Les êtres lieux
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De générations et de géographies différentes, Amie Barouh, Yukihisa Isobe, Tazuko Masuyama et Sara Ouhaddou ont en commun d'animer et de raviver nos manières d'être aux lieux et les liens qui nous y attachent, qu'ils soient ancestraux, familiaux, vivants, affectifs ou écologiques. Les lieux qu'ils travaillent et qui les travaillent, sont à entendre dans leur épaisseur(...)
juillet 2022
Les êtres lieux
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De générations et de géographies différentes, Amie Barouh, Yukihisa Isobe, Tazuko Masuyama et Sara Ouhaddou ont en commun d'animer et de raviver nos manières d'être aux lieux et les liens qui nous y attachent, qu'ils soient ancestraux, familiaux, vivants, affectifs ou écologiques. Les lieux qu'ils travaillent et qui les travaillent, sont à entendre dans leur épaisseur spatiale et temporelle, dans leur plasticité, comme des milieux au sens géographique du terme, soit l'ensemble des conditions naturelles et sociales, visibles et invisibles qui influencent nos vies, en tant qu'individu ou communauté. Tour à tour territoires d'habitation ou matrices existentielles, leurs « Êtres Lieux » mobilisent des manières de vivre et de faire, où s'improvisent des moyens de résistance, où se construisent des modes de création, où s'inventent d'autres formes d'ancrage et de coexistence. Publié à l'occasion de l'exposition éponyme à la Maison de la culture du Japon à Paris en 2022.
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Conçu sous la forme d'un « magazine féminin », le catalogue « Belles ! Belles ! Belles ! Les femmes de Niki de Saint Phalle » est consacré à la représentation du corps des femmes dans l'œuvre novatrice, féministe et avant-gardiste de Niki de Saint Phalle. Il s'agit d'une nouvelle édition du catalogue initialement publié à l'occasion de l'exposition éponyme à la galerie(...)
mai 2022
Belles ! Belles ! Belles ! : Les femmes de Niki de Saint Phalle
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Conçu sous la forme d'un « magazine féminin », le catalogue « Belles ! Belles ! Belles ! Les femmes de Niki de Saint Phalle » est consacré à la représentation du corps des femmes dans l'œuvre novatrice, féministe et avant-gardiste de Niki de Saint Phalle. Il s'agit d'une nouvelle édition du catalogue initialement publié à l'occasion de l'exposition éponyme à la galerie Georges-Philippe & Nathalie Vallois en 2017.
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As the preeminent American artist of the 20th century, Andy Warhol challenged the world to see art differently. This pop up book changes how we look at Warhol’s iconic work from the 1960’s through 3-D pop up sculptures of Brillo Boxes, Flowers, Campbell’s Soup Cans, Marilyn & more. This standard edition book includes the following pop ups: Campbell’s Soup Cans, Banana,(...)
Andy Warhol Pop Art Pop up: Silver Factory book
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As the preeminent American artist of the 20th century, Andy Warhol challenged the world to see art differently. This pop up book changes how we look at Warhol’s iconic work from the 1960’s through 3-D pop up sculptures of Brillo Boxes, Flowers, Campbell’s Soup Cans, Marilyn & more. This standard edition book includes the following pop ups: Campbell’s Soup Cans, Banana, Andy’s Photo Booth, Marilyn Monroe, Flowers, Brillo Box Sculptures and Self-Portrait. It includes interactive elements, optical illusions and special easter eggs for true Warhol fans, making it an immersive and engaging experience.
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Combien pèse une couleur ? Comment une forme peut-elle être politique ? Les peintres ont-ils besoin de Freud pour analyser leur passion pour les pots de peinture ? Est-ce qu'une toile peut avoir de l'humour ? L'abstraction gestuelle est-elle forcément un truc de machos ? Figure essentielle de la scène artistique contemporaine, Amy Sillman est une peintre dont les écrits(...)
juillet 2022
Amy Sillman : Faux pas, Écrits et dessins
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Combien pèse une couleur ? Comment une forme peut-elle être politique ? Les peintres ont-ils besoin de Freud pour analyser leur passion pour les pots de peinture ? Est-ce qu'une toile peut avoir de l'humour ? L'abstraction gestuelle est-elle forcément un truc de machos ? Figure essentielle de la scène artistique contemporaine, Amy Sillman est une peintre dont les écrits régénèrent la pensée sur l'art, à partir de questions " pratiques " qui permettent de considérer d'un oeil neuf l'art contemporain. Attentive à retracer des idées trop vite oubliées et à réévaluer des oeuvres mal considérées, elle bouscule les idées reçues sur les avant-gardes, de Maria Lassnig et Philip Guston à... Delacroix. Faux Pas rassemble des textes et des cartoons et dessins humoristiques de Sillman, pour beaucoup réalisés pendant la première vague du COVID-19, ainsi que des portraits d'artistes au travail, composant un panorama personnel de la peinture contemporaine.
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Devoted exclusively to the artist’s works on paper, ''Bridget Riley drawings: From the artist’s studio'' explores the importance of these works not only as a means of visual experimentation but as works of art in their own right. Throughout her working life, Riley has preserved works of particular significance, creating an archive that records her constant artistic(...)
octobre 2022
Bridget Riley drawings: From the artist's studio
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Devoted exclusively to the artist’s works on paper, ''Bridget Riley drawings: From the artist’s studio'' explores the importance of these works not only as a means of visual experimentation but as works of art in their own right. Throughout her working life, Riley has preserved works of particular significance, creating an archive that records her constant artistic inquiry and development. The studies presented in the book are drawn entirely from this personal collection, with Riley’s own input. They demonstrate the artist’s progression from early figurative works, through the monochrome geometry of the 1960s, to the examination of color that has characterized the second half of her long career. The choice of work explores the themes that have absorbed Riley in different periods and highlights key influences: the importance of life drawing to her and the significance of artists such as Seurat and Mondrian. The book illustrates—literally and figuratively—the story of a productive and constantly experimental career, underpinned by drawing.
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With cover artwork specially created by Ruscha, this book documents hundreds of projects and miscellaneous ephemera produced by the artist alongside his main oeuvre—including installations, films, painted book covers, contour gauge profiles, and more. Introducing readers to the stunning breadth of Edward Ruscha’s (b. 1937) creative output over the course of his entire(...)
Ed Ruscha: An archive of projects
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With cover artwork specially created by Ruscha, this book documents hundreds of projects and miscellaneous ephemera produced by the artist alongside his main oeuvre—including installations, films, painted book covers, contour gauge profiles, and more. Introducing readers to the stunning breadth of Edward Ruscha’s (b. 1937) creative output over the course of his entire life, this book includes materials dating back to his childhood and extending to his present-day output. The projects featured here fall outside Ruscha’s production of paintings, drawings, prints, and artists’ books. Many of these are unknown and most are reproduced here for the first time. Composed of three sections—Projects and Ephemera; Contour Gauge Profiles; and Painted Book Covers—the book offers Ruscha enthusiasts and scholars a hitherto unknown aspect of Ruscha’s practice, while also showing how these projects coincide with, and sometimes even prefigure, the artistic work for which he is best known. The approximately 270 painted book covers, begun in 1990, utilize found books as support for small paintings and drawings. The 57 contour gauge profiles are silhouette-like profiles made using a mechanical device for reproducing contours. The largest section, Projects and Ephemera, consists of installations, sculpture and objects, films, book and poster design, utilitarian works, and more.
Matisse in the 1930s
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In 1930, as Henri Matisse (1869–1954) embarked on ''The Dance,'' a monumental mural commissioned by the American collector Albert C. Barnes, he began experimenting in ways that would permanently change the nature of his work. The use of pre-painted cut papers to lay out his compositions led to a new style of flat tones and bold shapes. He also increasingly used serial(...)
octobre 2022
Matisse in the 1930s
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In 1930, as Henri Matisse (1869–1954) embarked on ''The Dance,'' a monumental mural commissioned by the American collector Albert C. Barnes, he began experimenting in ways that would permanently change the nature of his work. The use of pre-painted cut papers to lay out his compositions led to a new style of flat tones and bold shapes. He also increasingly used serial imagery to make visible his creative process, aiming to capture the flux of his own perceptions and emotions in the work of art. This volume highlights and explains pivotal transformations in Matisse’s work in the 1930s across a range of media, including mural and easel painting, sculpture, printmaking, drawing, and the illustrated book. The transatlantic contributors also look at the relationship between Matisse and the Parisian art journal ''Cahiers d’art,'' which played an outsized role in publicizing Matisse’s work during this period, and consider his exhibitions, his ongoing involvement with decorative painting, his studio as a creative laboratory, and the role of his model and muse Lydia Delectorskaya in his studio practice.
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In this book, architect François Blanciak surveys the robotic faces omnipresent in Tokyo buildings, offering an architectural taxonomy based not on the usual variables—size, material, historical style—but on the observable expressions of buildings. Are the eyes (windows) twinkling, the mouth (door) laughing? Is that balcony a howl of distress? Investigating robot(...)
Tokyoids: the robotic face of architecture
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In this book, architect François Blanciak surveys the robotic faces omnipresent in Tokyo buildings, offering an architectural taxonomy based not on the usual variables—size, material, historical style—but on the observable expressions of buildings. Are the eyes (windows) twinkling, the mouth (door) laughing? Is that balcony a howl of distress? Investigating robot aesthetics through his photographs of fifty buildings, Blanciak argues that the robot face originated in architecture—before the birth of robotics—and has played a central role in architectural history. Part photographic survey, part theoretical inquiry, the publication upends the usual approach to robotics in architecture by considering not the automation of architectural output but the aesthetic properties of the robot.
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This volume critically profiles, contextualizes, and theoretically elaborates the unique practice of the UK-based German artist Kathrin Böhm. Combining visual and textual material, it offers an overview of Böhm's exceptional modus operandi that is rooted in a highly original artistic synthesis of a range of practices. Over the last three decades, Böhm has expanded the(...)
Kathrin Böhm: Art on the scale of life
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This volume critically profiles, contextualizes, and theoretically elaborates the unique practice of the UK-based German artist Kathrin Böhm. Combining visual and textual material, it offers an overview of Böhm's exceptional modus operandi that is rooted in a highly original artistic synthesis of a range of practices. Over the last three decades, Böhm has expanded the terms of socially engaged ways of working to an unprecedented scale and breadth by producing complex organizational, spatial, visual, and economic forms. These often entail the production of complex infrastructures, manifested via projects such as Culture is a Verb (2018–21), The Centre for Plausible Economies (2018–ongoing), Company: Movements, Deals and Drinks (2014–ongoing) and the Eco-Nomadic School (2010–ongoing). The book follows a major mid-career exhibition at ''The Showroom'', London, in 2021. Photographic, diagrammatic, and typographical imagery runs through the book, demonstrating the rich visual and spatial languages embedded in Böhm's work. This visual register of the book is therefore much more than a series of illustrations and acts as a counterpoint to, and extension of, the ideas elaborated in the texts.
Picasso: Cut papers
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Spanning the full career of Picasso (1881–1973), from his first cut drawings made in 1899 at nine years of age through to the 1960s with works he made in his eighties, ''Picasso cut papers'' features some of the artist’s most whimsical and intriguing works made on paper and in paper, alongside a select group of sculptures in metal, wood and ceramic. Although Picasso(...)
septembre 2022
Picasso: Cut papers
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Spanning the full career of Picasso (1881–1973), from his first cut drawings made in 1899 at nine years of age through to the 1960s with works he made in his eighties, ''Picasso cut papers'' features some of the artist’s most whimsical and intriguing works made on paper and in paper, alongside a select group of sculptures in metal, wood and ceramic. Although Picasso rarely sold or exhibited his cut papers (or papiers découpés) during his lifetime, he signed, dated and archived them just as he did all his works. They were simply part of a more private studio practice, often made for family or as models for his fabricators. The first publication to focus solely on Picasso’s cut papers, this book features many works reproduced for the first time with newly commissioned photography, alongside new scholarship on a little-known aspect of one of the 20th century’s most pivotal practices, which contribute to the ongoing discourse surrounding innovation and abstraction at the roots of modern art. Also featured is a photo section that surveys Picasso’s engagement with cut paper and sculpture over the decades and documents his practice of cutting paper, both in and out of the studio.