Edited by Madeleine Grynsztejn. Essays by Madeleine Grynsztejn, Cornelia Butler, Richard Shiff, Katy Siegel, and Robert Storr. Texts by Tara McDowell, Elizabeth Smith, Adam D. Weinberg and Charles Wylie.
Clothbound, 11 x 12 in. / 392 pgs / 265 color / 45 bw. | 7/15/2005 | Not available ISBN 9781933045009 | $65.00
Published by Museum of Contemporary Art, Chicago. Foreword by Madeleine Grynsztejn. Text by Naomi Beckwith, Trevor Smith, Jason Foumberg.
This volume will be the first monograph on the work of Chicago-based artist William J. O’Brien (born 1975), produced to accompany his first large-scale, solo exhibition opening at the Museum of Contemporary Art Chicago in January 2014. The show demonstrates the broad range of O’Brien’s work--from sculpture and ceramics to drawing, textiles and painting--and his guiding interest in physicality and the handmade. The catalogue expands the dominant narratives around his practice, which generally focus on his ceramics, to more accurately reflect his diverse, prolific practice as a whole. Exhibition curator Naomi Beckwith and contributing author and curator Trevor Smith contextualize the artist’s work in light of recent modes in contemporary art history--l’informe, the handmade and semiotic play. Critic Jason Foumberg contributes a creative text inspired by the artist’s working process. Together, the contributing essays make a strong contextual case for O’Brien’s work that counters canonical themes of media-specificity and traditional art materials, producing a catalogue as expansive as the breadth of O’Brien’s practice itself.
Published by Museum of Contemporary Art, Chicago. Foreword by Madeleine Grynsztejn. Text by Dieter Roelstraete, Mark Godfrey, Janine Mileaf, Simon Starling.
British conceptual artist Simon Starling (born 1967) interrogates the histories of art and science, as well as other subjects such as economic and environmental issues, through a wide variety of media including film, installation and photography. Published for his first survey exhibition at a major American museum, Simon Starling: Metamorphology highlights a fundamental principle of Starling’s practice: an almost alchemistic conception of the transformative potential of art, or of transformation as art. The Turner Prize–winning artist’s working method constitutes recycling, both literally and figuratively: repurposing existing materials for new, artistic aims; retelling existing stories to produce new historical insights; linking, looping and remaking. This catalogue accompanies an exhibition organized by the Museum of Contemporary Art Chicago in tandem with the Arts Club of Chicago, and features essays by MCA Chicago senior curator Dieter Roelstraete, Arts Club of Chicago executive director Janine Mileaf in collaboration with Simon Starling, and Tate Modern curator Mark Godfrey.
PUBLISHER Museum of Contemporary Art, Chicago
BOOK FORMAT Hardcover, 8 x 10 in. / 96 pgs / 70 color.
PUBLISHING STATUS Pub Date 7/31/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 114
PRODUCT DETAILS ISBN 9781938922350TRADE List Price: $35.00 CDN $47.50 GBP £30.00
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Published by MCA Chicago. Foreword by Madeleine Grynsztejn. Text by Michael Darling, Chrissie Iles, Kate Zambreno.
New York-based conceptual photographer Anne Collier (born 1970) creates neutral images of objects that already exist in the world, often charged with undercurrents of emotional complexity and vulnerability. Her work deftly addresses subjects inherent to both the act and industry of photography while simultaneously lampooning clichés and uncovering hidden truths. Describing Collier's work in Frieze magazine, the acclaimed author and critic Brian Dillon wrote, "Collier uncouples the machinery of appropriation so that her found images seem weightless, holding their obvious meaning in abeyance." This volume, part of the MCA Monograph series, accompanies the first major solo US exhibition of Collier's work. Alongside a selection of color plates, Michael Darling, James W. Alsdorf Chief Curator at the MCA, reviews the works in the exhibition within the context of the artist's career; Chrissie Iles, Anne and Joel Ehrenkranz curator at the Whitney Museum of American Art, examines the artist's position within photographic and cinematic history; and novelist Kate Zambreno considers the fragments of lost objects and what it means to collect.
Published by Ludion/David Zwirner. Edited by Donna Wingate, Tommy Simoens. Interviews with Brice Marden, Peter Schjeldahl, Robert Storr, Madeleine Grynsztejn and Helen Molesworth by Lynne Tillman.
The famous David Zwirner Gallery in New York has been a base of operations for the Belgian painter Luc Tuymans since 1994. At the start of his career, Tuymans committed himself to showing a new series of works there once every two years--a promise that he kept, and continues to keep, 18 years on, as his tempered style and political content have steadily garnered him worldwide acclaim. Tuymans’ thematic exhibitions at the Zwirner Gallery have tackled controversial topics, ranging from the Holocaust to Belgium’s colonial past and the hypocrisy of the Disney empire. Luc Tuymans: Exhibitions at David Zwirner 1994–2012 presents the artist’s major works, together with brief commentary, photographs and archival documentation. Interviews with four leading U.S. critics--Ann Temkin, Brice Marden, Peter Schjeldahl and Robert Storr--that were conducted specially for this publication by Lynne Tillman discuss Tuymans’ presence in the U.S.
Published by San Francisco Museum of Modern Art/Wexner Center for the Arts. Edited by Madeleine Grynsztejn, Helen Molesworth. Text by Helen Molesworth, Joseph L. Koerner, Ralph Rugoff, Bill Horrigan.
Luc Tuymans (born 1958) is one of today’s most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. First published in hardback for the artist’s first full-scale American survey in 2009, and now available in paperback, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter’s main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers Tuymans’ recent work and Bill Horrigan examines the artist’s cinematic sources. This book remains not only the most comprehensive survey of Tuymans’ career to date, but also the most thorough chronology of his development.
PUBLISHER San Francisco Museum of Modern Art/Wexner Center for the Arts
BOOK FORMAT Paperback, 10 x 11.75 in. / 228 pgs / 175 color.
PUBLISHING STATUS Pub Date 3/31/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 120
PRODUCT DETAILS ISBN 9780918471826TRADE List Price: $35.00 CDN $40.00
Published by Museum of Contemporary Art, Chicago. Foreword by Madeleine Grynsztejn. Text by Dieter Roelstraete, Adam Szymczyk, Grant Watson, Goshka Macuga.
Goshka Macuga: Exhibit, A accompanies the first museum survey exhibition of the work of Polish-born, London-based artist Goshka Macuga (born 1967). Macuga’s practice is located at the intersection of two strands that have done much to define the landscape of contemporary art in the last decade: on the one hand, an increasing interest in research--specifically of the archival, historical kind--and on the other, a growing concern with strategies of display and the blurring of boundaries between artistic and curatorial practice. Many of Macuga’s large-scale, research-intensive projects have been collaborative in character, and the resultant installations regularly incorporate the work of other artists, both living and dead. The exhibition at the MCA is the first to map her trajectory since the early 2000s, featuring a selection of works and emphasizing the medium of collage, both two- or three-dimensional. The third in MCA Chicago’s MCA Monographs series, Goshka Macuga: Exhibit, A is the most comprehensive documentation of the artist’s work to date and features newly commissioned essays by Dieter Roelstraete, MCA Manilow Senior Curator; Adam Szymczyk, Director of Kunsthalle Basel; and Grant Watson, Senior Curator and Research Associate at Iniva, London.
PUBLISHER Museum of Contemporary Art, Chicago
BOOK FORMAT Hardcover, 8 x 10 in. / 112 pgs / 32 color / 24 bw / 7 gatefolds.
PUBLISHING STATUS Pub Date 3/31/2013 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 109
PRODUCT DETAILS ISBN 9781938922107TRADE List Price: $30.00 CDN $40.00 GBP £27.00
AVAILABILITY In stock
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Published by Museum of Contemporary Art, Chicago and MIT List Visual Arts Center. Foreword by Madeleine Grynsztejn, Paul Ha. Text by Ana Teixeira Pinto, Tirdad Zolghadr. Interview by João Ribas, Julie Rodrigues Widholm.
This volume accompanies the first major solo museum exhibition in the United States of the work of Argentinean-born, London-based artist Amalia Pica (born 1978). Pica explores metaphor, communication and civic participation through drawings, sculptures, large-scale photographic prints, slide projections, live performances and installations. Using simple materials such as photocopies, lightbulbs, drinking glasses, beer bottles, bunting and cardboard, Pica creates work that is both formally beautiful and conceptually rigorous. Pica is particularly interested in the limits and failures of language and human communication, and the ways in which thought translates to action, idea to object. Her work is optimistic in its reflection of moments of shared experience, often incorporating signifiers of celebration and communal gatherings such as fiesta lights, flags and banners, and confetti. Amalia Pica is the fourth volume in MCA Chicago’s MCA Monographs series and features essays by writer Ana Teixeira Pinto and writer and curator Tirdad Zolghadr as well as an interview with the artist and exhibition co-organizers MIT<\p>List Curator João Ribas and MCA Pamela Alper Curator Julie Rodrigues Widholm.
Published by Museum of Contemporary Art Chicago. Foreword by Madeleine Grynsztejn. Text by Julie Rodrigues Widholm, Paul Beatty, Ian Bourland, Touré.
Message to Our Folks is the most comprehensive documentation of New York–based artist Rashid Johnson’s work to date. Johnson (born 1977) explores the complexities and contradictions of black identity in the United States, incorporating commonplace objects from his childhood in a process he describes as “hijacking the domestic,” and transforming materials such as wood, mirrors, tiles, rugs, CB radios, shea butter and plants into conceptually loaded and visually compelling works that shatter assumptions about the homogeneity of black subjecthood. Published in the new MCA Monographs series, Message to Our Folks accompanies the artist’s first major solo museum exhibition and features essays by curator Julie Rodrigues Widholm, novelist and critic Touré and art historian Ian Bourland and an excerpt from Paul Beatty’s trenchant and comic coming-of-age novel, The White Boy Shuffle.
PUBLISHER Museum of Contemporary Art Chicago
BOOK FORMAT Hardcover, 8 x 10 in. / 96 pgs / 77 color.
PUBLISHING STATUS Pub Date 8/30/2012 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 101
PRODUCT DETAILS ISBN 9780933856936TRADE List Price: $25.00 CDN $30.00
Published by Walther König, Köln. Foreword by Carolyn Christov-Bakargiev, Madeleine Grynsztejn. Text by Michael Darling, Theaster Gates, Matthew Jesse Jackson, John Preus. Conversation with Carolyn Christov-Bakargiev.
12 Ballads for Huguenot House chronicles a project by American installation artist Theaster Gates (born 1973), in which he united two disused buildings--one in Chicago and the other in Kassel, Germany--by dismantling parts of each to reuse in the rebuilding of the other. Huguenot House, in Kassel, was built in the early nineteenth century by migrant workers, as were so many of the houses in Gates’ own neighborhood in Chicago, and today is in a state of disrepair. Gates therefore proposed an architectural exchange, transporting materials from a dilapidated building in Chicago to renovate Huguenot House, while reusing materials from Huguenot House to reconstruct the Chicago building.
Published by San Francisco Museum of Modern Art/Wexner Center for the Arts/D.A.P.. Edited by Madeleine Grynsztejn, Helen Molesworth. Text by Helen Molesworth, Joseph L. Koerner, Ralph Rugoff, Bill Horrigan.
Luc Tuymans is one of today's most widely admired painters, a continuation of the great tradition of Northern European painting and an enduring influence on younger and emerging artists. As a European child of the 1950s, his relationship to painting is inevitably structured by television, cinema and by the lingering effects of World War II; more recent historical preoccupations have included the dramatic turn of world events post-9/11. Tuymans combines a muted palette with deteriorated surface effect and a singular use of cropping, close-up and sequencing--perfect devices with which to undertake his investigation of the pathological, the banal and the conspiratorial. Published in conjunction with the artist's first full-scale American survey, this is without question the authoritative publication on Tuymans. It features approximately 75 key works from 1978 to the present, and is accompanied by essays analyzing the painter's main concerns, with particular attention paid to his working process and his adaptation of source materials. Helen Molesworth examines themes of sinister banality, Joseph Leo Koerner writes on iconophobia and iconophilia, Ralph Rugoff considers the nature of visual experience in light of Tuymans' recent work, and Bill Horrigan examines cinematic sources. This book is not only the most comprehensive survey of Tuymans' career to date, but also the most thorough chronology of his artistic development. Born in Mortsel, Belgium, in 1958, Luc Tuymans first exhibited his paintings in 1985, at Palais des Thermes in Ostend. His first U.S. exhibition came ten years later, at The Renaissance Society in Chicago. He has also worked in film and printmaking.
Published by Walker Art Center/San Francisco Museum of Modern Art. Essays by Siri Engberg, Madeleine Grynsztejn and Douglas R. Nickel. Foreword by Kathy Halbreich and Neal Benezra.
A celebrated, popular and influential figure in American art, Chuck Close has focused exclusively, and with great innovation, on the genre of portraiture. This exhibition, co-organized by the San Francisco Museum of Modern Art and the Walker Art Center in Minneapolis, explores the artist's work in self-portraiture over four decades and across a variety of media, including painting, drawing, photography, collage, and printmaking. The first comprehensive museum survey of Close's self-portraits, the exhibition and its accompanying publication offer a fascinating glimpse of an artist's self-examination and evolution over time and elucidate his unbounded, process-driven experimentation with media and techniques. Working with the seemingly narrow subject of his own face, Close has produced a richly varied trove that ranges from intimately scaled collage maquettes and fingerprint drawings to monumental gridded canvases; from the sharp definition of certain photographic techniques to the ghostly blurs of daguerreotypes and holograms; from the tactile complexity of paper pulp editions to the smooth, mechanical surfaces of Polaroids and digital ink-jet prints; from the subtle tonalities of gray-scale paintings and drawings to the exuberance of an 111-color screenprint. When Close unleashes his imagination on his own visage, this familiar figure is at his most revealing.
Published by D.A.P./San Francisco Museum of Modern Art. Edited by Madeleine Grynsztejn. Essays by Madeleine Grynsztejn, Cornelia Butler, Richard Shiff, Katy Siegel, and Robert Storr. Texts by Tara McDowell, Elizabeth Smith, Adam D. Weinberg and Charles Wylie.
Over the past four decades, Richard Tuttle has thrown into question nearly every conceivable artistic convention and critical category to create an enormously inventive body of abstract work--one that embraces and intermingles drawing, painting, collage, book-making, sculpture and design. From his spare yet enigmatic forms of the 1960s to his complex, multi-faceted assemblages and installations of more recent years, Tuttle's primary impetus throughout has been to craft unique objects, using everyday, often ephemeral materials, that demand to be confronted on their own terms. The relentless individuality of his aesthetic vision has earned him standing as one of the most provocative and influential artists of his day. This richly illustrated and strikingly designed catalogue, the most authoritative volume ever published on this prolific artist, presents nearly 400 reproductions of artworks from across his oeuvre and documentary photographs of his creative process. Essays by a distinguished group of writers trace the arc of Tuttle's career from its inception in the 1960s to the present day, addressing topics such as the philosophical underpinnings of his artistic method; his sensitive handling of diverse materials; his lifelong engagement with drawing and its expansion into three-dimensional space; his groundbreaking solo exhibitions and their critical reception in the United States and Europe; his complex play with the conventions of language; and his innovative artist's books, many of which are collaborations with poets. The Art of Richard Tuttle is published in conjunction with a major retrospective organized by the San Francisco Museum of Modern Art. The exhibition travels to the Whitney Museum of American Art, New York; the Des Moines Art Center; the Dallas Museum of Art; the Museum of Contemporary Art, Chicago; and the Museum of Contemporary Art, Los Angeles.
Published by D.A.P./San Francisco Museum of Modern Art. Edited by Madeleine Grynzstejn. Essays by Dan Cameron, Amada Cruz, Jessica Morgan, Ralph Rugoff and Katy Siegel. Foreword by Neal Benezra.
su-per-no-va: n., pl. A rare celestial phenomenon involving the explosion of most of the material in a star, resulting in an extremely bright, short-lived object that emits vast amounts of energy. Given the massive shift in the West's cultural sensibility in the wake of the 9/11 attacks and the current global political situation, the 1990s and its over-the-top, anything-goes art scene suddenly appear much more historical than contemporary. If we really are at the turning point that we seem to be, then we've arrived at a particularly opportune moment for reconsideration, for assessing the legacy of the decade after the frenzy has subsided. Supernova brings together a number of curators and critics--each of whom was actively involved in constructing the 1990s art discourse--to step back and consider what trans-identity, broad-based thematic trends can now be identified as emblematic of, or seminal to, the decade.
The Kent and Vicki Logan collection of contemporary art offers a compelling and visually alluring vehicle to consider such issues, as these ambitious collectors were firmly planted at the center of the scene--acquiring some of the most challenging and iconic art of the period, including works by Young British Artists (YBAs), Asian practitioners and a diverse array of influential women artmakers. In Supernova, reproductions of these artists' works are dispersed among contributors' essays, which explore such themes as beauty and the abject, iconoclasm and the role of social activism in art.