Published by D.A.P./SFMOMA. Introduction and text by Joseph Becker, Jenny Gheith, Linda Dalrymple Henderson. Afterword by Neal Benezra.
Tauba Auerbach studies the boundaries of perception through an art and design practice grounded in math, science and craft. Published in conjunction with the first major survey of the artist’s work, this volume, designed by Auerbach in collaboration with David Reinfurt, spans 16 years of their career, highlighting their interest in concepts such as duality and its alternatives, interconnectedness, rhythm and four-dimensional geometry. Encapsulating Auerbach’s longstanding consideration of symmetry, texture and logic, the title S v Z offers a framework for this volume’s typeface, design and structure. Images of more than 130 paintings, drawings, sculptures and artist’s books created between 2004 and 2020 are mirrored by a comprehensive selection of related reference images, illuminating their multifaceted practice as never before. Essays by Joseph Becker, Jenny Gheith and Linda Dalrymple Henderson provide further context for the work. The book contains original marble patterns created specially for the book by the artist on both the endpapers and the edges of the book block. The cover is lettered in Auerbach’s calligraphy, applied in black foil on a silver paper. The typeface was designed by David Reinfurt with Auerbach expressly for this publication, and is based on their handwriting. New York–based artist Tauba Auerbach (born 1981) grew up in San Francisco and graduated from Stanford University in 2003. They apprenticed and worked as a sign painter at New Bohemia Signs in San Francisco. In 2013 they founded Diagonal Press. They are represented by Paula Cooper Gallery, New York, and Standard Oslo.
Published by Deitch Projects. Text by Will Bradley, Brian Sholis, Chris Jennings.
Chaos, a new book by artist Tauba Auerbach produced in conjunction with their exhibition Here Now/And Everywhere at New York's Deitch Projects, explores the shadowy gap between order and disorder, pattern and randomness. By linking mathematical philosophy and scientific theory with larger, existential human concerns, Auerbach produces an array of complex conceptual and visual experiments that manifest as a body of striking paintings and photographs, minimalist metaphors of information overload. Evoking the information abyss of visual static, Auerbach's Crease, Crumple, Shatter and Static series investigate the logic and machinery of communication and representation. As they do so, unintended or unexpected effects emerge in conjunction with instances of ambiguity, contradiction, paradox and breakdown. Fully illustrated and beautifully bound, Chaos also constitutes a mini-catalogue raisonné of Auerbach's artist's books and includes new critical essays by Will Bradley, Chris Jennings and Brian Sholis.
In their drawings, paintings and artist's books, San Francisco-based Tauba Auerbach investigates the relationship between spoken and written language, focusing especially on those points where the familiar structure begins to break down or slip. They rigorously yet playfully pushes at the boundaries of our comprehension by rearranging and abstracting words and letters. With a razor sharp style that reveals their training as a professional sign painter, Auerbach makes works on panel and paper that are a refreshing spin on the traditions of Conceptual art and Concrete poetry. This volume features their 50/50 series of large-scale drawings, all of which consist of halftone patterns that express the same shade of gray. Auerbach, who was born in 1981, is represented by Deitch Projects in New York. They graduated from Stanford University, where they studied with Margaret Kilgallen.
Published by Deitch Projects. Text by Tauba Auerbach.
How arbitrary are the marks, analog and digital, used to express language, and where do they begin to muck it all up? This first book from Tauba Auerbach, Yes and Not Yes features over 20 new paintings and drawings that spring from those questions. They offer an excellent if roundabout answer: while letters are largely arbitrary, they are rich with abstract beauty and conceptual depth. In razor-sharp execution--which reveals their training as a sign painter--Auerbach's works on panel and paper update the abstract conceptual tradition, while retaining its intellectual rigor. Uppercase Insides and Numeral Insides recall Russian Suprematism, and, upon further contemplation, turn out to be just what their titles call them. Works based on signal flags and the Ugaritic Alphabet--an extinct language from Syria, 1300 B.C.--confirm that puzzlement is part of the desired effect here. Where direct exchange between sign and meaning is impossible, the beauty of the symbol comes to the fore.