Edited by Joan Rothfuss and Elizabeth Carpenter. Essays by Elizabeth Alexander, A.S. Byatt, Dave Eggers, Arthur C. Danto, Wayne Koestenbaum, James Lingwood, Linda Nochlin, Annie Proulx, David Shapiro, Charles Simic, Howard Singerman, Hamza Walker et al.
Clothbound, 7.5 x 10.5 in. / 616 pgs / 680 color / 150 duotone. | 4/15/2005 | In stock ISBN 9780935640786 | $45.00
Artwork by Robert Filliou, Dick Higgins, Kate Millett, Tomas Schimit, Ben Vautier, Robert Watts, La Monte Young, George Brecht, Allan Kaprow, Per Kirkeby, George Maciunas, Yoko Ono, Nam June Paik, Wolf Vostell. Edited by Jon Hendricks, Thomas Kellein, Joan Rothfuss. Text by Tobias Berger, René Block, Ina Blom, Harry Ruhé, Arthur Danto.
Hardcover, 12.5 x 10 in. / 272 pgs / 88 color / 49 bw. | 3/2/2003 | Not available ISBN 9781564661043 | $85.00
Published by Walker Art Center. Edited by Joan Rothfuss. Text by Suzanne Carbonneau, André Lepecki, Doryun Chong, Philip Bither, Forrest Gander. Photo-essays by Philip Trager, Jan Henle.
Operating at the intersections of dance, art and performance for nearly 40 years, acclaimed Japanese movement/performance artists Eiko & Koma have built up an enormously influential body of movement-theater productions, including theatrically staged performances, site works, dance videos, gallery-based performance installations and collaborations with leading music, dance and visual artists. Time Is Not Even, Space Is Not Empty presents a complete, illustrated catalogue of their dance works, alongside editor's and choreographer's notes, reprints of primary source and other archival material, and a series of newly commissioned written responses by Anna Halprin, Dean Otto, Sam Miller, Peter Taub and others. A distinguished group of scholars from the dance and visual arts fields offer interpretations of the artists' work, including a history of the artists' relationship with the institution by Walker curator Philip Bither; an in-depth overview by Suzanne Carbonneau, Professor of Performance at George Mason University and Director of the Institute for Dance Criticism at the American Dance Festival; an essay on the sculptural qualities of Eiko & Koma's movement by André Lepecki, Associate Professor at New York University's Tisch School of Performance Studies; and a reflection/interview with the artists on their formative years in Japan and the U.S. by Doryun Chong, Associate Curator at the Museum of Modern Art in New York. Two visual essays"" by noted photographers Philip Trager and Jan Henle and a selection of poems by Forrest Gander round out the volume.""
Published by Edition Schellmann. Edited by Jàrg Schellmann. Essays by Dierk Stemmler, Joan Rothfuss, Jàrg Schellmann and Peter Nisbet. Afterword by James Cuno and Kathy Halbreich.
Out of print since 1999, the classic catalogue raisonnª of Joseph Beuys's multiples is available again at last. Beuys, the most influential German--and perhaps the most influential European--artist of the postwar period, was born in 1921. He had planned to be a doctor, but following World War II he enrolled in the Dsseldorf Academy of Art. As a professor there in the early 1960s he encountered the influence of Fluxus and began to make and show the multiples--prints and boxes and other objects in editions--that became such a key part of his work. Those highlighted here include sleds, pieces of felt, signed head shots of the artist and texts calligraphed onto bank notes in francs, marks and schillings. Bruno Cora Tea mocks both mass production and boutique cachet by refilling a Coca-Cola bottle with tea, resealing it with flourishes worthy of a Belgian beer, and putting the whole thing in a glass-fronted box. Joseph Beuys: Multiples includes some 600 pieces, annotated lists of the major collections where they can be found, essays from significant curators and scholars and an interview with the artist.
PUBLISHER Edition Schellmann
BOOK FORMAT Hardcover, 8.5 x 12 in. / 544 pgs / 320 color / 540 bw.
PUBLISHING STATUS Pub Date 3/1/2006 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2006 p. 98
PRODUCT DETAILS ISBN 9783888142109TRADE List Price: $95.00 CDN $127.50 GBP £85.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Walker Art Center. Edited by Joan Rothfuss and Elizabeth Carpenter. Essays by Elizabeth Alexander, A.S. Byatt, Dave Eggers, Arthur C. Danto, Wayne Koestenbaum, James Lingwood, Linda Nochlin, Annie Proulx, David Shapiro, Charles Simic, Howard Singerman, Hamza Walker et al.
One of the premier institutions of contemporary art in the country, the Walker Art Center also holds an important collection of over 11,000 objects from the early twentieth century to the present. These holdings reflect the Center's renowned multidisciplinary program, and include paintings, sculpture, prints, photography, film, video, installations and digital arts that range in date from classic early Modernist to cutting edge contemporary.
Published by Centro Cultural/Banco do Brasil. Artwork by Robert Filliou, Dick Higgins, Kate Millett, Tomas Schimit, Ben Vautier, Robert Watts, La Monte Young, George Brecht, Allan Kaprow, Per Kirkeby, George Maciunas, Yoko Ono, Nam June Paik, Wolf Vostell. Edited by Jon Hendricks, Thomas Kellein, Joan Rothfuss. Text by Tobias Berger, René Block, Ina Blom, Harry Ruhé, Arthur Danto.
Born of necessity in 1961, fathered by George Maciunas and mothered by the rejection of high art and commerical values, the anti-art Fluxus movement is here recorded with encyclopedic thoroughness. With historical essays by Fluxus artists including George Brecht, Robert Filliou, Dick Higgins, Allan Kaprow, Per Kirkeby, Yoko Ono, Nam June Paik and Maciunas, and critical passages by Arthur Danto, Joan Rothfuss, and others, this book questions what it asks, in true Fluxus fashion.
PUBLISHER Centro Cultural/Banco do Brasil
BOOK FORMAT Hardcover, 12.5 x 10 in. / 272 pgs / 88 color / 49 bw.
PUBLISHING STATUS Pub Date 3/2/2003 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2003
PRODUCT DETAILS ISBN 9781564661043SDNR30 List Price: $85.00 CDN $100.00
Published by Walker Art Center. Edited by Joan Rothfuss. Essays by Richard Shiff, Victor Stoichita, Foreword by Kathy Halbreich.
In 1984, Jasper Johns suggested to an interviewer that he had made a critical shift in his working process. “In my early work,” he said, “I tried to hide my personality, my psychological state, my emotions...I sort of stuck to my guns for a while, but eventually it seemed like a losing battle. Finally, one must simply drop the reserve.” His paintings of the 1980s and 90s bear this out: their imagery often includes objects and locations in his present studio and home, as well as allusions to memories of his childhood. These motifs are reiterated, altered, reworked and quoted in the context of new compositions, forming layered and complex spaces of recollection that merge past and present. This profusely illustrated volume, published in conjunction with an exhibition of paintings, prints and drawings organized by the Walker Art Center, is the first to look broadly at this period in Johns' career. All of the artist's major bodies of work from the past two decades--including those based on the Seasons, Green Angel and Catenary motifs--are covered in this study, with special consideration given to imagery appropriated from Picasso and Manet. Many of the works are published here for the first time, making this an invaluable tool for the study of Johns' work.
Published by Walker Art Center. Photographs by Bruce Conner. Edited by Joan Rothfuss. Contributions by Kathy Halbreich, Bruce Jenkins, Peter Boswell.
Bruce Conner (1933-2008) first came to prominence in the late 1950s as a leader of the assemblage movement in California. Conner had close ties with poets of the San Francisco Renaissance (particularly Michael McClure) as well as with artists such as Wallace Berman, George Herms, Jess and Jay DeFeo. Conner's use of nylon stockings in his assemblages quickly won him notoriety, and saw his work included in Peter Selz's classic 1961 Art of Assemblage show at MoMA. Around this time, Conner also turned to film-making, and produced in swift succession a number of short films that helped to pioneer the rapid edit and the use of pop music among independent film-makers. Conner's innovative editing techniques and decidedly dark vision of American culture laid the foundation for later Hollywood directors such as Dennis Hopper (a friend and collaborator of Conner's, who frequently acknowledged his influence) and David Lynch. A long overdue and significant addition to the understanding of twentieth-century American art and cinema, 2000 BC: The Bruce Conner Story Part II represents the most comprehensive book to date on Conner's work from the 1950s to the present. The authors elucidate Conner's work in film, assemblage, drawing, printmaking, collage,and photograms, as well as his more ephemeral gestures, actions, protests and "escapes" from the art world. This beautifully designed clothbound monograph is a landmark publication for anyone interested in contemporary art, film, culture and the Beat era.