Edited with text by Paulina Pobocha. Text by Jennifer Allen, Marlene Dumas, Charles Ray, André Rottman. Chronology by Caitlin Chaisson, Lydia Mullin.
A single potato chip on a matchbox, larger-than-life figurative sculptures polished to a gleam: Thomas Schütte’s category-defying oeuvre gives form to the incongruences of the world we inhabit
Hbk, 9.5 x 12 in. / 232 pgs / 400 color. | 10/22/2024 | In stock $75.00
Published by The Museum of Modern Art, New York. Edited with text by Paulina Pobocha. Text by Jennifer Allen, Marlene Dumas, Charles Ray, André Rottman. Chronology by Caitlin Chaisson, Lydia Mullin.
The Düsseldorf–based sculptor, draftsman, model maker and sometime architect Thomas Schütte works in scales ranging from small to monumental. Rooted in minimal and conceptual art, his work addresses history, art history, modes of meaning and how art can function in the world. Published in conjunction with the first museum retrospective of Schütte’s work in the United States in over 20 years, this eponymous monograph presents a holistic overview of his career from 1975 to the present. Taking aesthetics, form and history as its focus, the publication features over 100 sculptures, drawings, prints and experiments in architecture, alongside revelatory archival materials. Curator Paulina Pobocha has worked in close collaboration with Schütte since 2015, and has had complete access to his archives, as well as the myriad drawings and notebooks still in his possession. Excerpts from these papers are published for the first time in this catalog. Additionally, essays by Pobocha, Jennifer Allen and André Rottmann provide historical and theoretical pathways into the complexity of Schütte’s oeuvre, and contributions by artists Marlene Dumas and Charles Ray reflect on Schütte’s significance through close readings of his work. Thomas Schütte (born 1954) studied under Gerhard Richter and Fritz Schwegler at the Kunstakademie Düsseldorf. He has participated in Documenta, Skulptur Projekte Münster and the Venice Biennale, where he was awarded the Golden Lion in 2005. His work can be found in the collections of major institutions across Europe and North America.
Published by Cahiers d'Art. Text by Éric de Chassey.
This series of 27 ceramic heads from German artist Thomas Schütte (born 1954) conjures the characters from Samuel Beckett’s final play, What Where, portraying the bulbous, sagging faces of old men with such exaggeration that they verge on caricatured surrealism.
Published by Hatje Cantz. Edited with text by Christiane Lange. Text by Julian Heynen.
From the early 1920s until the 1960s, many designers affiliated with the Bauhaus worked in Krefeld, Germany. On the occasion of the Bauhaus centenary in 2019, German artist Thomas Schütte (born 1954) responds to the city’s architectural legacy by designing a pavilion and an exhibition inside it.
Published by Cahiers d'Art. Edited by Staffan Ahrenberg, Anya Bondell.
Pairing a selection of watercolors from 2011 and 2012 by Thomas Schütte with a selection of previously unpublished poems written by Robert Walser in Bern between 1924 and 1933, this book is a deeply personal exploration of our everyday selves, choreographed by one of our most important living artist.
Walser's poems have been exhibited as artworks in the past, and the poet was fascinated by watercolors and the particular effect they have on human eye. With these watercolors, Schütte has not only given us an extraordinary and moving selection of his own artwork, but he has paid tribute to Walser, who is one of his heroes.
Published by Walther König, Köln. Edited by Sophie O’Brian. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by John Berger.
Over the last two decades, alongside his better known sculptural work, German artist Thomas Schütte (born 1954) has created watercolors and drawings of his acquaintances and friends, as well as numerous self-portraits (such as the Mirror Drawings). These drawings are often created in series, as Schütte approaches the same subject over and over, obsessively covering all angles and methodically exhausting the possibilities. Schütte’s drawings directly inform his sculptural portraits, which are created in a similar spirit. With 130 color reproductions, Faces and Figures offers a selective, themed Schütte retrospective, surveying these portraits and other works on paper, as well as ceramic and bronze sculptures--including the impressive “Vater Staat” (Father State), a towering steel figure that despite its scale appears frail and isolate.
Published by Walther König, Köln. Edited by Ulrich Loock. Text by James Lingwood, Hans Rudolf Reust.
From early architectural models and theatrical constructions to houses and utilitarian design, the sculpture of Thomas Schütte (born 1954) has pursued all categories of the medium; his website organizes his oeuvre into Houses, Bunkers, Monuments, Animals, Spirits, Jokes, Fruits and Vegetables, Women, Men, Flowers and Vases. This book spans 30 years of his practice.
Published by DuMont. Essay by Ulrich Loock. Foreword by Friedrich Christian Flick.
Thomas Schtte has frequently cast himself into the role of a maverick--remained remote from the work of his artistic mentor, distanced himself from the statements of each ephemeral Zeitgeist and increasingly contradicted his own positions--and in so doing has become one of the most influential artists of his generation. Shifting from text to image to object to book, his work juxtaposes biographical moments with contemporary events, oscillates between the aspiration to shape the public reception of architecture and monumental sculpture and the conjunctive of model-maker, and projects avant-garde ideas onto traditional forms of art. With meticulous rigor, Ulrich Loock has observed the evolution of Schtte's output over the past 25 years. Underpinning his lucid overview is a series of intensive discussions between the author and artist on the genesis and history of particular works. This well-designed book is the most comprehensive monograph of the artist's work to date, and provides profound insight into Schtte's work through detailed discussions of the pieces.
Published by Dia Art Foundation. Essays by Lynne Cooke, Michael Govan, Getrud Sandqvist, Susan Stewart.
Fundamentally, my works are almost always in the nature of a proposal, Thomas Schütte contends, while conceding that "nonetheless, mostly they exist in the form of models." Schütte's notion of models is, consequently, encompassing and complex: at its core lies hypothesis and speculation. This new monograph explores in detail the vast scope of work by this renowned mid-career German artist by documenting a tripartite, eighteen-month exhibition at the Dia Center for the Arts which in effect constitutes a retrospective overview of the artist's oeuvre. Devised in three segments with distinct points of reference, this unusually extended presentation revealed the extraordinary inventiveness and diversity of Schütte's production. Scenewright, the first installment, from September 1998 through January 1999, focuses on issues relating to scenography and theater. Gloria in Memoria, from February through June 1999, explores memorials, monuments and antiheroes, and includes works ranging from installations and sculpture to drawing. The third and final phase, In Medias Res, from September 1999 through June 2000, concentrated on recent ceramics, shown together with a new series of related monumental steel sculptures. The accompanying catalogue follows the same format as the exhibition, with essays by Dia curator and renowned art scholar Lynne Cooke as well as acclaimed poet and critic Susan Stewart.
Thomas Schütte: Old Friends Revisited
Thomas Schütte: Krefeld Pavillon
Thomas Schütte: Collector's Choice Vol. 2
Thomas Schütte: Watercolors for Robert Walser and Donald Young
Thomas Schütte: Faces and Figures
Thomas Schütte: Public Political Works