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Thenyspacewhatever
Thenyspacewhatever
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Exhibition catalogue. New York, Guggenheim Museum 24 october 2008 - 7 january 2009.
$67.00
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Exhibition catalogue. New York, Guggenheim Museum 24 october 2008 - 7 january 2009.
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
October 2008, New York
October 2008, New York
Title:
Thenyspacewhatever
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Exhibition catalogue. New York, Guggenheim Museum 24 october 2008 - 7 january 2009.
Thenyspacewhatever
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$67.00
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Exhibition catalogue. New York, Guggenheim Museum 24 october 2008 - 7 january 2009.
Form:
books
books
Publication:
October 2008, New York
October 2008, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$68.00
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Summary:
News becomes history as soon as it is reported. What fascinates me in talking about history is the paradoxical movement backwards while obviously propelling ahead with a story into the future. The 15-year time period covered in this show is of a recent past, a past that still unites many New Yorkers in recognition of a city at once familiar and long gone. The NYC(...)
$68.00
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News becomes history as soon as it is reported. What fascinates me in talking about history is the paradoxical movement backwards while obviously propelling ahead with a story into the future. The 15-year time period covered in this show is of a recent past, a past that still unites many New Yorkers in recognition of a city at once familiar and long gone. The NYC(...)
Title:
Aleksandra Mir: news room 1986-2000
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News becomes history as soon as it is reported. What fascinates me in talking about history is the paradoxical movement backwards while obviously propelling ahead with a story into the future. The 15-year time period covered in this show is of a recent past, a past that still unites many New Yorkers in recognition of a city at once familiar and long gone. The NYC tabloids New York Daily News and New York Post serve as practical tools that unite the population around shared joys and fears; they help spread the city’s gossip and form its identity. Whether one buys them or not, a glance at the headlines while passing by a deli or waiting for a bus is enough to be connected to the diverse masses that make up their readership. Never mind if what is reported is mostly disaster or scandal. In retrospect, news before 9/11/2001 makes this megalopolis look like a quaint town full of petty crooks, with this accident or that occasional murder resulting in the loss of a single life. A rape in Central Park and a love triangle on Long Island were the two longest running news stories of New York in the 15 years leading up to the end of the millennium. In research for this show, three assistants and myself spent months in the Public Library copying 10,000 covers of the two tabloids – the outcome of their combined cover stories of 15 years. From these, I selected around 200 that were particularly poignant, or which formed an ongoing narrative, but most importantly, that made me smile with recognition. I lived in New York between 1989 and 2005, 15 years that roughly coincide with the time period of the show. As I never had a studio in the city, I developed a practice that relied heavily on communication instead: phone, Internet, publishing, travel, performance, ephemera, event production. This show draws on all of the above. During the two months of the duration of this show, I will create an environment that primitively simulates a newsroom of a major agency or newspaper. The material output of the agency will take the form of drawings, which for me are traces of activities such as reading, moving, talking, remembering and reporting. Together with a team of assistants, I plan to create 200 drawings inspired by the aforementioned tabloid covers and my personal references to them. The gallery will be turned into the studio I never had; at the same time, we will be producing art at a schedule more akin to a news agency than to that of an artist’s studio. Every day, there will be new art and old news on the walls.
Aleksandra Mir: news room 1986-2000
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$68.00
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Summary:
News becomes history as soon as it is reported. What fascinates me in talking about history is the paradoxical movement backwards while obviously propelling ahead with a story into the future. The 15-year time period covered in this show is of a recent past, a past that still unites many New Yorkers in recognition of a city at once familiar and long gone. The NYC tabloids New York Daily News and New York Post serve as practical tools that unite the population around shared joys and fears; they help spread the city’s gossip and form its identity. Whether one buys them or not, a glance at the headlines while passing by a deli or waiting for a bus is enough to be connected to the diverse masses that make up their readership. Never mind if what is reported is mostly disaster or scandal. In retrospect, news before 9/11/2001 makes this megalopolis look like a quaint town full of petty crooks, with this accident or that occasional murder resulting in the loss of a single life. A rape in Central Park and a love triangle on Long Island were the two longest running news stories of New York in the 15 years leading up to the end of the millennium. In research for this show, three assistants and myself spent months in the Public Library copying 10,000 covers of the two tabloids – the outcome of their combined cover stories of 15 years. From these, I selected around 200 that were particularly poignant, or which formed an ongoing narrative, but most importantly, that made me smile with recognition. I lived in New York between 1989 and 2005, 15 years that roughly coincide with the time period of the show. As I never had a studio in the city, I developed a practice that relied heavily on communication instead: phone, Internet, publishing, travel, performance, ephemera, event production. This show draws on all of the above. During the two months of the duration of this show, I will create an environment that primitively simulates a newsroom of a major agency or newspaper. The material output of the agency will take the form of drawings, which for me are traces of activities such as reading, moving, talking, remembering and reporting. Together with a team of assistants, I plan to create 200 drawings inspired by the aforementioned tabloid covers and my personal references to them. The gallery will be turned into the studio I never had; at the same time, we will be producing art at a schedule more akin to a news agency than to that of an artist’s studio. Every day, there will be new art and old news on the walls.
Form:
books
books
Publication:
July 2008, New York
July 2008, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$47.00
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Summary:
After the success of the recent touring exhibition "My Complement, My Enemy, My Oppressor, My Love", Kara Walker's silhouetted cut-out figures are a now-familiar but still pungent presence in contemporary art, reenacting uncomfortable, often violent episodes in American race relations and reprising, in their formal simplicity, the ways in which marginalized identities are(...)
$47.00
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Summary:
After the success of the recent touring exhibition "My Complement, My Enemy, My Oppressor, My Love", Kara Walker's silhouetted cut-out figures are a now-familiar but still pungent presence in contemporary art, reenacting uncomfortable, often violent episodes in American race relations and reprising, in their formal simplicity, the ways in which marginalized identities are(...)
Title:
Kara Walker : bureau of refugees
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After the success of the recent touring exhibition "My Complement, My Enemy, My Oppressor, My Love", Kara Walker's silhouetted cut-out figures are a now-familiar but still pungent presence in contemporary art, reenacting uncomfortable, often violent episodes in American race relations and reprising, in their formal simplicity, the ways in which marginalized identities are reduced and distorted into readily legible, caricatured forms. Walker's art continues, in other words, to pose awkward questions straightforwardly. Her imagery derives from the visual language of the antebellum South and the tradition of the minstrel show, which she directs to more disquieting ends. Where her source material parodied African-American culture with a terrifyingly casual jocularity - permitting white Americans to vicariously transgress their own taboos by depicting social chaos and unbridled sexuality - Walker applies that jocularity to her depictions of violence against African-Americans, lending them a hollow, almost slapstick character that is very much at odds with their original function. This latest book features work from a new series that addresses, among other themes, the atrocities committed against former slaves after the Emancipation Proclamation of 1863 and the Reconstruction program implemented by Congress between 1866 and 1877. These narratives are elaborated into or against geometric scenarios more abstract and compacted than previous sequences by Walker, and with a more extensive use of color.
Kara Walker : bureau of refugees
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Summary:
After the success of the recent touring exhibition "My Complement, My Enemy, My Oppressor, My Love", Kara Walker's silhouetted cut-out figures are a now-familiar but still pungent presence in contemporary art, reenacting uncomfortable, often violent episodes in American race relations and reprising, in their formal simplicity, the ways in which marginalized identities are reduced and distorted into readily legible, caricatured forms. Walker's art continues, in other words, to pose awkward questions straightforwardly. Her imagery derives from the visual language of the antebellum South and the tradition of the minstrel show, which she directs to more disquieting ends. Where her source material parodied African-American culture with a terrifyingly casual jocularity - permitting white Americans to vicariously transgress their own taboos by depicting social chaos and unbridled sexuality - Walker applies that jocularity to her depictions of violence against African-Americans, lending them a hollow, almost slapstick character that is very much at odds with their original function. This latest book features work from a new series that addresses, among other themes, the atrocities committed against former slaves after the Emancipation Proclamation of 1863 and the Reconstruction program implemented by Congress between 1866 and 1877. These narratives are elaborated into or against geometric scenarios more abstract and compacted than previous sequences by Walker, and with a more extensive use of color.
Form:
books
books
Publication:
September 2008, Milano
September 2008, Milano
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$31.00
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Best known for her innovative choreographies that revolutionized modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into(...)
$31.00
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Summary:
Best known for her innovative choreographies that revolutionized modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into(...)
Title:
Trisha Brown: so that the audience does not know whether i have stopped dancing
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$31.00
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Best known for her innovative choreographies that revolutionized modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into the limits of her own body. Whether she is working within the frame of a sheet of paper, on the wall, or on the stage, Brown delights in the play between structure and improvisation, repetition and invention, choice and chance. This book centers on a broad survey of Brown's visual arts practice going back more than three decades. The catalogue features more than 40 drawings and includes essays by exhibition curator Peter Eleey and Walker performing arts senior curator Philip Bither as well as a specially commissioned survey of Brown's drawing vocabulary contributed by the artist.
Trisha Brown: so that the audience does not know whether i have stopped dancing
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Summary:
Best known for her innovative choreographies that revolutionized modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into the limits of her own body. Whether she is working within the frame of a sheet of paper, on the wall, or on the stage, Brown delights in the play between structure and improvisation, repetition and invention, choice and chance. This book centers on a broad survey of Brown's visual arts practice going back more than three decades. The catalogue features more than 40 drawings and includes essays by exhibition curator Peter Eleey and Walker performing arts senior curator Philip Bither as well as a specially commissioned survey of Brown's drawing vocabulary contributed by the artist.
Form:
books
books
Publication:
July 2008, Minneapolis
July 2008, Minneapolis
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Title:
John McCracken sketch book
John McCracken sketch book
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Published on the occasion of an exhibition at David Zwirner New York, September 2008.
$68.00
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Published on the occasion of an exhibition at David Zwirner New York, September 2008.
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
October 2008, Santa Fe, New York
October 2008, Santa Fe, New York
Title:
John McCracken sketch book
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Published on the occasion of an exhibition at David Zwirner New York, September 2008.
John McCracken sketch book
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Published on the occasion of an exhibition at David Zwirner New York, September 2008.
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books
books
Publication:
October 2008, Santa Fe, New York
October 2008, Santa Fe, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
Title:
Anish Kapoor: memory
Anish Kapoor: memory
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This volume documents Kapoor's 2008 commission for the Deutsche Guggenheim, which travels to New York in 2009. Conceived as an intervention in the galleries that prevents any one complete viewing or experience of the work, and fabricated of Cor-Ten steel with industrial hinges and flanges exposed, the work tests the boundaries between sculpture and painting. It is(...)
$53.00
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Summary:
This volume documents Kapoor's 2008 commission for the Deutsche Guggenheim, which travels to New York in 2009. Conceived as an intervention in the galleries that prevents any one complete viewing or experience of the work, and fabricated of Cor-Ten steel with industrial hinges and flanges exposed, the work tests the boundaries between sculpture and painting. It is(...)
Title:
Anish Kapoor: memory
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$53.00
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This volume documents Kapoor's 2008 commission for the Deutsche Guggenheim, which travels to New York in 2009. Conceived as an intervention in the galleries that prevents any one complete viewing or experience of the work, and fabricated of Cor-Ten steel with industrial hinges and flanges exposed, the work tests the boundaries between sculpture and painting. It is considered in this volume through the lenses of philosophy, structural analysis and postcolonial and architectural theory. In addition to ample color reproductions of the work itself, this volume includes preparatory sketches and architectural renderings.
Anish Kapoor: memory
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$53.00
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This volume documents Kapoor's 2008 commission for the Deutsche Guggenheim, which travels to New York in 2009. Conceived as an intervention in the galleries that prevents any one complete viewing or experience of the work, and fabricated of Cor-Ten steel with industrial hinges and flanges exposed, the work tests the boundaries between sculpture and painting. It is considered in this volume through the lenses of philosophy, structural analysis and postcolonial and architectural theory. In addition to ample color reproductions of the work itself, this volume includes preparatory sketches and architectural renderings.
Form:
books
books
Publication:
November 2008, New York
November 2008, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$24.95
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This book has been published to accompany the exhibition Andy Warhol - Shadows and Other Signs of Life at Galerie Chantal Crousel, Paris December 15, 2007 - January 19, 2008.
$24.95
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Summary:
This book has been published to accompany the exhibition Andy Warhol - Shadows and Other Signs of Life at Galerie Chantal Crousel, Paris December 15, 2007 - January 19, 2008.
Publication:
June 2008, Paris, Köln
June 2008, Paris, Köln
Title:
Andy Warhol: shadows and other signs of life
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This book has been published to accompany the exhibition Andy Warhol - Shadows and Other Signs of Life at Galerie Chantal Crousel, Paris December 15, 2007 - January 19, 2008.
Andy Warhol: shadows and other signs of life
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This book has been published to accompany the exhibition Andy Warhol - Shadows and Other Signs of Life at Galerie Chantal Crousel, Paris December 15, 2007 - January 19, 2008.
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books
books
Publication:
June 2008, Paris, Köln
June 2008, Paris, Köln
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$49.95
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Summary:
Translated by Donald Nicholson-Smith. Guy Debord is best known as the prime mover of the Situationist International (1957-1972), as a filmmaker, and as the author of "The Society of the Spectacle" (1967). Alice Becker-Ho (Alice Debord) and Debord’s "A Game of War" originally appeared in 1987, as well as a rudimentary version of the game in a limited edition. In 1991, at(...)
$49.95
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Summary:
Translated by Donald Nicholson-Smith. Guy Debord is best known as the prime mover of the Situationist International (1957-1972), as a filmmaker, and as the author of "The Society of the Spectacle" (1967). Alice Becker-Ho (Alice Debord) and Debord’s "A Game of War" originally appeared in 1987, as well as a rudimentary version of the game in a limited edition. In 1991, at(...)
Publication:
November 2007, London
November 2007, London
Title:
Alice Becker-Ho & Guy Debord: a game of war
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Translated by Donald Nicholson-Smith. Guy Debord is best known as the prime mover of the Situationist International (1957-1972), as a filmmaker, and as the author of "The Society of the Spectacle" (1967). Alice Becker-Ho (Alice Debord) and Debord’s "A Game of War" originally appeared in 1987, as well as a rudimentary version of the game in a limited edition. In 1991, at the direction of Guy Debord, all copies of the book were pulped. This carefully produced first edition in English combines book and a game-board and counters allowing readers to play “at home” according to the rules given.
Alice Becker-Ho & Guy Debord: a game of war
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Summary:
Translated by Donald Nicholson-Smith. Guy Debord is best known as the prime mover of the Situationist International (1957-1972), as a filmmaker, and as the author of "The Society of the Spectacle" (1967). Alice Becker-Ho (Alice Debord) and Debord’s "A Game of War" originally appeared in 1987, as well as a rudimentary version of the game in a limited edition. In 1991, at the direction of Guy Debord, all copies of the book were pulped. This carefully produced first edition in English combines book and a game-board and counters allowing readers to play “at home” according to the rules given.
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books
books
Publication:
November 2007, London
November 2007, London
Form:
books
books
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$19.00
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This little paperback by Michel Gondry was inspired by his latest film, Be Kind Rewind. The movie stars Jack Black and Mos Def as two friends who enact lo-fi versions of popular Hollywood films such as Ghostbusters or Robocop and offer them for rental. They call this reappropriative and participatory practice "sweding," which is to say, "putting you into the things you(...)
$19.00
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This little paperback by Michel Gondry was inspired by his latest film, Be Kind Rewind. The movie stars Jack Black and Mos Def as two friends who enact lo-fi versions of popular Hollywood films such as Ghostbusters or Robocop and offer them for rental. They call this reappropriative and participatory practice "sweding," which is to say, "putting you into the things you(...)
Title:
You'll like this film because you're in it: the be kind rewind protocol
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This little paperback by Michel Gondry was inspired by his latest film, Be Kind Rewind. The movie stars Jack Black and Mos Def as two friends who enact lo-fi versions of popular Hollywood films such as Ghostbusters or Robocop and offer them for rental. They call this reappropriative and participatory practice "sweding," which is to say, "putting you into the things you like." At New York's Deitch Projects, in February and March of 2008, Gondry emulated the heroic example of his characters, constructing a do-it-yourself film studio in which any visitor could assemble their own film from extant plot summaries and rent the results. His aim: "I intend to prove that people can enjoy their time without being part of the commercial system and serving it... Ultimately, I am hoping to create a network of creativity and communication that is guaranteed to be free and independent from any commercial institution."
You'll like this film because you're in it: the be kind rewind protocol
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$19.00
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Summary:
This little paperback by Michel Gondry was inspired by his latest film, Be Kind Rewind. The movie stars Jack Black and Mos Def as two friends who enact lo-fi versions of popular Hollywood films such as Ghostbusters or Robocop and offer them for rental. They call this reappropriative and participatory practice "sweding," which is to say, "putting you into the things you like." At New York's Deitch Projects, in February and March of 2008, Gondry emulated the heroic example of his characters, constructing a do-it-yourself film studio in which any visitor could assemble their own film from extant plot summaries and rent the results. His aim: "I intend to prove that people can enjoy their time without being part of the commercial system and serving it... Ultimately, I am hoping to create a network of creativity and communication that is guaranteed to be free and independent from any commercial institution."
Form:
books
books
Publication:
October 2008, New York
October 2008, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$17.00
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Summary:
Written in his characteristic "mesostics" (linked lines of prose poetry), Composition in Retrospect is a statement of methodology in which composer John Cage examines the central issues of his work: Indeterminacy, nonunderstanding, inconsistency, imitation, variable structure, contingency. Finished only shortly before his death in 1992, Composition in Retrospect completes(...)
$17.00
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Summary:
Written in his characteristic "mesostics" (linked lines of prose poetry), Composition in Retrospect is a statement of methodology in which composer John Cage examines the central issues of his work: Indeterminacy, nonunderstanding, inconsistency, imitation, variable structure, contingency. Finished only shortly before his death in 1992, Composition in Retrospect completes(...)
Title:
John Cage composition in retrospect
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Written in his characteristic "mesostics" (linked lines of prose poetry), Composition in Retrospect is a statement of methodology in which composer John Cage examines the central issues of his work: Indeterminacy, nonunderstanding, inconsistency, imitation, variable structure, contingency. Finished only shortly before his death in 1992, Composition in Retrospect completes the documentation of Cage's thought that began with his classic book Silence (1961), but it is an introduction and invitation to his work as much as a summary or conclusion. Also included in this volume (at Cage's request) is "Themes and Variations," a piece written in 1982 about friends and heroes such as Jasper Johns, Buckminster Fuller, Marcel Duchamp and Erik Satie. Together these pieces form a book that is both a testament to the artists Cage admired and a clear statement of his own ars poetica. John Cage (1912-1992) was an American composer, writer, artist and mycologist. Having studied with Arnold Schonberg (who proclaimed him "not a composer, but an inventor-of genius") and Henry Cowell in the 30s, Cage went on to devise landmark compositions for percussion and prepared piano before making his hugely influential work 4'33" (1952). Later works privileged composition by chance procedure--"imitating Nature in the manner of her operation"--and the use of ambient noise, electronics and tape manipulation. Cage's influence can be seen in the works of countless composers (especially the New York School "group" of Morton Feldman, Christian Wolff and Earle Brown), artists (such as those affiliated with Fluxus) and writers.
John Cage composition in retrospect
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Written in his characteristic "mesostics" (linked lines of prose poetry), Composition in Retrospect is a statement of methodology in which composer John Cage examines the central issues of his work: Indeterminacy, nonunderstanding, inconsistency, imitation, variable structure, contingency. Finished only shortly before his death in 1992, Composition in Retrospect completes the documentation of Cage's thought that began with his classic book Silence (1961), but it is an introduction and invitation to his work as much as a summary or conclusion. Also included in this volume (at Cage's request) is "Themes and Variations," a piece written in 1982 about friends and heroes such as Jasper Johns, Buckminster Fuller, Marcel Duchamp and Erik Satie. Together these pieces form a book that is both a testament to the artists Cage admired and a clear statement of his own ars poetica. John Cage (1912-1992) was an American composer, writer, artist and mycologist. Having studied with Arnold Schonberg (who proclaimed him "not a composer, but an inventor-of genius") and Henry Cowell in the 30s, Cage went on to devise landmark compositions for percussion and prepared piano before making his hugely influential work 4'33" (1952). Later works privileged composition by chance procedure--"imitating Nature in the manner of her operation"--and the use of ambient noise, electronics and tape manipulation. Cage's influence can be seen in the works of countless composers (especially the New York School "group" of Morton Feldman, Christian Wolff and Earle Brown), artists (such as those affiliated with Fluxus) and writers.
Form:
books
books
Publication:
June 2008, Cambridge
June 2008, Cambridge
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
