Edited by Cornelia Butler, Luis Pérez-Oramas. Text by Sergio Bessa, Eleonora Fabião, Briony Fer, Geaninne Gutiérrez-Guimarães, André Lepecki, Zeuler Lima, Christine Macel, Frederico de Oliveira Coelho.
Hbk, 9.5 x 12 in. / 336 pgs / 400 color. | 10/31/2014 | In stock ISBN 9780870708909 | $75.00
Published by The Museum of Modern Art, New York. Edited by Cornelia Butler, Luis Pérez-Oramas. Text by Sergio Bessa, Eleonora Fabião, Briony Fer, Geaninne Gutiérrez-Guimarães, André Lepecki, Zeuler Lima, Christine Macel, Frederico de Oliveira Coelho.
Published in conjunction with a major retrospective of the work of Brazilian painter, sculptor and performance artist Lygia Clark, this publication presents a linear and progressive survey of the artist’s groundbreaking practice. Having trained with modern masters from the late 1940s to the mid-1950s, Clark was at the forefront of Constructivist and Neo-Concretist movements in Brazil and fostered the active participation of the spectator through her works. Examining Clark’s output from her early abstract compositions to the "biological architectures" and "relational objects" she created late in her career, this is the most comprehensive volume on the artist available in English. Three sections based on key phases throughout her career--Abstraction, Neo-Concretism and The Abandonment of Art--examine these critical moments in Clark’s production, anchor significant concepts or constellations of works that mark a definitive step in her work, and shed light on circumstances in her life as an artist. Featuring a significant selection of previously unpublished archival texts of Clark’s personal writings, it is a vital source of primary documentation for twentieth-century art history scholarship. Lygia Clark (1920–1988) trained in Rio de Janeiro and Paris from the late 1940s to the mid-1950s. From the late 1960s through the 1970s she created a series of unconventional artworks in parallel to a lengthy psychoanalytic therapy, leading her to develop a series of therapeutic propositions grounded in art. Clark has become a major reference for contemporary artists dealing with the limits of conventional forms of art.
Cornelia Butler is Chief Curator at the Hammer Museum in Los Angeles.
Luis Perez-Oramas is the Estrellita Brodsky Curator of Latin American Art for the Department of Drawings and Prints at The Museum of Modern Art.
Sergio Bessa is the director of curatorial and education programs at the Bronx Museum, and a teacher of Museum Education at Columbia University.
Eleonora Fabiao is a performer/performance theorist and Associate Professor at the Federal University of Rio de Janeiro.
Briony Fer is a British art historian, curator and Professor of History of Art at University College London.
Geaninne Gutiérrez-Guimarães has curated for the Museum of Modern Art and the Bertha and Karl Leubsdorf Art Gallery.
Andre Lepecki is Associate Professor at the Department of Performance Studies at Tisch School of the Arts at New York University. He is a writer and curator working mainly on performance studies, choreography and dramaturgy.
Zeuler Lima is an architect and associate professor of history, theory and design at the School of Design and Visual Arts at Washington University in St. Louis.
Published by JRP|Ringier. Edited by Michaela Unterdörfer. Text by Tacita Dean, Briony Fer.
“If you were to ask me what I do, I would say I draw--this is the primary activity and that all my work has this in common regardless of idiom or material,” wrote Roni Horn in a letter to Paulo Herkenhoff in 2003. Born in 1955 in New York, Horn began developing her drawing technique in the early 1980s, using powdered pigment and varnish to produce soft, austere, floating abstractions that explored her now familiar preoccupation with pairs. Over the subsequent two decades, drawing has remained an essential dimension of Horn’s art--one that she has infused with her keen sculptural sensitivity to texture and the grander, almost spiritual possibilities of mass and volume. 153 Drawings presents for the first time a comprehensive selection of Horn’s drawings, ranging from the artist’s initial work with pigment to geometrically collaged works and extremely complex more recent drawings. This publication includes essays by British artist Tacita Dean and Briony Fer.
Published by D.A.P./Museo Nacional Centro de Arte Reina Sofía. Text by Lynne Cooke, Briony Fer, Zoe Leonard, Suzanne Hudson.
For more than six decades, James Castle (1899-1977) dedicated himself virtually full-time to the activity of making art, producing a vast and accomplished body of work, much of which he managed to preserve. Growing up in rural Idaho, Castle devised his own art materials and techniques, making ink for drawing by moistening soot from the family stove with his own saliva and using discarded paper and other materials. In the 1950s, through the efforts of family members, Castle's work came to the attention of the local art community, and it began to be exhibited in Idaho and the Pacific Northwest, often under the rubric of outsider or self-taught art. Not until the late 1990s, however, did it appear in mainstream art circuits. Castle's work poses numerous challenges for the art historian. He was born profoundly deaf and never adopted conventional means of communication and thus never commented on his art. His works are neither titled nor dated, and it is difficult to trace an evolution or establish a chronology. As a result, previous scholarship has tended to focus on Castle's biography or on specific aspects of his oeuvre. James Castle: Show and Storetakes a different approach, looking at the entire scope of the artist's production--which included drawings, constructions made from found pieces of colored card and handmade books--and emphasizing the centrality of his display and storage methods to his practice. The essays in this volume also question the notion of Castle as an artist who worked in isolation from the world at large, examining his copying and reuse of images derived from printed media, including advertising and product packaging, and perhaps even television. Illustrated with more than 200 full-color reproductions, Show and Storeexamines drawings, handmade books, cardboard and paper constructions and collages. Born profoundly deaf, James Castle (1899-1977) never fully learned to read or write, instead developing his own unique sign system and visual vocabulary. He won some local acclaim during his lifetime (including 1963 and 1976 exhibitions at the Boise Gallery of Art) but only achieved international recognition after his death in 1977.
Published by The Museum of Modern Art, New York. Text by Ann Temkin, Anne Byrd, Benjamin H. D. Buchloh, Briony Fer, Paulina Pobocha.
Gabriel Orozco emerged at the beginning of the 1990s as one of the most intriguing and original artists of his generation, one of the last to come of age during the twentieth century. His work is unique in its formal power and intellectual rigor, resisting confinement to one medium and roaming freely and fluently among drawing, photography, sculpture, installation and painting. Orozco deliberately blurs the boundary between the art object and the everyday environment, situating his work in a place that merges art and reality, whether through exquisite drawings made on airplane boarding passes or sculptures composed of recovered trash. This publication examines two decades of the artist's production year by year, from 1989 through 2009. Each section is richly illustrated and includes a short text, based on interviews with the artist, that combines biographical information with a brief and focused discussion of selected works. Critical essays by Ann Temkin, Benjamin H.D. Buchloh and Briony Fer supplement these foundational and chronological explorations, providing new insights and strategies for grounding Orozco's work in the larger landscape of contemporary art production. Gabriel Orozco (born in Mexico, 1962) studied at the Escuela Nacional de Artes Plásticas in Mexico City, and at the Círculo de Bellas Artes in Madrid, Spain. He has exhibited at the Whitney Museum of American Art, The Museum of Modern Art, New York, the Guggenheim Museum, the Philadelphia Museum of Art and the Venice Biennale. Orozco lives and works in New York, Paris and Mexico City.
Published by Walther König, Köln. Text by Jean-Pierre Criqui, Yves-Alain Bois, Briony Fer.
This book brings together a selection of Jean-Luc Moulène's photographs, sculptures and drawings, from 1977 to 2008, with an emphasis on work done in the past decade. Moulène's multimedia activities--mostly recording in photography--utilize negations and political interventions in everyday life.
Published by Charta/Miami Art Central. Text by Tacita Dean, Briony Fer, Rina Carvajal.
The invisible, the trace, the almost-there… British-born Tacita Dean’s 16-mm films create remarkable drama from astonishingly little visual presence. In addition to an ambient sound track, we hear the workings of the projector, we become aware of the mechanics of the film moving through the gate, we focus on processing irregularities--accidental or intentional. Published alongside her recent exhibition at Miami Art Central, this volume gathers key films together with Dean’s poetic narratives, which become discrete works in themselves when juxtaposed with the still images. In this way, Film Works reveals another facet of Dean’s output, rather than functioning entirely as a catalogue of works. The films included, which date from the 1990s to the present, are accompanied by essays by art historian and theorist Briony Fer, and Miami Art Central Chief Curator Rina Carvajal. Represented by Marian Goodman Gallery in New York, Dean received the 2006 Hugo Boss Prize.
PUBLISHER Charta/Miami Art Central
BOOK FORMAT Paperback, 7.5 x 8.5 in. / 112 pgs / 46 color.
PUBLISHING STATUS Pub Date 1/1/2008 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 80
PRODUCT DETAILS ISBN 9788881586639TRADE List Price: $34.95 CDN $40.00
Published by The Museum of Modern Art, New York. Text by Ann Temkin, Briony Fer. Melissa Ho, Nora Lawrence.
Color Chart addresses the impact of standardized, mass-produced color on the art of the past 60 years. Taking the commercial color chart as its central metaphor, this volume chronicles an important artistic shift that took place during the middle of the twentieth century: a frank acknowledgment of color as a matter-of-fact element rather than a vehicle of spiritual or emotional content. Collected here are more than 40 artists who explore in their works the double meaning of “ready-made color”--color bought off the shelf, rather than mixed on a palette, as well as color assigned by chance or arbitrary system rather than composed with traditional chromatic harmonies in mind. Published to accompany a major exhibition at The Museum of Modern Art, New York, this volume begins with Marcel Duchamp’s Tu m’, the artist’s final painting, made in 1918, with its long array of color samples looming across the canvas. This early recognition of color’s commercial nature was fully explored more than three decades later by artists such as Robert Rauschenberg, Andy Warhol, Gerhard Richter and Alighiero Boetti, who in the 1950s to the 1970s, with a host of others, redefined the parameters of color from a matter of personal expression to one of arbitrary systems and random processes. The repercussions of this transformation continue to be felt into the twenty-first century, in work by artists including Sherrie Levine, Mike Kelley and Damien Hirst, as well as others who explore color in digital technology This volume traces the lineage of the questions provoked by color’s new status, and the variety of answers that have resulted.
Published by Turner/A&R Press/Conaculta-INBA. Text by Yve-Alain Bois, Benjamin H.D. Buchloh, Briony Fer.
The work of Gabriel Orozco is an exemplary adventure of ideas and objects. Always generously implicating the spectator, Orozco draws on a large material repertoire to produce quiet shifts in commonplace scenarios. This book, published to coincide with Orozco's exhibition at the Museo del Palacio de Bellas Artes in Mexico City, is the first substantial monograph on the artist, and testifies to the range of his investigations, from tiny adjustments in everyday locations (such as breath on a piano or reflections in a puddle) to more recent preoccupations with spherical forms in collage and paint. In an extensive interview with Briony Fer, the artist explains some of the conceptual premises of his art. Benjamin H.D. Buchloh situates Orozco´s various sculptural practices within twentieth-century precedents and the climate of postwar consumerism and assesses them as manifestations of a shift in object-subject relations. And Yves-Alain Bois explores Orozco's recent "return" to painting, considering the structural logic of his canvases, in which Orozco deploys self-imposed rules to plot compositions (or "diagrams," as he describes them). With insightful texts and hundreds of illustrations, this big, bold, 360-page book is the definitive work to date on one of the most influential contemporary artists.
Published by Walther König, Köln. Essays by Benjamin H.D. Buchloh, Briony Fer, and Rochelle Steiner.,
The concept and layout for this artist's book and catalogue in one were conceived by Gabriel Orozco in cooperation with graphic designer Luc Derycke. It features works from 1992 until present--works that delve into geometric patterns, their permutations, and their relations to human forms and movements. Many drawings are included, as well as photographs of the artist's somewhat lesser-known installations.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 8.5 x 10.5 in. / 176 pgs / 159 color.
PUBLISHING STATUS Pub Date 6/15/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 135
PRODUCT DETAILS ISBN 9783883758374SDNR30 List Price: $40.00 CDN $50.00
Published by The Drawing Center. Edited by Catherine de Zegher. Essays by Michael Newman, Briony Fer, Ruggero Penone, and Kathryn A. Tuma.
The artists of the Italian Arte Povera movement took as their common goals the use of simple, humble materials; an appreciation of the processes of daily life; and the blurring of the boundaries between art and nature. Giuseppe Penone, the youngest member of the group, which began in the 60s, explores these principles primarily through the act of drawing. Penone's poetic and indexical approach to this simple act finds him extending his fingerprint through hundreds of lines painstakingly handrawn in concentric rings, millimeter by millimeter. Or enlarging the lines of his forehead and eyelids in related gestures and techniques. The Imprint of Drawing examines large- and small-scale works created over the past 25 years, accompanied by essays and an interview with the artist by The Drawing Center Director Catherine de Zegher.