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German artist Ina Kwon pictures human interventions into the land as political symbols in South Korea and Germany, where artificial hills have been deployed to construct and rewrite history. This publication consists of two sections—on Gyeongju and Munich—which can be read from either direction.
Ina Kwon: Piles of earth and rubble
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German artist Ina Kwon pictures human interventions into the land as political symbols in South Korea and Germany, where artificial hills have been deployed to construct and rewrite history. This publication consists of two sections—on Gyeongju and Munich—which can be read from either direction.
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This publication presents a survey of ten projects and a new work created during a solo exhibition at Yerba Buena Center for the Arts in San Francisco. Central to understanding the art group’s practice, concepts, and methodologies the catalog includes essays by biologist, Albert Colman, anthropologist, Michael Taussig, curator and writer, Elizabeth Thomas and novelist,(...)
novembre 2021
Futurefarmers: Out of place, in place
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This publication presents a survey of ten projects and a new work created during a solo exhibition at Yerba Buena Center for the Arts in San Francisco. Central to understanding the art group’s practice, concepts, and methodologies the catalog includes essays by biologist, Albert Colman, anthropologist, Michael Taussig, curator and writer, Elizabeth Thomas and novelist, Cooley Windsor.
$76.95
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This book is an accumulation of tests and studies made in the years since graduating, creating a small library of samples.
Charline Tyberghein : test department
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This book is an accumulation of tests and studies made in the years since graduating, creating a small library of samples.
No pasa nada
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This publication comprises 45 paintings made during the confinement months of April and May 2020 at Casa Franco in Guadalajara (Mexico), which was built in 1929 by Luis Barragán. Jean-Baptiste Bernadet used material that was easy to find, gouache on hardboard, and painted as slowly as possible to keep himself busy for 8 weeks, trying to reflect the beauty of his(...)
No pasa nada
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This publication comprises 45 paintings made during the confinement months of April and May 2020 at Casa Franco in Guadalajara (Mexico), which was built in 1929 by Luis Barragán. Jean-Baptiste Bernadet used material that was easy to find, gouache on hardboard, and painted as slowly as possible to keep himself busy for 8 weeks, trying to reflect the beauty of his surroundings, the suspension of time, the epic sunrises and sunsets, the choir of birds singing at dawn, the colours and textures of the walls, the blooming trees, the bike rides under a hard, uncompromising sun, the peaceful nights of rest in loving arms.
Headless woman with parrot
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Paintings and their corresponding studies are reproduced in this survey of the artist’s work from 2011 to 2017. An interpretive poem, "Blank Melody", by poet Charity Coleman serves as the book’s introduction. An essay by curator Jeff De Blois, titled "Never Converge Into a Whole", examines art historical references and conceptual influences. Large reproductions and a(...)
Headless woman with parrot
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Paintings and their corresponding studies are reproduced in this survey of the artist’s work from 2011 to 2017. An interpretive poem, "Blank Melody", by poet Charity Coleman serves as the book’s introduction. An essay by curator Jeff De Blois, titled "Never Converge Into a Whole", examines art historical references and conceptual influences. Large reproductions and a pared down design reflect the artist’s illustrational style throughout this body of work.
Wall
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Taking it’s clue from Escape-ism's song "Almost No One (Can Have My Love)", this new publication adapts the catalogue format in order to publish a series of works which are to be hung on the wall. We (Olivier and Koenraad) thought that this would be a fairly straightforward affair. We were proven wrong; simplicity demands considerations that seem to be far from the obvious choice..
Wall
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Taking it’s clue from Escape-ism's song "Almost No One (Can Have My Love)", this new publication adapts the catalogue format in order to publish a series of works which are to be hung on the wall. We (Olivier and Koenraad) thought that this would be a fairly straightforward affair. We were proven wrong; simplicity demands considerations that seem to be far from the obvious choice..
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Danielle Mericle’s "The dark wood" explores broad questions of history and our collective ability to document and learn from the past. Through intertwined images of abandoned Greco-Roman casts, an ancient Sequoia forest and the artist’s own texts, Mericle invites us to consider history as a fluid process rather than a static truth. The once highly valued casts – which(...)
Danielle Mericle: the dark wood
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Danielle Mericle’s "The dark wood" explores broad questions of history and our collective ability to document and learn from the past. Through intertwined images of abandoned Greco-Roman casts, an ancient Sequoia forest and the artist’s own texts, Mericle invites us to consider history as a fluid process rather than a static truth. The once highly valued casts – which appear in the book as original and archival photographs – were rejected as worthless copies during the early part of the 20th century, under the belief that they lacked the artistry and aura of the originals, despite the fact that many of the "originals" were in fact Roman copies of Greek artefacts.
Warhol-isms
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Warhol-isms separates legend from fact to present a unique and comprehensive collection of authentic quotations from the Pop artist. Gathered from interviews and other primary sources, these deadpan, droll, ironic, and sincere gems—in which a superficial embrace of superficiality often disguises provocative, unconventional ideas—provide compelling insights into the life(...)
Warhol-isms
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Warhol-isms separates legend from fact to present a unique and comprehensive collection of authentic quotations from the Pop artist. Gathered from interviews and other primary sources, these deadpan, droll, ironic, and sincere gems—in which a superficial embrace of superficiality often disguises provocative, unconventional ideas—provide compelling insights into the life and work of an artist who has left an indelible mark on art and popular culture.
Not what I meant but anyway
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From producing sterile goldfish to choreographing the factory assembly line, Revital Cohen and Tuur Van Balen's work could be thought of as situated— that is to say, it is performed within particular networks. These networks— whether connecting raw materials, mythic conditions, animal genetics, constructions of uncertainty, or colonial inheritances— form a point of(...)
octobre 2022
Not what I meant but anyway
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From producing sterile goldfish to choreographing the factory assembly line, Revital Cohen and Tuur Van Balen's work could be thought of as situated— that is to say, it is performed within particular networks. These networks— whether connecting raw materials, mythic conditions, animal genetics, constructions of uncertainty, or colonial inheritances— form a point of departure from which to think of friction, entanglement, porousness, reflection, and self-implication. ''Not what I meant but anyway'' reveals the methods and processes behind Cohen and Van Balen’s work and working, prioritizing long and multidimensional research and production over its eventual outcomes. Intermingling conversations between the artists on living and working together, their generated ephemera, and a series of external reflections, the book hints at the intimacies and estrangements inherent to their practice. With contributions from Daisy Hildyard, Andrés Jaque, Lucia Pietroiusti, and Xiaoyu Weng.
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Bridget Riley’s paintings are developed carefully over time, the result of methodically working through pictorial variables such as color, tone, scale, and rhythm. Studies are central to this process, allowing Riley to concentrate on the analysis and synthesis that lie at the heart of her working practice. This volume illustrates the thinking that goes into Riley’s work(...)
Bridget Riley: Working drawings
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Bridget Riley’s paintings are developed carefully over time, the result of methodically working through pictorial variables such as color, tone, scale, and rhythm. Studies are central to this process, allowing Riley to concentrate on the analysis and synthesis that lie at the heart of her working practice. This volume illustrates the thinking that goes into Riley’s work through a selection of over 150 drawings, colour analyses, notations, scale studies, and cartoons. The selection spans most of Riley’s working life, tracing the origins and evolving nature of her remarkable body of work. Riley’s beginnings are also documented through selected childhood drawings, work made during and immediately following her studies at Goldsmiths’ College and the Royal College of Art, and her early explorations into abstraction. The artist’s working method is brought into high relief in a newly commissioned conversation with Riley and Sir John Leighton, Director of the National Galleries of Scotland. The text explores the cardinal moments in the artist’s practice and the impulses that bring her work into existence. The volume also includes four texts dedicated to Riley’s studies and practice written by the artist, art historians, curators, and museum directors, which shed further light on the enduring role of drawing and the process of exploration central to her work.