Edited with text by Christophe Cherix, Manuel J. Borja-Villel. Text by Benjamin H.D. Buchloh, Cathleen Chaffee, Jean-François Chevrier, Kim Conaty, Thierry de Duve, Rafael García Horrillo, Doris Krystof, Christian Rattemeyer, Sam Sackeroff, Teresa Velázquez, Francesca Wilmott.
Hbk, 9.5 x 12 in. / 352 pgs / 450 color. | 2/23/2016 | In stock ISBN 9780870709623 | $75.00
Published by The Museum of Modern Art. Text by Christophe Cherix, Esther Adler.
Made at a critical juncture in Betye Saar’s (born 1926) career, the enigmatic assemblage Black Girl’s Window (1969) was recognized by the artist as a crucial link between her past and future even at the time she made it. Saar has drawn upon family history, spirituality, astrology and politics consistently throughout her 60-year career, and all are present in the prints, drawings and found material neatly ensconced within the gridded panes of the antique window frame that is the work’s defining element.
This in-depth study by curators Christophe Cherix and Esther Adler expands our understanding of Saar’s early career and casts light on all that followed. Drawing on new research into the work’s construction and materials, and on firsthand discussions with the artist regarding the making of Black Girl’s Window and the themes behind her evocative imagery, this concise, generously illustrated volume explores one of Saar’s best-known and most iconic works.
Published by The Museum of Modern Art, New York. Edited by Christophe Cherix, Cornelia Butler, and David Platzker. With texts by Christophe Cherix, Cornelia Butler, David Platzker, and Adrian Piper. Backmatter compiled by Tessa Ferreyros
Adrian Piper has consistently produced groundbreaking work that has profoundly shaped the form and content of conceptual art since the 1960s. Strongly inflected by her longstanding involvement with philosophy and yoga, her pioneering investigations into the political, social, psychological and spiritual potential of conceptual art have had an incalculable influence on artists working today.
Published in conjunction with the most comprehensive exhibition of her work to date, this catalog presents more than 280 artworks that encompass the full range of Piper’s mediums: works on paper, video, multimedia installation, performance, painting, sound and photo-texts. Essays by curators and scholars examine her extensive research into altered states of consciousness; the introduction of the Mythic Being—her subversive masculine alter-ego; her media and installation works from after 1980, which reveal and challenge stereotypes of race and gender; and the global conditions that illuminate the significance of her art. Previously unpublished texts by the artist lay out significant events in her personal history and her deeply felt ideas about the relationship between viewer and art object. This publication expands our understanding of the conceptual and post-conceptual art movements and Piper’s pivotal position among her peers and for later generations.
Adrian Piper (born 1948) is a first-generation conceptual artist and analytic philosopher. She received an AA in Fine Art from the School of Visual Arts in 1969, a BA in Philosophy with a minor in Medieval and Renaissance Musicology from the City College of New York in 1974 and a PhD in Philosophy from Harvard University in 1981. Piper’s artwork is in the collections of The Museum of Modern Art, the Centre Pompidou, the Metropolitan Museum of Art, the Generali Foundation and the Museum of Contemporary Art of Los Angeles, among others.
Cornelia Butler is Chief Curator at the Hammer Museum, Los Angeles.
David Platzker is Curator in the Department of Drawings and Prints at The Museum of Modern Art, New York.
Christophe Cherix is Chief Curator of Drawings and Prints at MoMA.
Tessa Ferreyros is Curatorial Assistant in the Department of Drawings and Prints at The Museum of Modern Art, New York.
Published by JRP|Ringier. Edited with text by Jeffrey Uslip. Text by Christophe Cherix, Suzanne Hudson, Anne Pontégnie.
Since the early 2000s, New York–based Kelley Walker (born 1969) has developed a body of work that uses the potency of advertising strategies to interrogate the ways a single image can migrate into several cultural contexts and how everything and everyone is subject to reinvention. Often using such technologies as 3-D modeling and laser cutting, Walker works in photography, painting, printmaking, collage and sculpture, to draw attention to popular culture’s perpetual consumption. This comprehensive monograph features Walker’s various bodies of works to date (the Black Star Press, Brick Paintings, Recycling Signs and Schema series, among others) alongside his most recent pieces. Edited and introduced by Jeffrey Uslip, it brings together new essays by MoMA curator Christophe Cherix, Le Consortium’s Co-Director Anne Pontégnie and University of Southern California’s Professor Suzanne Hudson.
Published by The Museum of Modern Art, New York. Edited with text by Christophe Cherix, Manuel J. Borja-Villel. Text by Benjamin H.D. Buchloh, Cathleen Chaffee, Jean-François Chevrier, Kim Conaty, Thierry de Duve, Rafael García Horrillo, Doris Krystof, Christian Rattemeyer, Sam Sackeroff, Teresa Velázquez, Francesca Wilmott.
Marcel Broodthaers’ extraordinary artistic output placed him at the center of international activity during the transformative decades of the 1960s and 1970s. Throughout his career, from early objects variously made of mussel shells, eggshells and books of his own poetry, to his most ambitious project, the Musée d’Art Moderne, Département des Aigles (Museum of Modern Art, Department of Eagles), and the Décors made at the end of his life, Broodthaers occupied a unique position, often operating as both innovator and commentator. Setting a precedent for what we call installation art today, his work has had a profound influence on a broad range of contemporary artists, and he remains vitally relevant to cultural discourse at large. Published to accompany Broodthaers’ first retrospective in New York, this volume examines the artist’s work across all mediums. Essays by the exhibition organizers Christophe Cherix and Manuel Borja-Villel, along with a host of major scholars, including Benjamin H.D. Buchloh, Jean François Chevrier, Thierry de Duve and Doris Krystof, provide historical and theoretical context for the artist’s work. The book also features new translations of many of Broodthaers’ texts.
Marcel Broodthaers (1924–76) worked as a poet and critic until the age of 40, when he declared himself a visual artist. Over the next 12 years, he moved between Brussels, his birth city, and Düsseldorf and London. From 1968 to 1972 Broodthaers operated the Musée d’Art Moderne, Département des Aigles, an itinerant museum devoted to the exploration of the role of the institution itself and the function of art in society.
Christophe Cherix is Robert Lehman Chief Curator of Drawings and Prints at The Museum of Modern Art, New York.Manuel Borja-Villel is Director of the Museo Nacional Centro de Arte Reina Sofía, Madrid.
Benjamin H.D. Buchloh is Andrew W. Mellon Professor of Modern Art at Harvard University.
Jean-François Chevrier is Professor in the History of Contemporary Art, École nationale supérieure des Beaux-Arts, Paris.
Thierry de Duve is Theorist in Residence, MA Aesthetics and Politics Program at CalArts, Valencia, CA.
Doris Krystof is Curator at Stiftung Kunstsammlung Nordrhein-Westfalen, Düsseldorf.
Cathleen Chaffee is Senior Curator at Albright-Knox Art Gallery, Buffalo, NY.
Kim Conaty is Sue and Eugene Mercy, Jr. Assistant Curator of Drawings and Prints at The Museum of Modern Art, New York.
Rafael García Horrillo is Coordinator of Temporary Exhibitions at Museo Nacional Centro de Arte Reina Sofía, Madrid.
Christian Rattemeyer is Harvey S. Shipley Miller Associate Curator of Drawings and Prints at The Museum of Modern Art, New York.
Sam Sackeroff is Mellon MRC Fellow of Drawings and Prints at The Museum of Modern Art, New York.
Francesca Wilmott is Curatorial Assistant of Drawings and Prints at The Museum of Modern Art, New York.
Teresa Velázquez is Head of Exhibitions at Museo Nacional Centro de Arte Reina Sofía, Madrid.
Published by The Museum of Modern Art, New York. Edited with text by Klaus Biesenbach, Christophe Cherix. Text by Julia Bryan-Wilson, Jon Hendricks, Yoko Ono, Clive Phillpot, David Platzker, Francesca Wilmott, Midori Yoshimoto.
Yoko Ono: One Woman Show, 1960–1971 examines the beginnings of Ono's career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. It begins in New York in December 1960, where Ono initiated a performance series with La Monte Young in her Chambers Street loft. Over the course of the decade, Ono earned international recognition, staging "Cut Piece" in Kyoto and Tokyo in 1964, exhibiting at the Indica Gallery in London in 1966, and launching with John Lennon her global "War Is Over!" campaign in 1969. Ono returned to New York in the early 1970s and organized an unsanctioned "one woman show" at MoMA. Over 40 years after Ono's unofficial MoMA debut, the Museum presents its first exhibition dedicated exclusively to the artist's work. The accompanying publication features three newly commissioned essays that evaluate the cultural context of Ono's early years, and five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction by a guest scholar, artwork descriptions, primary documents culled from newspapers, magazines and journals, and a selection by the artist of her texts and drawings.
Born in Tokyo in 1933, Yoko Ono moved to New York in the mid-1950s and became a critical link between the American and Japanese avant-gardes. Ono's groundbreaking work greatly influenced the international development of Conceptual art, performance art and experimental film and music. In celebration of Ono's eightieth birthday in 2013, the Schirn Kunsthalle Frankfurt organized a major traveling retrospective.
Klaus Biesenbach is the Director at MoMA PS1 and Chief Curator at Large at MoMA.
Christophe Cherix is the Chief Curator of Drawings and Prints at MoMA.
Jon Hendricks is a collector, artist, and the Fluxus Consulting Curator at MoMA.
Clive Phillpot is the former Director of the MoMA Library.
David Platzker is a Curator in the Drawings and Prints department at MoMA.
Published by The Museum of Modern Art, New York. Text by Ann Temkin, Christophe Cherix.
In June 2012, Jasper Johns encountered a photograph of the painter Lucian Freud reproduced in a Christie's auction catalogue. Inspired not only by the image, but by the physical qualities of the photograph itself, Johns took this motif through a succession of cross-medium permutations. He also incorporated into his art the text of a rubber stamp he had had made several years earlier to allow him to efficiently decline the myriad requests and invitations that come his way: "Regrets/Jasper Johns." But the stamp's text also calls to mind the more familiar connotations of regret, such as loss, disappointment and remorse, evoking an enigmatic sense of melancholy. Published in conjunction with an exhibition of this series of paintings, drawings and prints created over the last year and a half through an intricate combination of techniques, this publication presents each of the new works in full color. An essay by Ann Temkin, Chief Curator of Painting and Sculpture, and Christophe Cherix, Chief Curator of Drawings and Prints, The Museum of Modern Art, examines the importance of process and experimentation, the cycle of dead ends and fresh starts, and the incessant interplay of materials, meaning, and representation so characteristic of Johns' career over the last 60 years.
Ann Temkin is an American art curator, and currently the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York.
Christophe Cherix was appointed The Robert Lehman Foundation Chief Curator of Drawings and Prints at The Museum of Modern Art in 2013. His appointment followed a reorganization that merged the Department of Prints and Illustrated Books, of which Mr. Cherix had been Chief Curator since 2010, with the Department of Drawings. He joined the Museum’s curatorial staff in July 2007, after serving as curator of the Cabinet des Estampes at the Musée d'art et d'histoire in Geneva. His specialty is modern and contemporary art, with a particular focus on the art of the 1960s and 1970s.
Published by JRP|Ringier. Edited by Lionel Bovier. Text by Lionel Bovier, Christophe Cherix.
This book focuses on Swiss artist John Armleder’s (born 1948) early Fluxus-related works with Ecart, a group Armleder cofounded with Patrick Lucchini and Claude Rychner in Geneva in the late 1960s. The Ecart Group published artists’ books, presented exhibitions and performances, and opened a bookstore/gallery that is considered to be “one of the most important alternative spaces in Europe in the 1970s” (Ken Friedman). Ecart was particularly important in Europe during the 1970s and 1980s, not only as an independent publishing house, but also because it introduced in Switzerland (and sometimes in Europe) a large number of leading artists of the era, including Joseph Beuys and Andy Warhol. Ecart also worked with artists such as Dick Higgins, Lawrence Weiner, Annette Messager, Daniel Spoerri, Giuseppe Chiari, Maurizio Nannucci and Ben Vautier. This volume is co-published with the Charles H. Scott Gallery, Emily Carr Institute of Art & Design, Vancouver.
Non Profit Collective Oraganizations in the 1960s & 1970s
Published by JRP|Ringier. Edited by Gabriele Detterer. Text by Gabriele Detterer, AA Bronson, Christoph Cherix, Maurizio Nannucci.
In the 1960s and 70s, as the parameters of art expanded to incorporate architecture and performance and increasingly drew on urban theory and the politics of everyday life, the model of the artist-run gallery space gained enormous relevance. Developed in collaboration with the founders of the leading artist-run spaces of the 1960s and 1970s, this volume compiles the first extensive research on the history of this phenomenon. It introduces such spaces as Art Metropole in Toronto, Artpool in Budapest, Ecart in Geneva, Franklin Furnace in New York, La Mamelle in San Francisco, Printed Matter in New York, Western Front in Vancouver and Zona in Florence, along with their founders, including Carl Andre, John Armleder, AA Bronson, Sol LeWitt, Lucy Lippard, Tom Marioni and Maurizio Nannucci.
Published by The Museum of Modern Art, New York. Text by Christophe Cherix, James Thrall Soby.
Paul Klee (1879-1940) was an extraordinary draftsman, printmaker, teacher and theoretician with a singular style whose work greatly impacted the development of twentieth-century art. Klee's prints demonstrate, more fully than his works in any other medium, his remarkable evolution from a traditionalist to one of the most daring innovators of modern art. This limited-edition facsimile of The Prints of Paul Klee, originally published by The Museum of Modern Art, New York in 1947, presents 40 of Klee's etchings and lithographs from MoMA's collection, ranging in date from 1903 to 1931 and each printed on a separate sheet of stiff card, eight of which are in color. Accompanied by a 40-page booklet featuring an essay by James Thrall Soby (then Chairman of the museum's Department of Painting and Sculpture), and a new text by Christophe Cherix, MoMA's Chief Curator of Prints and Illustrated Books, the prints are encased in a cloth-covered and ribbon-bound box. This unique and luxurious portfolio is being reissued for the first time since its original publication, and is available in a limited edition of 2,000 numbered copies.
Published by JRP|Ringier. By Clive Phillpot. Edited by Lionel Bovier. Introduction by Lionel Bovier, Christophe Cherix.
Clive Phillpot has been a tireless advocate for the artist’s book for more than 40 years--both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library’s collection of artist’s books and mapped out the field with influential essays that traced its ancestry and distinguished it from seemingly similar genres such as the livre d’artiste. As he has delineated the genre: “Artists’ books are understood to be books or booklets produced by the artist using mass-production methods, and in (theoretically) unlimited numbers, in which the artist documents or realizes art ideas or artworks.” Also collaborating with Printed Matter and Franklin Furnace, among other places dedicated to the medium of the book, Phillpot helped raise awareness of artists’ books, endowing them with the critical credentials to enter the collections of museums. Booktrek gathers for the first time Phillpot’s essays on the definition and development of artists’ books from 1972 to the present--historical texts, manifestos, catalogue entries and essays on works by Ed Ruscha, Sol LeWitt, Dieter Roth and Richard Long. Booktrek will prove an invaluable reference for all those interested in the evolution of the artist’s book, and offers a crucial account of the genre’s ascent.
Published by The Museum of Modern Art, New York. Edited by Christophe Cherix. Text by Christophe Cherix, Kim Conaty, Sarah Suzuki.
Over the past two decades, the art world has broadened its geographic reach and opened itself to new continents, allowing for a significant cross-pollination of post-conceptual strategies and vernacular modes. Printed materials, in both innovative and traditional forms, have played a key role in this exchange of ideas and sources. This catalogue, published in conjunction with an exhibition at The Museum of Modern Art, New York, examines the evolution of artistic practices related to printmaking, from the resurgence of traditional printing techniques--often used alongside digital technologies--to the worldwide proliferation of self-published artist’s books and ephemera. Print/Out features focused sections on ten artists and publishers--Ai Weiwei, Edition Jacob Samuel, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, Aleksandra Mir, museum in progress, Robert Rauschenberg, Superflex and Rirkrit Tiravanija--as well as rich illustrations of additional printed projects from the last 20 years by major artists such as Trisha Donnelly, Felix Gonzalez-Torres, Thomas Schütte and Kelley Walker. An introductory essay by Christophe Cherix, Chief Curator of Prints and Illustrated Books at the Museum, offers an overview of this period with particular attention to new directions and strategies within an expanded field of printmaking.
Published by JRP|Ringier. Text by Bob Nickas, Christophe Cherix, Rainer M. Mason.
Francis Baudevin (born 1964) makes paintings from graphics designed for various products, primarily pharmaceuticals and album covers. He removes the type, leaving only the graphics, and enlarges the results onto canvases and walls, thereby retrieving geometric abstraction from its influence on commercial design.
Published by JRP|Ringier. Edited by Véronique Yersin. Text by Lionel Bovier, Christophe Cherix, Julien Fronsacq.
Since 1994, the influential independent Geneva art space Forde has provided an open environment for experimental curatorial programming, encouraging critical dialogues across disciplines. This volume gathers descriptions, texts and photographs documenting the events and exhibitions put together by the spectrum of curatorial teams over the past 15 years.
Published by The Museum of Modern Art, New York. Edited by Christophe Cherix. Text by Phillip van den Bossche, Cathleen Chaffee, Christophe Cherix, Rini Dippel, Paula Feldman, Christian Rattemeyer.
During the 1960s and 70s, Amsterdam was a nexus of intense art activities, drawing artists from all over the world, including Stanley Brouwn, Gilbert & George, Sol LeWitt, Charlotte Posenenske, Allen Ruppersberg and Lawrence Weiner. Reciprocally, some of the most influential Dutch artists traveled abroad extensively before establishing themselves in Amsterdam: Jan Dibbets studied in London, while Ger van Elk and Bas Jan Ader trained in Los Angeles. As a result of this new mobility, a dynamic cross-pollination of ideas and influences took place between artists of different nationalities, and many produced works directly related to the notion of travel and the city that fostered them. In & Out of Amsterdam presents more than 120 works--including works on paper, installations, photographs and films--by artists who were part of this remarkable creative culture. Essays, accompanied by lively illustrations and documentary photographs, illuminate the significance of these works as well as the unprecedented role that prints, bulletins, posters, mail art, artists' books and ephemera played in the artists' discourse. A brief essay or interview introduces each artist, and an extensive chronology, bibliography and illustrated checklist round out this unique volume.
Published by JRP|Ringier. Edited by Christophe Cherix, John Tremblay.
Organized by MoMA curator Christophe Cherix and New York artist John Tremblay, this volume presents an overview of the use of vacuum-formed plastic in art of the last 40 years--starting with Claes Oldenburg and Craig Kaufman in the 1960s and ending with Jim Isermann, Fabrice Gygi and Seth Price today.
Published by JRP|Ringier. Edited by Christoph Doswald. Text by Christophe Cherix, Christoph Doswald, Philipp Sarasin.
Basel-based Hanspeter Hofmann, born in 1960, trained as a natural scientist, then turned to quasi-alchemical experimentations in printmaking. This artist’s book/catalogue raisonné recreates Hofmann’s construction of images on the offset plates, on the one hand, while documenting the development of bodies of works and themes on the other.
Published by Walther König, Köln. Text by Christophe Cherix, Mayte Julliard.
If painting was for Matisse the expression of a "state of condensed sensations," his engravings consisted of "Traits Essentiels" or "essential lines:" they were recordings of a single sensation, and rarely passed through any series of stages or reworkings. In fact, engraving was a refuge. Marguerite Duthuit-Matisse, co-author of a catalogue raisonné of her father's prints, describes the graphic work he often executed at the end of a painting session as an "agreeable conclusion." After several experiments with drypoint, Matisse turned toward woodcut in 1906 (and gave it up almost immediately), then worked simultaneously in monotype and etching, where he achieved an astonishing tension between surface and line. Later, he turned to linocut and to sugarlift aquatint. It is on these projects that the selection in Traits Essentiels focuses: Lithography, which Matisse practiced from 1906 to 1952, and with which he was less experimental, is excluded. Text in French only.
Published by JRP|Ringier. Edited by Christophe Cherix. Essays by Saul Ostrow and Willoughby Sharp.
Barry Le Va is back. After more than ten years without a major exhibition in the United States, a mini-blockbuster of a retrospective at the University of Pennsylvania's Institute for Contemporary Art in early 2005 rescattered Le Va's felt, reimbedded his cleavers in a wall and rebroke his sheets of plate glass--to extraordinary critical acclaim. Now, to complement that exhibition and for insight into a mind that has remained consistently true to a renegade vision for some 35 years, we have a collection of writings, studies, notes, drawings, sketches and more, from a cult artist who has influenced a younger generation that includes Jason Rhoades, Cady Noland, Karen Kilimnik and Rirkrit Tiravanija. The book brings together for the first time in one place three major early interviews, and adds a new one with Christophe Cherix.