Published by JRP|Ringier. Edited with text by Jeffrey Uslip. Text by Christophe Cherix, Suzanne Hudson, Anne Pontégnie.
Since the early 2000s, New York–based Kelley Walker (born 1969) has developed a body of work that uses the potency of advertising strategies to interrogate the ways a single image can migrate into several cultural contexts and how everything and everyone is subject to reinvention. Often using such technologies as 3-D modeling and laser cutting, Walker works in photography, painting, printmaking, collage and sculpture, to draw attention to popular culture’s perpetual consumption. This comprehensive monograph features Walker’s various bodies of works to date (the Black Star Press, Brick Paintings, Recycling Signs and Schema series, among others) alongside his most recent pieces. Edited and introduced by Jeffrey Uslip, it brings together new essays by MoMA curator Christophe Cherix, Le Consortium’s Co-Director Anne Pontégnie and University of Southern California’s Professor Suzanne Hudson.
Published by Contemporary Art Museum St. Louis. Edited with text by Jeffrey Uslip. Text by Hilton Als.
With nods to influences ranging from Pollock to Warhol to Polke, Walker’s work interrogates the ways a single image can migrate through a number of cultural contexts and the perpetual consumption and reuse of images. Black Star Press features work from Walker’s first solo American museum exhibition at the Contemporary Art Museum St. Louis. A parallel to Warhol’s canonical 1964 painting “Race Riot,” Walker’s Black Star Press series comprises images of racial unrest that have been digitally printed on canvas, silkscreened with melted white, milk and dark chocolate, and rotated. Also included in this collection are selections from Walker’s Schema series. With essays by writer Hilton Als and curator Jeffrey Uslip, Black Star Press examines the art of overt visual manipulation.
Published by PJC, Paula Cooper Gallery. Text by Robert Hobbs.
This comprehensive catalogue was published on the occasion of New York–based artist Kelley Walker's (born 1969) solo exhibition at the Paula Cooper Gallery in 2014. The catalogue begins with an essay by noted art historian Robert Hobbs, which examines the technical and conceptual scope of Walker's art. Hobbs finds parallels between Walker's work and that of Robert Rauschenberg and Symbolist poet Stéphane Mallarmé. The publication also includes 233 superb full-color reproductions which highlight the sharp digital imagery of Walker's multipanel works, the layered polychrome hues of his silkscreens and the complex spatial play at work in his sculpture. Ten foldout spreads spanning 40 pages give the reader a sense of the expansive dimensions of his multipanel silkscreen pieces, the first of which is comprised of 196 parts.
PUBLISHER PJC, Paula Cooper Gallery
BOOK FORMAT Paperback, 8.5 x 10 in. / 116 pgs / 233 color.
PUBLISHING STATUS Pub Date 9/30/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 145
PRODUCT DETAILS ISBN 9780975392164TRADE List Price: $60.00 CDN $79.00 GBP £53.00
AVAILABILITY In stock
in stock $60.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by JRP|Ringier. Edited by Yves Aupetitallot, Anne Pontegnie. Text by Bob Nickas, Scott Rothkopf, Anne Pontegnie.
New York-based artist Kelley Walker hacks advertising and displays its inner workings as art. His large-scale prints appropriate iconic cultural images, digitally altering them to expose their underlying agendas. In “Black Star Press: Black Star, Star Press Star” (2004), Walker combined nondigital collage processes to reference abstract painting: He smeared newspaper photos of the Birmingham race riots with melted chocolate and toothpaste, scanned them into a computer and made photographic prints from the results. Such hybridized work is neither quite post-Pop nor just appropriation. In the past few years, Walker has emerged as one of the most innovative and rigorous young artists in New York and has become much in demand not only for his solo work but for his collaborations with fellow New Yorker Wade Guyton. This monograph is a valuable introduction to Walker’s technical processes, and essays by maverick critic and curator Bob Nickas and writer Scott Rothkopf lend much insight into his practice.