Christopher Wool
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In-your-face, achingly simple, deceptively frank, the work of Christopher Wool is so very New York. Though he owes a debt to abstract expressionism and pop art, he completely transcends—even demolishes—these genres. Whether it’s a text-based painting or an abstract spray-painted piece, his work is immediately engaging. Wool questions painting, like many other artists in(...)
Christopher Wool
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In-your-face, achingly simple, deceptively frank, the work of Christopher Wool is so very New York. Though he owes a debt to abstract expressionism and pop art, he completely transcends—even demolishes—these genres. Whether it’s a text-based painting or an abstract spray-painted piece, his work is immediately engaging. Wool questions painting, like many other artists in his generation, but he doesn’t provide any easy answers. “The harder you look the harder you look,” he puts it in one of his word paintings, and that is an excellent example of how he states the obvious whilst provoking us to think deeper about what seems obvious.
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This title, published in 1979 and long since out of print, now appears as a reprint from Lars Muller Publishers. The original book was released in the series of publications Source Materials of the Contemporary Arts initiated by Kasper Konig and produced by the Press of the Nova Scotia College of Art and Design. The publication represents an important document in Dan(...)
Dan Graham Video - Architecture - Television: Writings on Video and Video Works 1970 - 1978
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This title, published in 1979 and long since out of print, now appears as a reprint from Lars Muller Publishers. The original book was released in the series of publications Source Materials of the Contemporary Arts initiated by Kasper Konig and produced by the Press of the Nova Scotia College of Art and Design. The publication represents an important document in Dan Graham's artistic examination of the video medium. Graham's installations and performances with video from the years 1970 - 78 are documented with numerous illustrations, photos, and brief descriptions. In addition, the volume contains an essay by the artist in which he examines the various possibilities and forms of representation offered by the video medium, and draws the boundaries between these and representational spaces in television, film, or architecture. The book also offers contributions by Michael Asher and Dara Birnbaum, as well as an annex with a biography and bibliography.
Thomas Flechtner : news
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News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, distance, and loneliness, and in Bloom Flechtner used atmospherically condensed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner(...)
Thomas Flechtner : news
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News represents a further development of the much-acclaimed work of artist Thomas Flechtner. Whereas in Snow he looked at snow as a metaphor for timelessness, calm, distance, and loneliness, and in Bloom Flechtner used atmospherically condensed studies of plants to examine the boundless colorfulness and movement of grown nature, for his new project News Flechtner collected newspaper front pages over a period of one year, scattered plant seeds from very different countries over them, watered them, and, finally, exposed them to the sun. He recorded the way the "news" was gradually bleached and overgrown with plants in more than one hundred color photographs. Flechtner contrasts the anarchy of nature with the agenda of mankind, while also questioning the fleetingness of memory and the demands made on it in shaping today's world. Thomas Flechtne r, born in Winterthur in 1961, studied at the Ecole de photographie, Vevey. He has received numerous prizes for his photographic works, which he regularly exhibits. He lives and works in Valliere, France and in Zürich.
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“As a filmmaker my tool is memory, not film,” says David Claerbout in The Time That Remains, “and memory likes a good composition.” Although originally trained as a painter and a draughtsman, Claerbout (born 1969) has taken Belgium and the world by storm with his epic video installations. These installations are devised in his own studio, where he collects and arranges(...)
octobre 2012
David Claerbout : the time that remains
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“As a filmmaker my tool is memory, not film,” says David Claerbout in The Time That Remains, “and memory likes a good composition.” Although originally trained as a painter and a draughtsman, Claerbout (born 1969) has taken Belgium and the world by storm with his epic video installations. These installations are devised in his own studio, where he collects and arranges thousands of stills and scans into slow and deliberate moving films. Time, in Claerbout’s videos, seems to move with a mesmerizing heaviness, almost as if within a memory or piece of music. With some of his films lasting up to 13 hours, Claerbout expects and requires the undivided attention of his audience or, at least, their patience. In this first catalogue of his oeuvre, his film and video projects are presented through his production photographs and design sketches, offering an exciting introduction into the process and aesthetic development of the artist.
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Man Overboard is Tal R’s kaleidoscopic artist’s book compendium of his paintings, drawings, sculptures and films of the past 15 years. Photographs of the works are reproduced from 36 double-sided panels, upon which the images are held in transparent photo corners. This volume offers a fresh and compelling take on the model of the artist’s monograph.
Tal R : Mann Überbord / Man overboard
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Man Overboard is Tal R’s kaleidoscopic artist’s book compendium of his paintings, drawings, sculptures and films of the past 15 years. Photographs of the works are reproduced from 36 double-sided panels, upon which the images are held in transparent photo corners. This volume offers a fresh and compelling take on the model of the artist’s monograph.
Roman Ondák : observations
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Observations is Roman Ondák’s humorous and perceptive study of how language modifies images and vice versa. It consists of seemingly nondescript, black-and-white photographs of domestic interiors, public events, street scenes and objects, augmented with brief captions, which he arranges into thematic pairs or sequences. Thus a photograph of a train pulling into a station(...)
Roman Ondák : observations
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Observations is Roman Ondák’s humorous and perceptive study of how language modifies images and vice versa. It consists of seemingly nondescript, black-and-white photographs of domestic interiors, public events, street scenes and objects, augmented with brief captions, which he arranges into thematic pairs or sequences. Thus a photograph of a train pulling into a station is captioned “Emphasis on events to come,” and is paired with a photograph of an abandoned wrecked car, captioned “Emphasis on past events.” The images and their laconic texts coolly record the subtleties of everyday transactions and role play, abstracting layers of social coding and meaning from the most innocuous-seeming situations. Published for Observations’s first complete exhibition at Documenta 13 (2012), this artist’s book reproduces the entire series.
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One of the most influential American conceptual artists of the late 1960s, Dan Graham (born 1942) is particularly celebrated for his pavilions : interactive spaces that walk the line between sculpture and architecture, many of which include the use of two-way mirrors or “looking-glasses.” These installations allow the visitor to ponder himself or herself in the mirror as(...)
Dan Graham ; not yet realised, pavilion drawings
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One of the most influential American conceptual artists of the late 1960s, Dan Graham (born 1942) is particularly celebrated for his pavilions : interactive spaces that walk the line between sculpture and architecture, many of which include the use of two-way mirrors or “looking-glasses.” These installations allow the visitor to ponder himself or herself in the mirror as they walk through the pavilion, watch as others inspect their own reflections, or even catch another’s eye through the glass. Not Yet Realised : Pavilion Drawings, published on the occasion of the 2012 exhibition Dan Graham’s Pavilions at the Lisson Gallery in London, presents numerous drawings and proposals for possible future pavilions. Some of the plans are thoroughly developed, with straight lines and precise measurements, while other more quickly drawn sketches capture his initial ideas as they arise.
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Artist's book with a great variety of personal theories from ordinary people. Beltrán drew his inspiration from micro-history, a genre in cultural history that focuses on personal stories and apparently minor events, sketching a picture of a culture or mentality of a particular period. "Our view of the world is determined not just by what we learned about the world or(...)
The world explained : a microhistorical encyclopaedia
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Artist's book with a great variety of personal theories from ordinary people. Beltrán drew his inspiration from micro-history, a genre in cultural history that focuses on personal stories and apparently minor events, sketching a picture of a culture or mentality of a particular period. "Our view of the world is determined not just by what we learned about the world or even what we have actually experienced", Beltrán explains. "It consist to a large extent of suspicions, makeshift connections and personal interpretations".
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For years, Gerhard Richter (born 1931) hardly even spoke of his own drawings (which were rarely if ever featured in his museum exhibitions or numerous publications), and few knew how frequently or consistently he produced works on paper. On the heels of his major traveling retrospective, this volume compiles around 100 works including drawings, watercolors and an(...)
octobre 2012
Gerhard Richter: Drawings and Watercolors, 1958-2008
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For years, Gerhard Richter (born 1931) hardly even spoke of his own drawings (which were rarely if ever featured in his museum exhibitions or numerous publications), and few knew how frequently or consistently he produced works on paper. On the heels of his major traveling retrospective, this volume compiles around 100 works including drawings, watercolors and an ink-on-paper series. The drawings range from ballpoint studies of exhibition spaces to delicate sketches of a woman breastfeeding, or the folds in a child’s socks. Also included is the 1971 “Two Sculptures for a Room by Palermo,” which consists of painted bronze busts of Palermo and Richter. Revealing a lesser-known aspect of Richter’s work, and affirming his devotion to drawing, this catalogue gives an intimate view into the mental and aesthetic processes of one of our greatest contemporary painters.
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12 Ballads for Huguenot House chronicles an ambitious project by American installation artist Theaster Gates (born 1973), in which he attempts to unite two disused buildings — one in Chicago and the other in Kassel, Germany — by dismantling parts of each to reuse in the rebuilding of the other. Huguenot House, in Kassel, was built in the early nineteenth century by(...)
octobre 2012
Theaster Gates, 12 ballads for Huguenot House
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12 Ballads for Huguenot House chronicles an ambitious project by American installation artist Theaster Gates (born 1973), in which he attempts to unite two disused buildings — one in Chicago and the other in Kassel, Germany — by dismantling parts of each to reuse in the rebuilding of the other. Huguenot House, in Kassel, was built in the early nineteenth century by migrant workers, as were so many of the houses in Gates’ own neighborhood in Chicago, and today is in a state of disrepair. Gates therefore proposed a unique architectural exchange, transporting materials from a large, dilapidated building in Chicago to renovate Huguenot House, while also reusing materials from Huguenot House to reconstruct the Chicago building. In this volume, Gates documents his plans for the exchange in 12 thematic “ballads” that elucidate the project’s rich historical and architectural resonances.