Edited with text by Cathleen Chaffee. Text by Rachel Adams, Vera Alemani, Constance DeJong, Diedrich Diederichsen, Anthony Elms, David Grubbs, Henriette Huldisch, Branden W. Joseph, Andrew Lampert, Christopher Müller, Annie Ochmanek, Tony Oursler, Tina Rivers Ryan, Jay Sanders, Paige Sarlin, Christopher Williams.
Pbk, 7.75 x 11 in. / 304 pgs / 125 color / 125 bw. | 2/19/2019 | Out of stock ISBN 9783960983361 | $45.00
Edited by Agnes Husslein-Arco, Bettina Steinbrügge. Preface by Agnes Husslein, Ursula Blickle. Text by Bettina Steinbrügge, Diedrich Diederichsen, Patricia MacCormack, Maria Fusca, Lucia Farinati, Ian White, Simone Neuenschwander, Mike Sperlinger, Filipa Ramos, Jutta Koether.
Pbk, 7.75 x 9.5 in. / 196 pgs / 200 color / 20 bw. | 4/30/2014 | In stock ISBN 9783869844794 | $45.00
Edited by Agnes Husslein-Arco, Bettina Steinbrügge. Text by Véronique Aichner, Diedrich Diederichsen, Alain Ehrenberg, Mario Fusco, Liam Gillick, Michel Houellebecq, Maurizio Lazzarato, Sven Lütticken, Angela Melitopoulos, Bettina Steinbrügge.
Pbk, 7.75 x 9.5 in. / 304 pgs / 60 color. | 9/30/2013 | In stock ISBN 9783863352493 | $39.95
Edited by Mateo Kries, Mathias Schwartz-Clauss. Text by Diedrich Diederichsen, Brigitte Felderer, Steven Heller, Thomas Kellein, Bettina Korintenberg, Tobias Lander, Marco Livingstone, Mathias Schwartz-Clauss, Dario Scodeller.
Flexi, 11.25 x 11.25 in. / 272 pgs / 325 color. | 3/31/2013 | In stock ISBN 9783931936969 | $90.00
Foreword by Frank Wagner, Kasper König. Text by Judith Butler, Douglas Crimp, Diedrich Diederichsen, Harald Fricke, Julia Friedrich, Hanne Loreck, Cristina Nord, Thomas Meinecke, Eva Meyer, Marlene Steeruwitz, Frank Wagner.
Paperback, 8.75 x 12 in. / 304 pgs / 200 color / 109 bw. | 10/1/2006 | Not available ISBN 9783775718295 | $55.00
Published by Hatje Cantz. Text by Michael Bracewell, Diedrich Diederichsen.
This publication presents works by British painter Keith Coventry (born 1958) created since the 1990s, exploring the legacy of modernism and postmodernism in material and visual vocabularies, and reflecting upon the influence of consumer culture and mass production on artistic creation.
Published by Koenig Books. Edited with text by Cathleen Chaffee. Text by Rachel Adams, Vera Alemani, Constance DeJong, Diedrich Diederichsen, Anthony Elms, David Grubbs, Henriette Huldisch, Branden W. Joseph, Andrew Lampert, Christopher Müller, Annie Ochmanek, Tony Oursler, Tina Rivers Ryan, Jay Sanders, Paige Sarlin, Christopher Williams.
Throughout his six-decade career, Tony Conrad (1940–2016) forged a unique path through numerous artistic movements and a vast range of cultural forms—from Fluxus to rock music, from structural film to public access television. Published on the occasion of the first large-scale museum survey devoted to works Conrad presented in museum and gallery settings, this richly illustrated catalogue offers an in-depth introduction to Conrad's life and career.
Including new texts and Conrad's own writings about selected works dating from 1966 to 2016, Introducing Tony Conrad surveys the artist's work in painting, sculpture, film, video, performance and installation. It includes the artist's early structural films; projects in which he treated film as a sculptural and performative material; his series of Invented Acoustical Tools, presented as sculptures themselves; his ambitious films about power relations, set in the military and in prison; and his final sculptures and installations, which evoke and critique what he perceived as an emerging culture of surveillance, control and containment. The list of contributors testifies to Conrad's wide and lasting influence; this volume includes texts by Constance DeJong, Diedrich Diederichsen, Anthony Elms, Branden W. Joseph, Tony Oursler and Christopher Williams, among many others.
Published by CCS Bard and Dancing Foxes Press. Edited with text by Jeannine Tang, Lia Gangitano, Ann Butler. Text by Johanna Burton, Jill Casid, Lauren Cornell, Diedrich Diederichsen, Jennifer King, Mason Leaver-Yap, Kobena Mercer.
The Conditions of Being Art is the first book to examine the activities of groundbreaking contemporary art galleries Pat Hearn Gallery and American Fine Arts, Co. (1983–2004), and the transnational milieu of artists, dealers and critics that surrounded them.
Drawing on the archives of dealers Pat Hearn and Colin de Land—both, independently, legendary players on the New York art scene of the 1980s and '90s, and one of the great love stories of the art world—this publication illustrates their distinctive artistic practices, significant exhibitions and events, and daily business. Hearn and de Land championed art that challenged the business of running an art gallery; artists like Renée Green and Susan Hiller, Andrea Fraser and Cady Noland, who employed conceptualism and installation, social and institutional critique.
Contributing to the history of exhibitions, institutions and curating, The Conditions of Being Art addresses a significant gap in this literature around experimental commercial spaces in recent art history. This publication is the first book-length critical account of the alternative commercial gallery practices of the 1990s, a moment and a scene that is extremely influential to many of today's art dealers, curators and artists.
Hearn and de Land's gallery practices explored new experimental and ethical possibilities within the selling of art, testing the relationship of contemporary art to its markets. In this volume, full-color images, in-depth scholarly investigations and detailed gallery histories vibrantly document how Hearn and de Land tested new notions of what an art gallery could be.
PUBLISHER CCS Bard and Dancing Foxes Press
BOOK FORMAT Paperback, 7 x 9 in. / 304 pgs / 200 color / 40 bw.
PUBLISHING STATUS Pub Date 8/28/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2018 p. 145
PRODUCT DETAILS ISBN 9780998632667TRADE List Price: $39.95 CDN $53.95 GBP £35.00
AVAILABILITY In stock
in stock $39.95
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by The Museum of Modern Art, New York. Edited with text by Roxana Marcoci. Text by Rhea Anastas, Mieke Bal, Douglas Crimp, Rosalyn Deutsche, Diedrich Diederichsen, David Platzker, Julian Stallabrass.
A major exhibition on the 40-year career of the Pictures Generation pioneer, whose work engages conceptualism and institutional critique Published in conjunction with the exhibition Louise Lawler: WHY PICTURES NOW, at The Museum of Modern Art, this volume charts the creative practice of one of the most influential artists working in the fields of picture-making and institutional critique. For the past 40 years, Louise Lawler has raised questions about art—about the circumstances that produce it, its circulation and the societal frameworks in which it appears. Many of the ideas that arise out of her work relate to theories of reception, the belief that the meaning of an artwork shifts and morphs depending on who looks at it and where it is seen. As the title of this publication suggests, many kinds of reception are possible. In the eight essays in Receptions, renowned cultural thinkers unpack Lawler’s witty and provocative art, while a generous plate section comprehensively documents her images, installations and films. A selection of the ephemera she has designed, ranging from gallery announcements and posters to magazine covers and matchbooks, reflects her interest in how art reaches viewers beyond the museum and gallery system. The design of the book’s jacket is a typically ingenious Lawler production: when turned inside out, it becomes what she calls an “adjusted to fit” work—one of her photographs reformatted to fill the space available. In our contemporary atmosphere of political theater, shocking wealth disparity and commodity culture, the insight, resistance and sly commentary of Lawler’s work feels as poignant and corrective as it has ever been. This book is an indispensable resource for anyone interested in late-20th- and early 21st-century art.
Louise Lawler (born 1947) is a New York artist whose work came to notoriety in the late 1970s and early 1980s, when she began taking pictures of other artists’ work displayed in collectors’ homes, museums, storage spaces and auction houses to question the value, meaning and use of art.
Published by Hatje Cantz. Introduction and text by Mathilde Weh. Text by Diedrich Diederichsen, et al.
Geniale Dilletanten, or in English, Brilliant Dilletantes, was the deliberately misspelled title of a music festival that took place at the Tempodrom in Berlin in 1981 and which became a synonym for a brief era of artistic awakening. An avant-garde blossomed, particularly in the context of art schools, that was characterized by artistic vehemence, cross-genre experimentation and the desire for self-organization. Bands such as Einstürzende Neubauten, Deutsch Amerikanische Freundschaft, Ornament und Verbrechen, Der Plan, Palais Schaumburg, Die Tödliche Doris and Freiwillige Selbstkontrolle committed themselves to these principles. Illustrated with hundreds of images, Brilliant Dilletantes follows the bands, artists, filmmakers and designers through the clubs, bars and galleries of their day.
Published by Walther König, Köln. Foreword by Karola Kraus. Text by Diedrich Diederichsen, et al.
This publication accompanies the largest exhibition to date of works by Cosima von Bonin (born 1962) in Austria, including more than 100 pieces. The retrospective demonstrates how von Bonin's art has shifted away from isolated sculpture to installation.
Published by David Zwirner Books. Foreword by David Zwirner. Text by Diedrich Diederichsen, Bob Nickas. Illustrated chronology by Kara Carmack.
In the words of Peter Schjeldahl, writing recently in The New Yorker about the exhibition No Problem: Cologne/New York 1984–1989 at David Zwirner in New York, "the show's cast of artists amounts to a retrospective shopping list of what would matter and endure in art of the era." Canonizing that moment, this seminal publication examines the latter half of the 1980s through the lens of the art scenes in Cologne—arguably the European center of the contemporary art world at that time—and New York. While a number of established Cologne-based gallerists, including Karsten Greve, Paul Maenz, Rolf Ricke, Michael Werner and Rudolf Zwirner, had already begun shaping the European reception of American art in the previous decade, the 1980s marked a period during which art being produced in and around Cologne gained international attention. A burgeoning gallery scene supported the emerging work of artists based in the region, with gallerists such as Gisela Capitain, Rafael Jablonka, Max Hetzler and Monika Sprüth showing artists such as Walter Dahn, Martin Kippenberger, Albert Oehlen, Rosemarie Trockel and others. These German artists were exhibited alongside artists such as Robert Gober, Jeff Koons, Richard Prince, Cindy Sherman and Christopher Wool. Conversely, the work of German artists was presented in New York, with breakout exhibitions at galleries such as Barbara Gladstone, Metro Pictures, Luhring Augustine and other significant venues. Important museum exhibitions that explored work on both sides of the Atlantic also set the tone for this dialogue, among them Europa/Amerika (Museum Ludwig, 1986) and A Distanced View (New Museum, 1986). Big, bold and vibrant, this Pentagram-designed publication revives the conversation, reproducing in full color every one of the over 100 artworks by 22 international artists included in this massive exhibition—one of the largest in David Zwirner's history. The book also features new scholarship by Diedrich Diederichsen and Bob Nickas, an illustrated timeline for both cities and compelling archival material—from documentary photographs from the period and reproductions of Cologne's historic Spex Magazine to reviews of exhibitions from the period. This catalogue encapsulates the energy, heart and "dissonance of styles"—in the words of Schjeldahl—embodied by this fecund moment in global art history.
Published by Walther König, Köln. Edited and foreword by Peter Pakesch, Bettina Steinbrügge. Text by Diedrich Diederichsen, et al.
The California-based artist and filmmaker James Benning (born 1942) focuses on the relationship between technology and the promise of liberty in a culture bound to its pioneering spirit. Benning examines recent American history—specifically Thoreau and Theodor Kaczynski, the "Unabomber."
Published by Moderne Kunst Nürnberg. Text by Silvie Aigner, Peter Baum, Diedrich Diederichsen, Wolfgang Drechsler, Elisabeth von Samsonow, Thomas D. Trummer. Interview by Alexandra Schantl.
Austrian artist Gunter Damisch (born 1958) is known for paintings, drawings and graphic works, but he has lately focused his attention on sculpture. While offering a representative view of Damisch’s career, this monograph also highlights his recent aluminum casts.
Published by Moderne Kunst Nürnberg. Edited by Agnes Husslein-Arco, Bettina Steinbrügge. Preface by Agnes Husslein, Ursula Blickle. Text by Bettina Steinbrügge, Diedrich Diederichsen, Patricia MacCormack, Maria Fusca, Lucia Farinati, Ian White, Simone Neuenschwander, Mike Sperlinger, Filipa Ramos, Jutta Koether.
Through films and installations, Ursula Mayer (born 1970) explores questions of individualism and consumerism. This monograph documents her films Gonda (2012) and Pheres (2013), and a 16-mm installation referencing Michael Snow’s Two Sides to Every Story.
Published by Walther König, Köln. Edited by Nina Möntmann. Text by Dirk Baecker, Jochen Becker, Diedrich Diederichsen, Mark Fisher, Anthony Iles, Nina Möntmann, Nina Power. Interview by Gabriele Fischer.
Harun Farocki’s (born 1944) latest film Ein Neues Produkt looks at the structure of workplaces from architectural, social and economic perspectives, documenting a year in the life of a consulting firm. This accompanying volume includes six essays and an interview.
Published by Vitra Design Museum. Edited by Mateo Kries, Mathias Schwartz-Clauss. Text by Diedrich Diederichsen, Brigitte Felderer, Steven Heller, Thomas Kellein, Bettina Korintenberg, Tobias Lander, Marco Livingstone, Mathias Schwartz-Clauss, Dario Scodeller.
As the most influential art movement of the postwar era, Pop art continues to shape our visual culture today. A central preoccupation of Pop was its dialogue with design, extensively investigated for the first time in this volume, published in conjunction with Vitra Design Museum's exhibition of the same name. Here, key works of Pop art by Robert Indiana, Jasper Johns, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Niki de Saint Phalle and Andy Warhol are juxtaposed with design objects from the same period by the likes of Charles and Ray Eames, Alexander Girard, Gruppo Strum, George Nelson, Verner Panton, Studio 65 and Ettore Sottsass. These works are buttressed with a wealth of illustrations from everyday culture, interior design and contemporary history, while opulent image spreads are accompanied by comprehensive essays from renowned experts and scholars, among them Diedrich Diederichsen, Brigitte Felderer, Steven Heller, Thomas Kellein, Marco Livingstone and Dario Scodeller. These essays document how artists and designers availed themselves of similar motifs and strategies in the Pop era. Objects of everyday use were adopted as art motifs and artists utilized industrial processes while designers made use of artistic means such as quotes, collage and irony. With more than 300 illustrations, Pop Art Design paints a picture of the Pop era that finally gives proper recognition to the central role played by design, offering a kaleidoscope through which to rediscover the Pop phenomenon.
Published by Walther König, Köln. Edited by Agnes Husslein-Arco, Bettina Steinbrügge. Text by Véronique Aichner, Diedrich Diederichsen, Alain Ehrenberg, Mario Fusco, Liam Gillick, Michel Houellebecq, Maurizio Lazzarato, Sven Lütticken, Angela Melitopoulos, Bettina Steinbrügge.
This publication documents a group show that explores the relationship between productivity and creativity. Various artists--including Claire Fontaine, Thomas Baumann, Siggi Hofer, Santiago Sierra, Josephine Pryde, Christoph Meier and Adrian Williams--comment on the conflation of time and money.
Published by Walther König, Köln. Edited by Susanne Figner, Martin Germann. Foreword by Veit Görner, Philippe Van Cauteren. Text by Diederich Diederichsen, Susanne Figner, Alex Kitnick.
Since the 1990s, Rachel Harrison (born 1966) has developed a colorful and delightfully grotesque sculptural idiom out of the most contemporary detritus--styrofoam, plastic buckets, vacuum cleaners--which she blends with slapstick humor and art historical and pop cultural references. Fake Titel presents sculptures and drawings from three recent series: The Help (2012), the large-scale installation Incidents of Travel in Yucatan (2011) and the photographic suite Sunset Series (2000–2012). The Help examines the roles of the artist, the muse and the "help," mixing found objects with abstract forms; Incidents of Travel in Yucatan is a mixed-media installation including a wall of pedestals, autonomous sculptures and video; and the Sunset Series comprises 31 photographs of a single source image, a photograph of a sunset. In each photograph in the series, shot on 35mm film, the artist physically manipulates the found snapshot to create a new image.
Published by JRP|Ringier. Edited by Lionel Bovier. Text by Diedrich Diederichsen, Elisabeth Lebovici, Jacob Proctor, Dorothea Strauss.
Mai-Thu Perret's earliest project was The Crystal Frontier, comprised of writings and objects that describe the lives of a group of women living in a utopian commune in the New Mexico desert. This volume surveys the artist's utopia-themed oeuvre, which often draws on the political aspirations of the modernist avant garde.
Published by Hatje Cantz. Text by Mathias Danbolt, Diedrich Diederichsen, Elizabeth Freeman.
Inspired by queer filmmaker Jack Smith, Pauline Boudry and Renate Lorenz combine film and video with photography, installation and archival materials to investigate the historical convergence of sexual “perversion” and photography with the colonial economy of the late nineteenth and early twentieth centuries. Temporal Drag surveys five of Boudry and Lorenz's works in this vein.
Published by Fillip Editions/Artspeak. Edited by Melanie O'Brian, Jeff Khonsary. Text by Jeff Derksen, Diedrich Diederichsen, James Elkins, Maria Fusco, Sven Lütticken, Tom Morton, Kristina Lee Podesva, William Wood, Tirdad Zolghadr.
Matters of value and judgment are the subject of recently intensified debate within art criticism. Has art criticism suffered a collective failure of nerve as names and styles boom and bust with increasing rapidity? Conversely, does a discourse that traffics in value judgments risk being coopted into serving--or perhaps even serve outright--as a consumer guide to a bloated contemporary art market in which commerce and critical discourse frequently seem to be at odds with each other? Growing out of a forum that was held in Vancouver, Canada, Judgment and Contemporary Art Criticism includes transcripts of the forum's discussions, an extensive bibliography on art criticism, as well as newly commissioned texts by Jeff Derksen, Diedrich Diederichsen, James Elkins, Maria Fusco, Sven Lütticken, Tom Morton, Kristina Lee Podesva, William Wood and Tirdad Zolghadr.
PUBLISHER Fillip Editions/Artspeak
BOOK FORMAT Paperback, 4.5 x 7.5 in. / 176 pgs.
PUBLISHING STATUS Pub Date 4/30/2011 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 105
PRODUCT DETAILS ISBN 9780973813364TRADE List Price: $20.00 CDN $25.00
Published by Walther König, Köln. Edited by Antje Ehmann, Kodwo Eshun. Foreword by Alex Sainsbury. Text by Harun Farocki, Michael Baute, Jammes Benning, Nicole Brenez, Sabeth Buchmann, Alice Creischer, Diederich Diederichsen, George Didi-Hubermann, et al.
The first monograph on the prolific German filmmaker, video artist and author Harun Farocki (born 1944), Against What? Against Whom? compiles a complete filmography, beginning with Farocki's early Marxist educational films, “Direct Cinema” works and his film-essays, and more recent installations that draw on a variety of found footage. Against What also contains a checklist of installations alongside over 20 essays from a variety of admirers and a new essay by Farocki himself, which combines reflections on his own films with a short history of film-making in West Germany over the past 40 years.
Published by JRP|Ringier. Edited by Anne Pontégnie. Text by Mike Kelley, Anne Pontégnie, Diedrich Diederichsen, Howard Singerman.
In 1995, Mike Kelley devised the Educational Complex, an amalgam of every school he attended and of the house he grew up in, "with all the parts I couldn't remember left out"--a total environment, "sort of like the model of a Modernist community college." The blind spots in this model represent forgotten ("repressed") zones, and so are reconceived by Kelley as sites of institutional abuse, for which specific traumas were devised (each having their own video and sculptural component). For Kelley, this work marks the beginning of a series of projects in which pseudo-autobiography, repressed-memory syndrome and the reinterpretation of previous pieces become the tools for a poetic deconstruction of such complexes and the way we interact with and narrate them. Educational Complex Onwards, 1995-2008 is the first book to collect these works. Each project within the series is extensively documented by artist's texts and reference material, while essays by Diedrich Diederichsen, Howard Singerman and Anne Pontégnie examine the place of this body of work within Kelley's oeuvre.
Published by Walther König, Köln. Edited by Peter Pakesch, Diedrich Diederichsen. Text by Diedrich Diederichsen, Dirck Linck, Nora Sdun, Christian Höller. Introduction by Peter Pakesch.
Rock, Paper, Scissors brings together artists whose works have kept a close relationship with pop music: Saâdane Afif, Cory Arcangel, Art & Language, Kim Gordon & Jutta Koether, Renée Green, Mike Kelley, Lucy McKenzie, Dave Muller, Albert Oehlen and others.
Published by JRP|Ringier. Edited by Nicole Schweitzer. Text by Diedrich Diederichsen, Gloria Sutton, Nora Alter, Juliane Rebentisch.
This is the first comprehensive monograph devoted to New York and San Francisco-based artist Renée Green. Over the past 20 years, through film, video, sound art, photographs, prints, banners, texts, websites and ephemera, Green's work has comprised complex, multi-layered archive-like installations, employing a vast array of sources, which always urge viewers to become active participants. Included in this superbly illustrated volume are newly commissioned essays by a host of esteemed media scholars, art historians, critics and curators--Nora Alter, Diedrich Diederichsen, Kobena Mercer, Catherine Quéloz, Gloria Sutton and Elvan Zabunyan--who engage issues central to Green's oeuvre, such as genealogy, archives and their reworkings, movements and displacements, site specificity and location.
Published by Greene Naftali/Galerie Daniel Buchholz. Edited by Christopher Müller, Jay Sanders. Text by Diedrich Diederichsen, Tony Conrad.
This first monograph on the legendary artist, filmmaker and musician Tony Conrad documents his seminal Yellow Movie project of the early 1970s. Published to accompany Conrad's recent one-person exhibition at New York's Greene Naftali Gallery and Galerie Bucholz, Cologne, it includes an introductory note by Conrad, a new text by Diedrich Diederichsen and comprehensive documentation of all the Yellow Movies still in existence. Art in America's David Coggins described the project in 2007: "Yellow Movies, a series of works from the early 1970s by pioneering filmmaker Tony Conrad, initially appears to be nothing more than white squares enclosed by black borders painted on large sheets of paper. Yet these casual paintings, roughly the size of old home-movie screens, are formed by latex house paint that slowly yellows over time, creating what are essentially unhurried photographic exposures. Conrad sought to make abstract films that would last a lifetime, and there's a discreet thrill to knowing that what you're seeing is changing, invisibly, before your eyes."
PUBLISHER Greene Naftali/Galerie Daniel Buchholz
BOOK FORMAT Paperback, 7 x 10 in. / 76 pgs / 45 col / 7 bw.
PUBLISHING STATUS Pub Date 7/30/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 96
PRODUCT DETAILS ISBN 9783000244322TRADE List Price: $35.00 CDN $40.00
Published by JRP|Ringier. Text by Marc-Olivier Wahler, Jacqueline Burckhardt, Giovanni Carmine, Philip Ursprung, Diedrich Diederichsen, Gianni Jetzer, Rein Wolfs.
This publication presents an overview of the work of the Swiss artist duo Sabina Lang and Daniel Baumann (L/B), who have been collaborating since 1993 and have regularly exhibited in biennials, museums and art venues around the world. Their work can be described as riding on the edge of art, architecture and design. Designed by the Zurich-based design firm Norm, this volume divides L/B's work into seven thematic groups by chapter: Mobile (containing movable objects, among them the one-room hotel "Everland"), Comfort (inflatable objects), Perfect (modular objects), Surface (sharp-edged paintings), Flat (wall paintings), Space (stage objects) and Field (interventions in the real world). Each thematic chapter is introduced by a noted writer; they include, in order, Marc-Olivier Wahler, Philip Ursprung, Giovanni Carmine, Jacqueline Burckhardt, Diedrich Diederichsen, Gianni Jetzer and Rein Wolfs.
Published by Witte de With Publishers. Text by Diedrich Diederichsen.
Drawing on fresh readings of Marxist and postmodern thought, renowned German cultural critic Diedrich Diederichsen compares the abstract and climbing values of artworks with the plunging value of music--a traditionally immaterial art--in order to formulate a broad reflection on the current "crisis of valuation in the arts."
Published by Witte de With Publishers. Text by Thierry Davila, Diedrich Diederichsen, Vanessa Desclaux, Geoffrey Farmer, Zoë Gray.
Over the past decade, Canadian artist Geoffrey Farmer has developed a performative, narrative approach to installation--combining video, drawing and improvisatory sculpture. The works evolve over the course of an exhibition or transform drastically from one site to another, lending instability to the notion of what an artwork, or exhibition, might be.
Published by JRP|Ringier. Edited by Christoph Doswald. Text by Peter Gross, Barbara Vinken, Diedrich Diederichsen, Michelle Nicol.
At just under 350 pages, this lavishly illustrated reader addresses the crossover between fashion and art. Featuring work by Daniele Buetti, Sylvie Fleury, Yoko Ono, Pipilotti Rist, Erwin Wurm and others, it includes a photographic prelude by Georg Gatsas and an insert by Walter Pfeiffer.
Published by Hatje Cantz. Edited by Sabine Eckmann. Text by Diedrich Diederichsen, Sabine Eckmann, Beate Kemfert, Gertrud Koch, Lutz Koepnick, Iain Whyte.
The Berlin Wall fell almost 20 years ago, and since then a generation of artists has come of age in reunified Germany. Reality Bites investigates the effect of that historical context, identifying the new kinds of work that have grown out of it, full of strategies and materials borrowed from and referring back to one kind of recent German reality or another, aesthetic exploration of experience in which the themes of reality and history take on increased meaning. This representative selection of about 70 pieces created since 1989 includes work from Franz Ackermann, Kutlug Ataman, Sophie Calle, Tacita Dean, Thomas Demand, Sabine Hornig, Christian Jankowski, André Korpys, Markus Löffler, Via Lewandowsky, rude_architecture, Gregor Schneider, Collier Schorr, Wolfgang Tillmans. Among those less known to U.S. audiences are Cosima von Bonin, born in Kenya, who plays curator, critic, DJ and producer in the course of her sometimes risqué work; Rudolf Herz, whose Lenin on tour put busts of the great leader on the back of a flatbed and took them on the road; and Renata Stih and Frieder Schnock, whose "Places of Remembrance," in Berlin's Bavarian Quarter and "Bus Stop," Holocaust Memorial project build the city's history into its streetscape.
Published by DuMont. Text by Diedrich Diederichsen, Isabelle Graw, Martin Prinzhorn.
Jutta Koether's translucent color fields, expressive brushstrokes and female subjects--as well as her use of poetry, art history and Mylar--can make her seem like a feminist answer to the Cologne art scene, a counterpart to artists like Martin Kippenberger, Sigmar Polke and Albert Oehlen. In fact, she is a central contemporary painter in her own right, as well as a performance artist, a musician and a critic. She collaborates musically with Sonic Youth's Kim Gordon and Television's Tom Verlaine, contributes regularly to Artforum and the respected German culture magazine Spex, and teaches in Bard College's MFA program--and has recently shown her work at Reema Spaulings Fine Art and Thomas Erben Gallery in New York. Koether's work, which the New York Times has called "vibrant" and "intriguing," was a standout in the 2006 Whitney Biennial. This look back documents the artist's oeuvre from the mid-80s forward, with an extensive selection of images.
Published by Walther König, Köln. Text by Diedrich Diederichsen, Manuel Borja-Villel, Anton Herbert, Hans-Joachim Muller, Peter Pakesch, Anne Rorimer.
This beautiful, hefty catalogue of the most important works from one of the world's finest collections of Minimal, Arte Povera and Conceptual art includes work by Carl Andre, John Baldessari, Marcel Broodthaers, Hanne Darboven, Gilbert & George, Donald Judd, On Kawara, Mike Kelley, Martin Kippenberger, Joseph Kosuth, Sol LeWitt, Bruce Nauman, Gerhard Richter, Ed Ruscha, Robert Ryman, Robert Smithson and Lawrence Weiner, among others. In her essay, the esteemed independent curator and art historian Anne Rorimer writes, "Such is the breadth and depth of the Herbert Collection that an entire book on the art of the 1960s and 1970s could be written based on the many exemplary works included in it. As a group, works in the collection point to the revolutionary activity occurring at a time when long-held conventions associated with painting and sculpture were being questioned or overturned in the interest of aesthetic renewal. Each work, separately, speaks volumes about innovations in art production labeled by terms such as Minimal art, Arte Povera or Conceptual art. These terms, although by no means carved in stone, identify shared methods and goals pursued by artists on both sides of the Atlantic during the years leading up to and extending beyond 1968.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 7 x 9.5 in. / 430 pgs / 222 color / 190 bw.
PUBLISHING STATUS Pub Date 8/1/2006 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 85
PRODUCT DETAILS ISBN 9788489771208FLAT40 List Price: $50.00 CDN $60.00
Published by Hatje Cantz. Edited by Bice Curiger. Essays by Ina Blom, Bice Curiger, Diedrich Diederichsen, Kurt W. Forster, Al Rees and Rdiger Wehner.
The eye is the dominant sensory organ of our age, with more and more information received in still and moving images, and more and more information mined visually from spatial dimensions that are ever smaller and ever greater. The use of a wide variety of optical devices has long been second nature to us, and their methods of extending the reach of our sight--virtually and really--have instigated fundamental, far-reaching changes in our understanding of reality. The Expanded Eye takes a concerted look at an experimental side of art, where seeing means insight. It presents paintings, objects, film and video installations from the 1950s to the present, a spectrum that takes into equal account the playful experiments of postwar art and the radically altered premises of recent artistic practice. Artists include Bridget Riley, Robert Smithson, Jonas Mekas, Olafur Eliasson and Jules Spinatsch.
Published by Hatje Cantz. Foreword by Frank Wagner, Kasper König. Text by Judith Butler, Douglas Crimp, Diedrich Diederichsen, Harald Fricke, Julia Friedrich, Hanne Loreck, Cristina Nord, Thomas Meinecke, Eva Meyer, Marlene Steeruwitz, Frank Wagner.
In chess, when a pawn reaches the eighth square on the far side of the board, the player can swap it for a piece from his opponent's set. So the pawn--a lowly foot soldier--can transform into a queen, the least powerful figure can transform into the epitome of power, and a man can become a woman--just like that. Issues of sexuality are playing out around us all the time, quaking and transmuting under the surface of every family exchange and embedded in all of our popular media images. This scholarly and yet still erotic compendium examines, through works by more than 70 artists, historical and social developments in human sexuality, taking on all facets of drag, gender, queerness and transsexuality. Artists include Diane Arbus, Francis Bacon, Matthew Barney, Louise Bourgeois, Nan Goldin, Felix Gonzalez-Torres, David Hockney, Jasper Johns, Robert Mapplethorpe, Tracey Moffatt, Bruce Nauman, Robert Rauschenberg and Cindy Sherman.
Published by The Museum of Contemporary Art, Los Angeles. Essays by Cornelia Butler, Grant Arnold, Jessica Bradley, Lynne Cooke, Diedrich Diedrichsen, Sara Krajewski and Shepherd Steiner.
One of Canada's most humorous conceptual artists--as witty as he is smart--Rodney Graham gets his first North American museum retrospective and accompanying catalogue. Rodney Graham: A Little Thought tracks the career of a brilliant, idiosyncratic artist whose work spans a range of media including photography, film, book works, installation and pop music. In this volume, amply illustrated with many never-before-seen images from early in his career as well as new photography of his most recent works, scholarly essays provide a broad context for viewing: Cornelia Butler looks at Graham's relationship to landscape and Canadian identity, Lynne Cooke examines the construction of the artist's persona in works such as City Self/ Country Self (2001), and Shep Steiner discusses the joke as a conceptual strategy for Graham. Diedrich Diederichsen considers the artist's oeuvre within the context of musical structure, and Sara Krajewski describes how Graham's video works unfold. Finally, Grant Arnold offers an in-depth illustrated chronology, tracing the range of activities that have occupied Graham since his early days on the Vancouver scene.
PUBLISHER The Museum of Contemporary Art, Los Angeles
BOOK FORMAT Hardcover, 9.75 x 11.75 in. / 208 pgs / 150 color / 50 bw / 20 duotone.
PUBLISHING STATUS Pub Date 5/2/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9780914357889TRADE List Price: $39.99 CDN $50.00
Published by nai010 publishers. Edited by Eva Meyer-Hermann. Essays by Diedrich Diederichsen and Georg Schüllhammer.
Since 1994, the Dutch artists Jeroen de Rijke and Willem de Rooij have been collaborating on a comprehensive film oeuvre. This artist's book focuses on their last four 35mm films and film installations, made between 1998 and 2002, paying particular attention to the growing importance of the phenomenological and iconographic aspects of their work.
Published by Walther König, Köln. Edited by Eva Meyer-Hermann and Susanne Neuburger. Essays by Kathleen Bühler, Diedrich Diederichsen, Manfred Hermes, Anke Kempkes, Martin Prinzhorn and Lucy McKenzie.
Martin Kippenberger died in 1997 at the young age of 44. Nach Kippenberger--after Kippenberger--collects together various essays which pave the way for an understanding of his work after the fact, for the next generation. Essayists include Eva Meyer-Hermann, Anke Kempkes and Manfred Hermes, and more than 250 images illustrate Kippenberger's life and work.
PUBLISHER Walther König, Köln
BOOK FORMAT Paperback, 7 x 9.5 in. / 272 pgs / 250 color.
PUBLISHING STATUS Pub Date 8/2/2003 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9783851600285SDNR30 List Price: $45.00 CDN $55.00
Published by D.A.P./Distributed Art Publishers. Artwork by Alex Katz, Martin Kippenberger. Edited by Uwe Koch, Roberto Ohrt. Text by Diedrich Diederichsen.
Roberta Smith called him the “madcap bad boy of contemporary German art” and also “one of the three or four best German artists of the postwar period.” Martin Kippenberger disrupted the status quo throughout his brief, excessive life, not just by making art of every variety and medium but also by conducting an extended performance in the vicinity of art that involved running galleries, organizing exhibitions, collecting the work of his contemporaries and overseeing assistants. He published books and catalogues, played in a rock-and-roll band and cut records, ran a performance-art space during his early years in Berlin, became part owner of a restaurant in Los Angeles during six months he spent there preparing for an exhibition, and collaborated extensively with other artists. This particular volume considers his output of artist's books, as well as his exhibition catalogues and all the publications whose content he either created or edited. More than just documentation, this publication makes accessible for a wider public the multiple aspects of Kippenberger's books, with all the complexity and consequence of his oeuvre intact.
Published by Walther König, Köln. Edited by Veit Loers and Beatrix Ruf. Essays by Diedrich Diederichsen, Vanessa Joan Müller and Josef Strau.
In the 25 years since she has been active as an artist, Isa Genzken has created a wide-ranging, multi-faceted body of work. From her inhospitable, ruin-like concrete sculptures to the uncannily fragile and wondrously beautiful New Buildings for Berlin (seen at Documenta11), she has acknowledged modernism as both model and loss. With large-format exhibition pictures, essays, and a detailed catalogue raisonnª.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 10 x 12.75 in. / 196 pgs / 100 color / 220 bw.
PUBLISHING STATUS Pub Date 8/2/2003 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2004
PRODUCT DETAILS ISBN 9783883756882SDNR30 List Price: $55.00 CDN $65.00
Published by Hatje Cantz. Edited by Max Hollein and Jesper N. JØrgensen. Essays by Nicolas Bourriaud, Will Bradley, Diedrich Diedrichsen, Russell Haswell, Blazenka Perica, Martin Pesch and Daniel Birnbaum.
Beyond the scope of the defining non-material characteristics of sound, sound becomes a formal material, a kind of audible sculpture accompanied by discourse on its constructive, societal, philosophical, and emotional aspects. At least, it does for the contemporary artists represented in Frequencies [HZ], each of whom works with sound within the context of visual art--Angela Bulloch, Farmersmanual, Ryoji Ikeda, Daniel Pflumm, Ultra-red, Mika Vainio, and others. With an audio CD ingeniously integrated into the book's cover design, and reproductions of sculptural and visual art, as well as specific, often minimalistic installations and interventions which employ sound or electronic experiments with sound, Frequencies [HZ] explores how sound impacts upon the perception of architecture and otherwise influences the components of individual experience. Participating artists reflect on the institutional context and the situation that evolves between the work of art and the viewer.
Published by Hatje Cantz. Essays by Diedrich Diederichsen and Rita Kersting, Foreword by Karola Grässlin.
This monograph on the German artist Isa Genzken presents her installation and sculptural work that, for over two decades, has been approaching the border with architecture by considering such issues as the interface between interior and exterior and questions of surface and fragility.
Published by Walther König, Köln. Edited by Philomene Magers. Essays by Thomas Demand, Diedrich Diederichsen.
One of the most consistently inventive artists of recent times, Los Angeles-based Ed Ruscha has been a pioneer in the use of language and imagery drawn from the popular media. From his early powerful word paintings to his influential artist's books of the sixties and seventies to his recent colorful views of generic mountains, Ruscha has investigated the spaces between highways and journeys, images and words, abstraction and representation, public imagery and the contemporary landscape. Ed Ruscha: Gunpowder and Stains presents some of Ruscha's most amazing illustrations from the 1970s--images that feature cryptic slogans, often reminiscent of advertising language, at turns obscured and revealed by the artist's hand. The book also features two important essays: a very personal commentary on Ruscha's impact by Thomas Demand, and an article by Diedrich Diederichsen that offers an in-depth exploration of Ruscha's combination of images and typed letters.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 10.25 x 8 in. / 72 pgs / 22 color
PUBLISHING STATUS Pub Date 10/2/2000 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2001
PRODUCT DETAILS ISBN 9783883754314SDNR30 List Price: $35.00 CDN $40.00