Edited by Kathy Halbreich, Isabel Friedli, Heidi Naef, Magnus Schaefer, Taylor Walsh. Text by Thomas Beard, Briony Fer, Nicolás Guagnini, Kathy Halbreich, Rachel Harrison, Ute Holl, Suzanne Hudson, Julia Keller, Liz Kotz, Ralph Lemon, Glenn Ligon, Catherine Lord, Roxana Marcoci, Magnus Schaefer, Felicity Scott, Martina Venanzoni, Taylor Walsh, Jeffrey Weiss.
Hbk, 9 x 10.5 in. / 356 pgs / 250 color. | 2/27/2018 | In stock ISBN 9781633450318 | $75.00
Edited with text by Anne Umland, Cathérine Hug. Text by George Baker, Carole Boulbčs, Masha Chlenova, Michčle C. Cone, Briony Fer, Gordon Hughes, David Joselit, Jean-Jacques Lebel, Bernard Marcadé, Arnauld Pierre, Juri Steiner, Adrian Sudhalter, Aurélie Verdier.
Hbk, 9.5 x 12 in. / 368 pgs / 500 color. | 7/26/2016 | In stock ISBN 9781633450035 | $75.00
Edited by Frances Morris, Tiffany Bell. Text by Marion Ackermann, Rachel Barker, Jacquelynn Baas, Tiffany Bell, Christina Bryan Rosenberger, Briony Fer, Lena Fritsch, Anna Lovatt, Frances Morris, Maria Müller-Schareck, Richard Tobin, Rosemarie Trockel.
Hbk, 8.25 x 10.5 in. / 272 pgs / 160 color. | 7/28/2015 | In stock ISBN 9781938922763 | $55.00
Edited by Cornelia Butler, Luis Pérez-Oramas. Text by Sergio Bessa, Eleonora Fabiăo, Briony Fer, Geaninne Gutiérrez-Guimarăes, 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
Dogs' Chorus presents a group of recent drawings by Roni Horn (born 1955). Following up on Th Rose Prblm (2016), Horn cuts apart original drawings of texts and reassembles them into compositions that are cumulative and complex. Here, Horn combines a line from Shakespeare’s Julius Caesar with common idioms.
Drawings in the Collection of the Allen Memorial Art Museum, Oberlin College
Published by Hauser & Wirth Publishers. Edited by Barry Rosen. Foreword by Helen Hesse Charash, Andria Derstine. Text by Briony Fer, Gioia Timpanelli, Manuela Ammer, Andrea Gyorody, Jörg Daur.
This monumental tome contains the entirety of the important German artist’s drawings held in the collection of the Allen Memorial Art Museum, Oberlin College, Ohio. The AMAM was the first museum to purchase a sculpture by Hesse, Laocoon, in 1970. In gratitude for its recognition of Hesse's work, and following the artist's untimely death, her sister Helen Hesse Charash generously donated the artist's notebooks, diaries, sketchbooks, photographs and letters to the museum. Hesse’s drawings played a crucial role in her work, which in turn gave way to an array of highly innovative techniques and styles that today still defy classification. As she commented in 1970: “I had a great deal of difficulty with painting but never with drawing ... the translation or transference to a large scale and in painting was always tedious.... So I started working in relief and with line.” Hesse’s custom of introducing sculptural materials into drawing and painting continues to influence artmaking today. Eva Hesse (1936–70) was one of the foremost artists of the 20th century. Her work combined the seriality and reductionism of 1960s minimalism with emotion, sensuousness and physicality. Her work is in the collections of the Museum of Modern Art, Tate, Guggenheim and many others.
Published by The Museum of Modern Art, New York. Edited by Kathy Halbreich, Isabel Friedli, Heidi Naef, Magnus Schaefer, Taylor Walsh. Text by Thomas Beard, Briony Fer, Nicolás Guagnini, Kathy Halbreich, Rachel Harrison, Ute Holl, Suzanne Hudson, Julia Keller, Liz Kotz, Ralph Lemon, Glenn Ligon, Catherine Lord, Roxana Marcoci, Magnus Schaefer, Felicity Scott, Martina Venanzoni, Taylor Walsh, Jeffrey Weiss.
With a magician’s sleight of hand, Nauman’s art makes disappearance visible
At 76 years old, Bruce Nauman is widely acknowledged as a central figure in contemporary art whose stringent questioning of values such as good and bad remains urgent today. Throughout his 50-year career, he has explored how mutable experiences of time, space, sound, movement and language provide an insecure foundation for our understanding of our place in the world.
This richly illustrated catalog offers a comprehensive view of Nauman’s work in all mediums, spanning drawings across the decades; early fiberglass sculptures; sound environments; architecturally scaled, participatory constructions; rhythmically blinking neons; and the most recent 3D video that harks back to one of his earliest performances. A wide range of authors—curators, artists and historians of art, architecture and film—focus on topics that have been largely neglected, such as the architectural models that posit real or imaginary sites as models for ethical inquiry and mechanisms of control. An introductory essay explores Nauman’s many acts of disappearance, withdrawal and deflection as central formal and intellectual concerns. The 18 other contributions discuss individual objects or themes that persist throughout the artist’s career, including the first extensive essay on Nauman as a photographer and the first detailed treatment on the role of color in his work. A narrative exhibition history traces his reception, and features a number of rare or previously unpublished images.
Bruce Nauman was born in Indiana in 1941 and raised near Milwaukee, Wisconsin. He studied math, music and physics at the University of Wisconsin–Madison before switching his major to visual art, and received an MA in sculpture from the University of California, Davis, in 1966. In 1979 he moved to New Mexico, where he continues to reside. Nauman’s work has been the subject of two previous retrospectives, in 1972 and 1994. In 2009 he represented the United States at the Venice Biennale, where he won the Golden Lion.
Published by Koenig Books. Edited by Kurt Almqvist, Louise Belfrage. Text by Daniel Birnbaum, Briony Fer, Branden W. Joseph, David Lomas, Hans Ulrich Obrist.
Thanks to the efforts of various international curators and artists, Swedish painter Hilma af Klint (1862–1944) is now widely regarded as a pioneer of abstract art.
This volume reproduces the last abstract images series made by af Klint in the 1920s, which have never before been published in their entirety.
These images are complemented by essays based on lectures delivered during the exhibition Hilma af Klint: Painting the Unseen, at London’s Serpentine Galleries in 2016. Briony Fer, David Lomas, Branden Joseph, Hans Ulrich Obrist and Daniel Birnbaum shed new light on af Klint and her importance for artists today, also addressing the need for a broader conception of art history that her work proposes.
Published by Hauser & Wirth Publishers. Text by Briony Fer, Daniel Birnbaum.
A founding member of Brazil's Neo-Concrete movement, Lygia Pape (1927–2004) made art that favored the primacy of the viewer's sensorial experience. Pape's geometric abstractions explore rich territory through sculpture, drawing, engraving, filmmaking and installation. This publication brings together works spanning 1955 to 2001. The precise incised lines of Pape's Tecelares woodcut prints and drawings of the 1950s and '60s marry pure geometry with organic patterns. Her subsequent Ttéia installations (begun in the late 1970s and continued throughout her career) present captivating explorations of geometry, space and materiality. Installation views and detail shots of these works complement texts by Briony Fer and Daniel Birnbaum, two ardent followers of Pape's work.
Published by Verlag für moderne Kunst. Text by Briony Fer, Felicity Lunn, Sadie Plant.
British artist Susan Morris (born 1962) subverts traditional notions of self-portraiture by replacing external appearance with recorded traces of everyday activity and automatic bodily movement. This volume compiles her work: data on sleeplessness transcribed into abstract screen-prints, inkjet prints that chart her biorhythms, and more.
Published by Hatje Cantz. Text by Fiona Bradley, Briony Fer, Colm Tóibín, et al.
Since the 1990s, Scottish painter Callum Innes (born 1962) has steadily created poetic minimalist paintings using different color combinations and intensities, as well as different materials—canvas, watercolor paper and masonry. Here, photographs of installations and details highlight the sensual effects of Innes’ art.
Published by Whitechapel Gallery. Edited with text by Lydia Yee. Text by Briony Fer, Mary Heilmann.
Mary Heilmann studied ceramics and poetry before moving to New York in 1968 and taking up painting. A pioneer of infusing abstract painting with influences from craft traditions and popular culture--especially rock music and California beach culture--Heilmann is one of the most important yet under-recognized artists working today. Mary Heilmann: Looking at Pictures explores the artist’s approach to abstraction from two distinct but interrelated perspectives: the formal and the personal. The autobiographical dimension of the artist’s work is clear in her pieces related to friendships, memories and places; while the formal aspect of her oeuvre is evident in her paintings of grids and squares rendered in primary colors and in works based on architectural planes. As well as a new essay by Briony Fer and writings on key works by the artist, the volume features over 100 beautiful full-color illustrations of paintings, works on paper, furniture and ceramics from Heilmann’s five-decade career.
Mary Heilmann was born in San Francisco in 1940. She studied at the University of California at Santa Barbara, San Francisco State University and the University of California at Berkeley before moving to New York in 1968. Heilmann began her career creating furniture and sculpture and moved into abstract painting once on the East Coast, experimenting with bright colors and unusual geometries that bridge two-dimensional and three-dimensional elements. She has been the recipient of the Anonymous Was a Woman Foundation Award as well as a Guggenheim Foundation award.
Briony Fer is an art historian who has written extensively on modern and contemporary art. Her research interests have consistently moved between the history of the avant-gardes and the work of contemporary artists, including Gabriel Orozco, Roni Horn, David Batchelor and Tacita Dean. Her books include On Abstract Art (1997), The Infinite Line (2004), and Eva Hesse: Studiowork (2009). She has also organized exhibitions of Eva Hesse’s studiowork as well as, most recently, an exhibition of the work of Gabriel Orozco, accompanied by the monograph Gabriel Orozco: thinking in circles (2013). In spring 2014, she was Kirk Varnedoe Professor at the Institute of Fine Arts in New York. She is Professor of History of Art at University College London and a Fellow of the British Academy.?
Published by The Museum of Modern Art, New York. Edited with text by Anne Umland, Cathérine Hug. Text by George Baker, Carole Boulbčs, Masha Chlenova, Michčle C. Cone, Briony Fer, Gordon Hughes, David Joselit, Jean-Jacques Lebel, Bernard Marcadé, Arnauld Pierre, Juri Steiner, Adrian Sudhalter, Aurélie Verdier.
By rejecting consistency, Picabia powerfully asserted the artist's freedom to change
Irreverent and audacious, restless and brilliant, Francis Picabia achieved fame as a leader of the Dada group only to break publicly with the movement in 1921. Moving between Paris, the French Riviera, Switzerland, and New York, he led a dashing life, painting, writing, yachting, gambling, racing fast cars, and organizing lavish parties. Like no other artist before him, Picabia created a body of work that defies consistency and categorization, from Impressionist landscapes to abstraction, from Dada to stylized nudes, and from performance and film to poetry and publishing. A primary constant in his career was his vigorous unpredictability.
Illustrated with nearly 500 reproductions, this sweeping survey of Picabia's eclectic career embraces the challenge of his work, asking how we can make sense of its wildly shifting mediums and styles. In her opening essay, curator Anne Umland writes that with Picabia, familiar oppositions "between high art and kitsch, progression and regression, modernism and its opposite, and success and failure are undone."
In 15 superb essays, additional authors—including distinguished professors George Baker, Briony Fer, and David Joselit and renowned Picabia scholars Carole Boulbčs and Arnauld Pierre—delve into the radically various mediums, styles, and contexts of Picabia's work, discussing his Dada period, his abstractions, his mechanical paintings, his appropriations of source imagery, his multifaceted relationship with print (both in his paintings and as a publisher and contributor to vanguard journals), his forays into screenwriting and theater, and his complex politics. Marcel Duchamp, of course, but also Nietzsche and Gertrude Stein make repeat appearances along the way.
Turning to Picabia's contemporary legacy, Cathérine Hug maps the history of his critical reception and interviews contemporary curators and artists, including Peter Fischli, Albert Oehlen, and David Salle. A lively 30-page chronology illustrated with archival photographs and ephemera gives readers a year-by-year account of the artist's colorful life and of his interactions with fellow artists and critics, friends, and lovers.
Together these essays suggest that the unruly genius of Picabia offers us a powerfully relevant and provocative alternative to the familiar narrative of modernism.
Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction accompanies the major 2016 exhibition on the artist, jointly organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich.
Francis Picabia was born in 1879 in Paris, the only child of a Cuban-born Spanish father and a French mother. His first success came as a painter in an Impressionist manner. He went on to become one of the principle figures of the Dada movement in New York and Paris. In 1925 Picabia moved to the south of France, where he lived and worked through World War II. Following the war, Picabia returned to Paris, where he died in 1953.
Anne Umland is the Blanchette Hooker Rockefeller Curator of Painting and Sculpture at the Museum of Modern Art, New York.
Cathérine Hug is Curator, 20th Century Art at the Kunsthaus Zürich, Switzerland.
Published by Matthew Marks Gallery. Text by Briony Fer.
For almost seven decades, Ellsworth Kelly (born 1923) has redefined abstraction in art. His work has become iconic for its emphasis on form, color and relief, yet he harnesses these basic elements, in all their apparent simplicity, to deliver an astonishing array of effects. Ellsworth Kelly: Outside In is, likewise, more than the sum of its parts. With an oversize format and generous images, the book introduces the artist's latest body of work in stunning color. Its introductory essay, by art historian Briony Fer, provides insight into Kelly's perpetual movement between inside and outside, past and present, two dimensions and three.
PUBLISHER Matthew Marks Gallery
BOOK FORMAT Hardcover, 9.75 x 12.75 in. / 56 pgs / 30 color / 3 bw.
PUBLISHING STATUS Pub Date 8/25/2015 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 130
PRODUCT DETAILS ISBN 9781880146903TRADE List Price: $35.00 CDN $40.00
Published by D.A.P./Tate. Edited by Frances Morris, Tiffany Bell. Text by Marion Ackermann, Rachel Barker, Jacquelynn Baas, Tiffany Bell, Christina Bryan Rosenberger, Briony Fer, Lena Fritsch, Anna Lovatt, Frances Morris, Maria Müller-Schareck, Richard Tobin, Rosemarie Trockel.
The critically acclaimed, indispensible illustrated monograph on Agnes Martin, published to accompany the major retrospective exhibition organized by the Tate and on view in 2016 at the Los Angeles County Museum of Art and the Guggenheim
This groundbreaking survey provides an in-depth account of Martin's artistic career, from lesser-known early experimental works through her striped and gridded grey paintings and use of color in various formats, to a group of her final pieces that reintroduce bold forms. A selection of drawings and watercolors and Martin's own writing are also included.
Edited by the exhibitions's co-curators Frances Morris and Tiffany Bell, and with essays by leading scholars that give a context for Martin's work—her life, relationship with other artists, the influence of South-Asian philosophy—alongside focused shorter pieces on particular paintings, this beautifully designed volume is the definitive publication on her oeuvre. Frances Morris places Martin's work in the art historical context of the time; art historian Richard Tobin analyzes Martin’s painting "The Islands"; conservator Rachel Barker offers the reader a close viewing of "Morning"; curator Lena Fritsch provides a visual biography by comparing photographic portraits of Martin from different periods; and art historian Jacquelynn Baas delves into the spiritual and philosophical beliefs so present in Martin's art, including Platonism, Christian mysticism, Zen Buddhism and Taoism.
Agnes Martin was born in Maklin, Saskatchewan, Canada, in 1912, and moved to the US in 1932, studying at universities in Oregon, California, New Mexico and New York. She painted still lifes and portraits until the early 1950s, when she developed an abstract biomorphic style influenced by Abstract Expressionism. Her first one-woman exhibition was held at the Betty Parsons Gallery, New York, in 1958. Partly through close friendships with artists such as Ellsworth Kelly and Ad Reinhardt, Martin began to experiment with symmetrical compositions of rectangles or circles within a square, then from around 1960–61 to work with grids of delicate horizontal and vertical lines. She left New York in 1967, shortly after the death of Reinhardt, and moved to New Mexico, where she lived until her death in 2004.
Published by The Museum of Modern Art, New York. Edited by Cornelia Butler, Luis Pérez-Oramas. Text by Sergio Bessa, Eleonora Fabiăo, Briony Fer, Geaninne Gutiérrez-Guimarăes, 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 Steidl & Partners. Introduction by Donna De Salvo, Carter E. Foster, Mark Godfrey. Text by Briony Fer.
Over the course of more than 30 years, Roni Horn has developed a body of work of concentrated visual power, classical in its restraint, beauty and sensitivity to material. Horn's pieces invite conceptual engagement, though her practice defies easy categorization, and also elicit in the viewer a refreshed attention to matter itself, to "make being here enough" (as the title of a previous monograph put it). Her subtle explorations of the complex energies between object and subject have expanded the vocabulary of every medium in which she works. This slipcased, two-volume set accompanies the most comprehensive overview of Horn's work to date--which opens at Tate Modern in London in February 2009 and then travels to New York's Whitney Museum of American Art in November of that same year--and has been overseen by the artist herself. The first volume includes a plate section of works in the exhibition with an essay by Briony Fer; the second volume, the subject index, is fully illustrated and includes texts on a variety of topics related to Horn's work by a host of prominent artists, critics, curators and cultural figures, alongside the artist's own writing. Born in New York in 1955, Roni Horn achieved international recognition in the 1980s, and her works have been the subject of numerous major exhibitions since. In 2007, she undertook Artangel's first international commission, creating Vatnasafn/Library of Water, a long-term installation in the town of Stykkisholmur, Iceland. She has had solo exhibitions at numerous leading art institutions, including Inverleith House, Edinburgh (2006), Fotomuseum Winterthur (2003), The Art Institute of Chicago (2004), Folkwang Museum, Essen (2004), Centre Pompidou, Paris (2003), Dia Center for the Arts, New York (2001-02) and Museo Serralves, Porto (2001).
Published by Steidl & Partners. Edited by Robert Dean, Lisa Turvey. Text by Briony Fer, Mel Bochner.
Not every artist is suited to catalogue raisonné treatment, but the oeuvre of Ed Ruscha, comprised as it is of series, repetitions and documentations, looks great under such clerical scrutiny. Projected as a seven-volume edition under the guidance of Robert Dean and Lisa Turvey, the Ruscha Catalogue Raisonné Project lends the serial quality of Ruscha's early artist's books to the entire body of his work, while providing a definitive resource for fans, scholars and collectors in the most efficient style possible. The three previous volumes collected works from 1958-1970, 1971-1982 and 1983-1987. Such esteemed artists and critics as Walter Hopps, Lawrence Weiner, Dave Hickey, Peter Wollen and Yves-Alain Bois have contributed essays celebrating and reviewing Ruscha's steadily incremental accomplishment. Each volume of the catalogue has a stitched binding and a cloth cover with silver-colored embossing, protected with an embossed slipcase. Volume 4 is a co-publication of Gagosian Gallery and Steidl and documents 198 paintings from 1988 to 1992. In addition to almost 200 color reproductions, it includes a comprehensive exhibition history, bibliography and biographical chronology, as well as a text by artist Mel Bochner and an essay by art historian Briony Fer.
Published by Walther König, Köln. Text by Jean-Pierre Criqui, Yves-Alain Bois, Briony Fer.
This book brings together a selection of Jean-Luc Moulčne's photographs, sculptures and drawings, from 1977 to 2008, with an emphasis on work done in the past decade. Moulčne's multimedia activities--mostly recording in photography--utilize negations and political interventions in everyday life.
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 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 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 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 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.
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