people, works by other contemporary artists, scientific photographs, and a selection of works and photographs by Quinn himself, this book constitutes a fascinating, associative approach to a body of work which concerns questions that often have no answers. Included are critical essays, an interview with the artist, and conversations between him and the people portrayed in his sculptures.
Published by Walker Art Center. Essays by Francesco Bonami, Giorgia Bottinelli, Germano Celant, Carolyn Christov-Bakargiev, Corinna Criticos, Judith Kirshner, Robert Lumley, Karen Pinkus. Artists include Giovanni Anselmo, Alighiero e Boetti, Giorgia Bottinelli, Pier Paolo Calzolari, Lu
Zero to Infinity: Arte Povera, 1962-1972 focuses on one of the most innovative and influential art movements of the postwar era. Arte Povera came of age in the context of the ''Italian miracle'' economic boom and the subsequent student and workers revolts of 1968, motivated by an urge to revolt not only against the primacy of painting in the postwar period, but also against the emerging consumer culture. This exhibition and its accompanying catalogue provide a highly comprehensive retrospective of the Arte Povera movement as a historical and aesthetic phenomenon that crossed a wide range of disciplines, including sculpture, installation, drawing, photography, film and performance. The exhibition traces Arte Povera's genesis within the artistic and political context of Italy to its positioning within the broader international context of postwar artistic practices, a moment marked by the participation of the Arte Povera group in the 1972 Documenta V exhibition in Kassel. This essential new catalogue is designed by the Walker Art Center's award-winning design department, and includes a wide range of essays by international scholars and curators, as well as rare historical documentation, in an unprecedented re-examination of the Arte Povera movement.
Published by Charta. Edited by Ida Gianelli. Contributors include Jean-Christophe Ammann, Germano Celant. Artists include Giovanni Anselmo, Alighiero e Boetti, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto.
The Arte Povera movement, similar to other movements of its time such as Conceptual Art and Process Art, brought about a radical redefinition of art itself, and provided an alternative to the increasingly hegemonic art trends of the day. Arte Povera: In Collection examines a significant nucleus of historical works of the Arte Povera movement from three important collections: the Museum of Contemporary Art Castello di Rivoli, the Galleria d'arte Moderna in Turin, and the recent acquisitions of the Fondazione CRT in Turin. Included here are 90 works by the protagonists of the Arte Povera movement: Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto and Gilberto Zorio. The book focuses on these artists' classic works from the 60s and 70s, but also includes some recent work from each artist. In addition, the book features new, unpublished essays by each of the artists (except for the deceased Boetti), and historical texts by major art critics Tommaso Trini, Harold Szeemann, Jean Christophe Amman, and of course Germano Celant, who coined the term ''Arte Povera'' in 1967.
BOOK FORMAT Paperback, 9.5 x 11 in. / 320 pgs / 114 color / 50 bw.
PUBLISHING STATUS Pub Date 2/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9788881583164TRADE List Price: $45.00 CDN $55.00
This monograph is the first in English on a seminal artist, who, perhaps more than any other, helped to put an end to the marginalization of women in the Italian art scene, and who co-founded the Forma 1 movement in 1947. Her groundbreaking work in the use of color, and her role as a defender of abstraction during the 1950s, puts her at the forefront of Italian art of the mid-twentieth century.
BOOK FORMAT Paperback, 9.5 x 11.75 in. / 364 pgs / 144 color / 167 bw.
PUBLISHING STATUS Pub Date 11/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2001
PRODUCT DETAILS ISBN 9788881583263TRADE List Price: $50.00 CDN $60.00
Published by Charta. Edited by Germano Celant. Essays by Assumpta Bassas, Michael Heizer, Nick Kaye, Willoughby Sharp, Robert Smithson, Steve Wood, Olivier Zahm, Lynn Hershman-Leeson.
One of the most adventurous American artists working today, Dennis Oppenheim has centered his artistic investigations on the dialogue between art and the self. An active innovator since the sixties, Oppenheim has pioneered both body art and so-called land art. Most famous for his whimsical, large-scale installation pieces, Oppenheim has worked with a variety of mediums: from performance and video art, to three dimensional moving machine pieces, and sculptural works employing unorthodox materials. This book is a comprehensive compendium of Oppenheim's art, his most complete monograph to date, and includes an interview with the artist. From a giant metallic upside-down church, to a group of human-sized hot dogs in sleeping bags gathered around a campfire, Oppenheim's work is alternately strange, humorous, and fascinating.
BOOK FORMAT Hardcover, 9.5 x 11.5 in. / 416 pgs / 204 color / 136 bw.
PUBLISHING STATUS Pub Date 3/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9788881582686TRADE List Price: $70.00 CDN $85.00
Published by Charta. Artwork by Marcello Morandini. Edited by Germano Celant, Germano Celant.
Marcello Morandini has become a reference point for designers around the world. This catalogue features 40 works of art and 40 design products organized by theme, and illustrating his importance in the fields of sculpture, graphic design, industrial design and urban planning.
BOOK FORMAT Hardcover, 8.5 x 11 in. / 296 pgs / 159 color / 178 duotone.
PUBLISHING STATUS Pub Date 8/2/2000 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2000
PRODUCT DETAILS ISBN 9788881582839TRADE List Price: $55.00 CDN $65.00