Edited by Lynne Cooke, Karen Kelly and Barbara Schröder. Essays by Dave Hickey, Rosalind Krauss, Ulrich Loock, Alexander Alberro, Jan Avgikos, Richard Shiff, Dirk Snauwaert, Miwon Kwon, Colin Gardner. Foreword by Philippe Vergne.
Pbk, 5.5 x 8 in. / 200 pgs / 14 color / 88 bw. | 10/31/2009 | In stock $16.95
Edited by Andrew Blauvelt. Essays by Andrew Blauvelt, Steve Dietz, Sarah Schultz and Robin Dowden. Conversations with Philippe Vergne, Richard Flood, Doryun Chong, Pitor Szhakski and Rich Shelton. Foreword by Kathy Halbreich.
Paperback, 6.5 x 9.25 in. / 256 pgs / 225 color / 25 bw. | 1/1/2006 | In stock $34.95
Published by Cameron-Parsons Foundation/the museum of contemporary art, los angeles. Text by Yael Lipschutz, Philippe Vergne.
A key underground figure of Los Angeles' midcentury counterculture, Cameron (1922–95) created a body of visionary painting and drawing that won her equal esteem among the Californian assemblage artists and the occult world of that time. Her powerful personality led to a number of roles in key underground movies such as Kenneth Anger's Inauguration of the Pleasure Dome, and her features adorn the cover of the first issue of Wallace Berman's Semina. Today, her delicate melding of Surrealism and mysticism has been rediscovered by a younger generation of artists. This volume, published for an exhibition at MOCA LA, includes pieces formerly thought lost, ranging from early paintings to drawings, sketchbooks and poetry, as well as ephemera, collaborations and correspondence with individuals such as her husband, Jack Parsons (the rocket pioneer, cofounder of the Jet Propulsion Laboratory and acolyte of Aleister Crowley), and mythologist Joseph Campbell.
PUBLISHER Cameron-Parsons Foundation/the museum of contemporary art, los angeles
BOOK FORMAT Hardcover, 9.25 x 11.75 in. / 88 pgs / 75 color.
PUBLISHING STATUS Pub Date 1/27/2015 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 136
PRODUCT DETAILS ISBN 9780692289525TRADE List Price: $40.00 CDN $50.00
Published by Philadelphia Art Alliance. Edited by Sarah Archer. Text by Sarah Archer, Britta Erickson, Eileen Boris. Interview by Philippe Vergne.
This catalogue presents a site-specific collaboration by Chinese artist couple Song Dong and Yin Xiuzhen (born 1966 and 1963), in the Wetherill Mansion in Philadelphia. While Song Dong makes use of found objects, film and video, Yin Xiuzhen is known for fiber and textile work.
PUBLISHER Philadelphia Art Alliance
BOOK FORMAT Paperback, 8.5 x 11 in. / 96 pgs / 120 color.
PUBLISHING STATUS Pub Date 7/31/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 179
PRODUCT DETAILS ISBN 9780989704014FLAT40 List Price: $40.00 CDN $54.00 GBP £35.00
AVAILABILITY In stock
in stock $40.00
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Published by Aspen Art Press. Edited by Michelle Piranio. Foreword by Heidi Zuckerman Jacobson. Text by Klaus Ottmann, Franklin Sirmans, Phillippe Vergne, Heidi Zuckerman Jacobson.
This volume offers a compelling examination of the surprising conceptual and visual correspondences between the works of these two pivotal artists known for their innovative practices. Klein (1928-1962) was a major figure in postwar art who opened up new possibilities for material, conceptual and performative expression, often touching on the metaphysical. Hammons (born 1943) is a conceptual artist whose works in performance, installation, sculpture, printmaking and other media confront contemporary realities with an often hard-hitting wit. This publication aims not to draw out any notion of influence or direct correlation between these bodies of work, but rather to elucidate a resonance between two artists who both engage transformative processes to invest the humblest of everyday materials with deep aesthetic significance.
Published by Gregory R. Miller & Co./Aspen Art Press. Text by Malik Gaines, Ernest Hardy, Philippe Vergne, Heidi Zuckerman Jacobson.
This book gathers for the first time an extensive selection of American artist—or “builder and demolisher,” as he describes himself—Mark Bradford's gorgeous, searing and heavily textured “merchant posters.” The original printed posters, collected by Bradford from around his Central Los Angeles neighborhood, are brightly colored local advertisements that target the area's vulnerable lower-income residents. For Bradford, they serve as both the formal and conceptual underpinnings of his works on paper, décollages/collages that engage with the pressures of the cityscape. “The sheer density of advertising creates a psychic mass, an overlay that can sometimes be very tense or aggressive,” he notes; “If there's a 20-foot wall with one advertisement for a movie about war, then you have the repetition of the same image over and over—war, violence, explosions, things being blown apart. As a citizen, you have to participate in that every day. You have to walk by until it's changed.” Eagerly anticipated, this is the first large-scale publication by a major publisher about the work of this important and increasingly influential artist. Artist and writer Malik Gaines considers Bradford's play with signs in relation to literary and performative theories of African-American forms; writer and cultural critic Ernest Hardy addresses social issues, in Los Angeles and more broadly, raised by Bradford's source material; Heidi Zuckerman Jacobson examines the language in the work as it relates to Concrete poetry; and Dia Art Foundation Director Philippe Vergne looks at the surface of the work and Bradford's processes of mining and excavation.
Published by Hirshhorn Museum and Sculpture Garden/Walker Art Center. Text by Kerry Brougher, Philippe Vergne, Klaus Ottmann, Kaira M. Cabañas, Andria Hickey.
One of the last century's most influential artists, Yves Klein (1928–1962) took the European art scene by storm in a prolific career that lasted only from 1954 to 1962, when he suffered a heart attack at the age of 34. Klein was an innovator who embraced painting, sculpture, performance, photography, music, theater, film, architecture and theoretical writing. Self-identified as “the painter of space,” Klein sought to achieve immaterial spirituality through pure color (primarily an ultramarine blue of his own invention—International Klein Blue) and even went so far as to present white galleries emptied of all artworks for his renowned 1958 exhibition of “the Void.” His diverse oeuvre represents a pivotal transition from modern art's concern with the material object to contemporary notions of the conceptual nature of art. Yves Klein: With the Void, Full Powers is published to accompany the first major retrospective of the artist's work in the United States in nearly 30 years. It includes examples from all of Klein's major series, including his Anthropometries, Cosmogonies, fire paintings, planetary reliefs and blue monochromes, as well as selections of his lesser-known gold and pink monochromes, body and sponge reliefs, “air architecture” and immaterial works. Essays by curators Kerry Brougher and Philippe Vergne, Klein scholar Klaus Ottmann, art historian Kaira M. Cabañas and curatorial fellow Andria Hickey, as well as archival materials and translations of Klein's published and unpublished writings, offer insights into the artist's endeavors and process. Born in Nice, France, in 1928, Yves Klein created what he considered his first artwork when he signed the sky above Nice in 1947, making his earliest attempt to capture the immaterial. The artist carved out new aesthetic and theoretical territory based on his study of the mystical sect Rosicrucianism, philosophical and poetic investigations of space and science, and the practice of Judo, which he described as “the discovery of the human body in a spiritual space.”
Published by Dia Art Foundation. Edited by Lynne Cooke, Karen Kelly and Barbara Schröder. Essays by Dave Hickey, Rosalind Krauss, Ulrich Loock, Alexander Alberro, Jan Avgikos, Richard Shiff, Dirk Snauwaert, Miwon Kwon, Colin Gardner. Foreword by Philippe Vergne.
Since 1992, the Dia Center for the Arts has presented the Robert Lehman Lectures on Contemporary Art—an example of Dia's ongoing commitment to cross-disciplinary critical discourse. This fourth volume of collected theoretical and critical essays focuses on Dia's exhibitions from 2001 through 2002, with contributions by Alexander Alberro, Jan Avgikos, Colin Gardner, Dave Hickey, Rosalind Krauss, Miwon Kwon, Ulrich Loock, Richard Shiff and Dirk Snauwaert. These writers analyze the work of internationally recognized artists such as Roni Horn, Alfred Jensen, Bruce Nauman, Max Neuhaus, Panamarenko, Jorge Pardo, Gerhard Richter, Bridget Riley, Diana Thater and Gilberto Zorio.
Published by JRP|Ringier. Edited by Giovanni Carmine. Text by Giovanni Carmine, François Quintin, Philippe Vergne.
In Gedi Sibony's sculptural work, cardboard, wood, carpets, plastic sheets and latex paint are embedded into the exhibition rooms' architectural context. His spatial collages oscillate between objectlike appearance and installation-esque ensembles. One could describe them as low-key high art. Born in 1973 in New York, Sibony showed his work at New York's New Museum in 2007.
Published by Walker Art Center. Text by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr, Kevin Young, Yasmil Raymond.
Kara Walker is among the most complex and prolific American artists of her generation. Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.
Published by Walker Art Center. Foreword by Kathy Halbreich. Text by Philippe Vergne. Excerpt by Charles Bukowski
Cameron Jamie's work--a blend of video, sound, performance, photography and drawing--confronts the dysfunction of European and American society. His critical gaze often focuses on ritualistic practices in popular culture, such as hot dog eating contests and backyard wrestling. Taking suburban phenomena of this sort as his primary material, Jamie explores the dark underbelly of the American dream in drawings, film and performance. This artist-designed exhibition catalogue features more than 60 works in various media, illuminating the artist's process with selections from his personal archive of clippings and ephemera, as well as raw sketches for his projects. An essay by exhibition curator Philippe Vergne, a foreword by Walker director Kathy Halbreich and a reprint of a poem by Charles Bukowski selected by the artist provide context for this first large-scale, museum presentation of Jamie's work.
Published by Walker Art Center. Edited by Andrew Blauvelt. Essays by Andrew Blauvelt, Steve Dietz, Sarah Schultz and Robin Dowden. Conversations with Philippe Vergne, Richard Flood, Doryun Chong, Pitor Szhakski and Rich Shelton. Foreword by Kathy Halbreich.
The Walker Art Center recently opened its expanded space, which includes a new theater, a new restaurant and more galleries, but is best known for being Herzog & de Meuron's first public building in the United States. The project drew national coverage from media including The New York Times. Expanding the Center addresses this public interest in the building with a generous selection of images, including sketches, renderings and photographs of the construction process and the completed work. Herzog & de Meuron's shimmering but grounded design mirrors the textures and shades of the Walker's original space, and an institutional philosophy based in innovation and risk-taking, the exploration of alternative approaches to learning, the experimental use of technologies to communicate information, and the design of spaces to enhance a variety of museum experiences. The book is organized around the decisions and actions of the architects, builders, Walker staff and the audience--i.e. designing, constructing, unveiling, staging, gathering, patterning, framing, collecting--and highlights the thinking that led to the visible form of the Center as well as the innovative projects and initiatives that give it its inimitable character.
Published by Walker Art Center. Foreword by Kathy Halbreich. Introduction by Philippe Vergne.
Heart of Darkness centers on three large-scale installations by artists Kai Althoff, Ellen Gallagher and Thomas Hirschhorn. Working with fairy tales, science fiction and sensational imagery, these artists invite us to enter an uncanny world of their own creation, where darkness is not just a representation of chaos, madness and dystopia, but an artistic strategy in the search for clarity and empathy within the insurmountable nihilism of the twenty-first century. With an introduction by curator Philippe Vergne and individual interviews with the artists.
This first monograph to look back over Huang Yong Ping's work to date finally brings the full range of his accomplishments to an international audience. As a contemporary artist in China working with diverse traditions and new and ancient media, Huang has built an artistic universe comprised of provocative installations that challenge the viewer to reconsider everything from the idea of art to national identity to recent history. He was once one of the leading figures of the Xiamen Dada movement--a collective of artists working to create a new Chinese cultural identity by bridging trends in Western modernism with Chinese traditions of Zen and Taoism. He continues to confront established definitions of history and aesthetics with sculptures and installations that draw on the legacies of Joseph Beuys, Arte Povera, and John Cage as well as traditional Chinese art and philosophy, juxtaposing traditional objects, iconic images, and modern references. House of Oracles echoes that blend by binding photographs, essays, and striking sketchbook pages, which are presented with translations of the artist's calligraphy, in a matte soft cover with two facing spines--it opens with the plates on one side and the essays and artist writings on the other.
The rise of globalism has created tremendous challenges to old economic, political and cultural paradigms, changes that are increasingly reflected in diverse artistic practices across the planet. If disciplinary boundaries are now crossed as easily as geographic ones, how does the new internationalism that we are facing affect aesthetics and artistic production? Is there a link, for example, between the rise of video works and the global availability of digital media? Does the global information age facilitate an international language of art and an alternative reading of history, from art history toward art histories? From the perspective of a museum of modern and contemporary art--a purely European construct--the art institution has to overcome a major contradiction, one that exists between its mission of permanence and its mission of change. How can cultural institutions contribute to the revamping of their own structures now that the hegemony of Western modernity is being challenged? How can museums connect with new audiences through different practices, different scholarships, and different interpretive strategies that grow out of the sedimentation of their own history? To invite and encourage such dialogue, How Latitudes Become Forms looks at current scholarship on globalism and changing curatorial practices, and identifies critical models provided by artists themselves, featuring thought-provoking essays and conversations by curators, critics, and cultural programmers from across the world, as well as multidisciplinary artworks by more than 40 artists from Brazil, China, India, Japan, South Africa, Turkey and the United States.
Published by Hatje Cantz. Essays by Christopher Doswald, Gianni Jetzer, Markus Stegmann, Dorothea Strauss, Philip Vergne.
Films, television, advertising, video clips, and computer games--all are fair game and useful material for Swiss artist Olaf Breuning. In his photographs, videos, and installations, Breuning engages with the reality of the vast array of media that surround us incessantly, day in and day out, appropriating narratives, images, and characters to create unforgettable and eerily familiar hybrids. Through unlikely medleys that juxtapose such disparate elements as the accoutrements of occultism, new-age fads, and vampire films, mixing together disgust, sweetness, kitsch, horror, levity, and gravity, Breuning shows that nothing is too sacred or profane to warrant inclusion in one of his playful, weirdly subtle compositions.
Published by Artimo. Edited by Gils Stork. Essays by Cuauhtemoc Medina, Phillippe Vergne and Rein Wolfs.
Carlos Amorales is a Mexican artist whose work in the media of photographs, videos, installations, and performance draws on the theatrical world of professional wrestling in Mexico, where the fighters assume fictional characters and are popular heroes. Amorales takes part in this world by creating his own alter ego: a wrestler that fights under the name Amorales and wears a mask designed by the artist. The result is a fascinating, multi-layered game of changing identities, and a constant shifting of reality and fiction.
BOOK FORMAT Paperback, 8.5 x 11.5 in. / 256 pgs / 120 color / 30 bw.
PUBLISHING STATUS Pub Date 8/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2001
PRODUCT DETAILS ISBN 9789075380231TRADE List Price: $25.00 CDN $30.00