Edited by Lynne Cooke, Karen Kelly and Barbara Schröder. Essays by Dave Hickey, Rosalind Krauss, Ulrich Loock, Alexander Alberro, Jan Avgikos, Richard Shiff, Dirk Snauwaert, Miwon Kwon, Colin Gardner. Foreword by Philippe Vergne.
Pbk, 5.5 x 8 in. / 200 pgs / 14 color / 88 bw. | 10/31/2009 | In stock $16.95
Edited by Maraniello Gianfranco, Andrea Viliani. Text by Maraniello Gianfranco, Tacita Dean, Rosalind Krauss, Suzanne van de Ven. Interview by Andrea Viliani.
Paperback, 8.25 x 11 in. / 256 pgs / 82 color / 80 bw. | 5/1/2007 | Not available $65.00
By Paul Gauguin. Artwork by Constantin Brancusi, Jacques Lipchitz, Amadeo Modigliani, Henri Moore, Alberto Giacometti, Paul Klee, Pablo Picasso. Edited by William Rubin. Contributions by Kirk Varnedoe. Text by Ezio Bassani, Christian Feest, Sidney Geist, Donald Gordon, Jean Laude, Gail Levin, Jean-Louis Paudrat, Philippe Peltier, Laura Rosenstock, Alan Wilkinson, Evan Maurer, Richard Oldenburg, Jack Flam, Rosalind Krauss.
Paperback, 8.75 x 12 in. / 706 pgs / 378 color 709 bw. | 7/2/2002 | Not available $65.00
By Paul Gauguin. Artwork by Constantin Brancusi, Jacques Lipchitz, Amadeo Modigliani, Henri Moore, Alberto Giacometti, Paul Klee, Pablo Picasso. Edited by William Rubin. Contributions by Kirk Varnedoe. Text by Ezio Bassani, Christian Feest, Sidney Geist, Donald Gordon, Jean Laude, Gail Levin, Jean-Louis Paudrat, Philippe Peltier, Laura Rosenstock, Alan Wilkinson, Evan Maurer, Richard Oldenburg, Jack Flam, Rosalind Krauss.
Slipcased, 9 x 12 in. / 706 pgs / 378 color 709 bw | 7/2/2002 | Not available $125.00
Edited by Kirk Varnedoe and Pepe Karmel. Essays by T.J. Clark, Robert Storr, James Coddington, Carol C. Mancusi-Ungaro, Rosalind E. Krauss, Anne M. Wagner, Jeremy Lewison, Pepe Karmel and Kirk Varnedoe.
Hbk, 10.5 x 8.5 in. / 112 pgs / 322 color. | 9/2/2002 | Not available $24.95
Published by Hayward Gallery Publishing. Foreword by Roger Malbert. Text by Rosalind Krauss. Interview by Kate McCrickard.
South African artist William Kentridge (born 1955) is internationally acclaimed for his drawings, films, and theatre and opera productions. He is also an innovative and prolific printmaker--of etchings, engravings, aquatints, silkscreens, linocuts and lithographs--often experimenting with challenging formats and combinations of printing techniques to create highly worked, intensely atmospheric imagery. His prints range in scale from intimate etchings and drypoints to linocuts on rice paper and canvas measuring over eight feet high and are reproduced on a variety of materials, a tactile approach which is echoed in the design and production of this volume. This unique and beautifully presented book includes almost 100 prints from 1988 to the present, with a stress on experimental, collaborative and serial works. Kentridge’s distinctive use of light and shadow and silhouettes, his concern with memory and perspective, and his absorption in literary texts are all strongly in evidence throughout this book, which provides new insights into the working methods of this prolific artist.
Published by JRP|Ringier. Edited by Béatrice Gross. Text by Susanna Singer, John Hogan, Béatrice Gross, Lucy Lippard, Rosalind Krauss, Mel Bochner, Dan Graham, Robert Smithson.
Magnificent in scope, design and scholarship, this essential volume is the first comprehensive LeWitt monograph published since the artist's death, and the first overview since 2000. Besides gathering visual documentation of LeWitt's wall drawings and his sculptures-or "structures" as he preferred-the publication also includes his complete writings; spreads from his artist's books; plus interviews and essays by virtually every artist and author closely associated with LeWitt, among them Lucy Lippard, Rosalind Krauss, Mel Bochner, Dan Graham and Robert Smithson. One of the most important artists of the twentieth century, LeWitt at last receives the definitive treatment of his work in this volume. In his 1967 "Paragraphs on Conceptual Art," Sol LeWitt set out the fundamental principle of his artistic practice: "In conceptual art the idea or concept is the most important aspect of the work.... The idea becomes a machine that makes the art." From the first wall drawing in 1968 until his death in 2007, LeWitt never ceased to develop new "machines," conceiving some 1,200 wall drawings and laying down the foundations of Conceptual and Minimalist art. LeWitt's wall drawings, always installed by assistants, eliminated any intermediary object (such as a canvas) between the work and its support, thereby dovetailing a sensuous material immediacy with a powerful Platonic detachment. His sculptural variations on grids, cubes and pyramids likewise project this moving simplicity and clarity. Sol LeWitt (1928-2007) was born in Hartford, Connecticut, where he took art classes at the Wadsworth Atheneum. After receiving a BFA from Syracuse University he worked as a graphic designer in the office of architect I.M. Pei. In 1976, LeWitt cofounded the artists' book bookstore Printed Matter in New York, with Lucy Lippard. A retrospective of his wall drawings opened to the public in 2008 at MASS MoCA in North Adams, Massachusetts, where it will remain on view for 25 years.
Published by Dia Art Foundation. Edited by Lynne Cooke, Karen Kelly and Barbara Schröder. Essays by Dave Hickey, Rosalind Krauss, Ulrich Loock, Alexander Alberro, Jan Avgikos, Richard Shiff, Dirk Snauwaert, Miwon Kwon, Colin Gardner. Foreword by Philippe Vergne.
Since 1992, the Dia Center for the Arts has presented the Robert Lehman Lectures on Contemporary Art—an example of Dia's ongoing commitment to cross-disciplinary critical discourse. This fourth volume of collected theoretical and critical essays focuses on Dia's exhibitions from 2001 through 2002, with contributions by Alexander Alberro, Jan Avgikos, Colin Gardner, Dave Hickey, Rosalind Krauss, Miwon Kwon, Ulrich Loock, Richard Shiff and Dirk Snauwaert. These writers analyze the work of internationally recognized artists such as Roni Horn, Alfred Jensen, Bruce Nauman, Max Neuhaus, Panamarenko, Jorge Pardo, Gerhard Richter, Bridget Riley, Diana Thater and Gilberto Zorio.
Published by Hopefulmonster Editore. Edited by Maraniello Gianfranco, Andrea Viliani. Text by Maraniello Gianfranco, Tacita Dean, Rosalind Krauss, Suzanne van de Ven. Interview by Andrea Viliani.
One of the key members of the 1960s Arte Povera movement, Giovanni Anselmo remains one of the most respected and poetic artists working today. Since 1965, when he was suddenly struck by his relative size within the vast energy and structure of the universe, he has devoted himself to an ongoing investigation the very most finite and infinite concepts and forms, focusing on elemental laws and the forces of nature such as gravity, tension, magnetism and energy. Anselmo's conceptually taut yet lyrical work, which defies limitations and encompasses installation, painting, sculpture and architecture, brings together a wide range of organic and inorganic materials that manage to address the most universal, poignant and perplexing questions of the human condition and the natural world. This substantial new study includes essays by Rosalind Krauss and Tacita Dean among others. Anselmo is represented in New York by Marian Goodman Gallery.
PUBLISHER Hopefulmonster Editore
BOOK FORMAT Paperback, 8.25 x 11 in. / 256 pgs / 82 color / 80 bw.
PUBLISHING STATUS Pub Date 5/1/2007 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 136
PRODUCT DETAILS ISBN 9788877572103TRADE List Price: $65.00 CAD $75.00
Published by JRP|Ringier. Edited by Jean-Pierre Criqui. Text by Philippe-Alain Michaud, Rosalind E. Krauss, Peter Szendy, Emma Lavigne.
Christian Marclay was born in 1955 in California, but he grew up in Geneva and didn't live in the U.S. again until he returned in 1977 to study art. By 1979, music was Marclay's material of choice. He has since turned a fascination with all aspects of popular recorded sound and cinema into a brilliant career as an artist. As a collector of audio and film, he harnesses his eclectic interests and expansive archive to a practice spanning aural and visual collage and performance, in a layering and sampling aesthetic that has come to be called, after the DJ's tool, turntablism. He has collaborated with musicians including John Zorn, the Kronos quartet, DJ Spooky and Sonic Youth, and appeared or shown his work at venues including The Museum of Modern Art and P.S. 1 in New York. Replay, the first book to focus on his moving image work, gathers his most important films and projections to date. If Marclay's craft of reconstruction is itself musical (the pauses and absences being as much part of the work as the shots and beats), his recompositions also follow a rich heritage of montage within cinema and experimental film.
Published by Guggenheim Museum Publications. Essays by Carmen Giménez, Rosalind E. Krauss, David Anfam, Michael Brenson and Paul Hayes Tucker.
Deemed the "foremost sculptor of his generation" by art critic Clement Greenberg, David Smith, who lived from 1906 to 1965, is about to be celebrated in his first retrospective since 1969--to be held at the Guggenheim Museum, New York, from February through May of 2006. David Smith: A Centennial features new photographs of nearly every selected sculpture--110 pieces dating from 1932 to 1965, including important examples from each period, many rarely seen in public. Essays from writers including David Anfam, Michael Brenson, Rosalind Krauss and Paul Hayes Tucker tackle key areas, such as Smith's relationship to the painters of the New York School, the dual development of his family life and series sculpture through the 1950s and 60s, and his use of the landscape outside his studio in formulating his late works. Perhaps most importantly, David Smith: A Centennial also features the most comprehensive research on Smith yet published, including a newly compiled and extended bibliography; a comprehensive exhibition history; a chronology; and an illustrated checklist tracking provenance, exhibition history, and bibliographic references for each featured sculpture, finally bringing scholarship on Smith to the level of that on other important American artists of his generation, such as Barnett Newman, Jackson Pollock and Mark Rothko. David Smith: A Centennial considers Smith's oeuvre as a totality, and offers readers the chance to understand the complexity of his aesthetic concerns as well as his impact on the course of American sculpture, and American art at large.
PUBLISHER Guggenheim Museum Publications
BOOK FORMAT Hardcover, 9.5 x 10.75 in. / 460 pgs / 300 color.
PUBLISHING STATUS Pub Date 3/1/2006 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2006 p. 7
PRODUCT DETAILS ISBN 9780892073436TRADE List Price: $85.00 CAD $100.00
Published by Guggenheim Museum Publications. Edited by Edward Weisberger. Essays by Timothy Baum, José Pierre, Werner Spies, Rosalind E. Krauss and Jean Toulet.
Now in Paperback Over the course of almost five decades, famed magazine publisher Daniel Filipacchi and record producer Nesuhi Ertegun assembled the most important grouping of Surrealist art in private hands. This extraordinary two-volume set captures the full range, paradoxical nature and fascinating aspects of Surrealism. Featuring works by leading figures of the movement such as Giorgio de Chirico, Joseph Cornell, Salvador Dal', Max Ernst, Renª Magritte, Man Ray and Yves Tanguy, this slipcased set is comprised almost entirely of full-page, full-color reproductions. Major paintings, sculpture, photographs, works on paper, rare books and off-the-cuff ephemera appear alongside complementary texts, creating a complete guide to one of the most intriguing movements in art history.
Published by The Museum of Modern Art, New York. By Paul Gauguin. Artwork by Constantin Brancusi, Jacques Lipchitz, Amadeo Modigliani, Henri Moore, Alberto Giacometti, Paul Klee, Pablo Picasso. Edited by William Rubin. Contributions by Kirk Varnedoe. Text by Ezio Bassani, Christian Feest, Sidney Geist, Donald Gordon, Jean Laude, Gail Levin, Jean-Louis Paudrat, Philippe Peltier, Laura Rosenstock, Alan Wilkinson, Evan Maurer, Richard Oldenburg, Jack Flam, Rosalind Krauss.
These two volumes comprise the first comprehensive scholarly treatment in half a century of the crucial influence of the tribal arts--particularly those of Africa and Oceania--on modern painters and sculptors. In this visually stunning and intellectually provocative work, 19 essays confront complex aesthetic, art-historical and sociological problems posed by this dramatic chapter in the history of modern art. The main body of the book contains a series of essays on primitivism in the works of Gauguin, the Fauves, Picasso, Brancusi, the German Expressionists, Lipchitz, Modigliani, Klee, Giacometti, Moore, the Surrealists and the Abstract Expressionists. It concludes with a discussion of primitivist contemporary artists, including those involved in earthworks, shamanism and ritual-inspired performances.
Published by The Museum of Modern Art, New York. By Paul Gauguin. Artwork by Constantin Brancusi, Jacques Lipchitz, Amadeo Modigliani, Henri Moore, Alberto Giacometti, Paul Klee, Pablo Picasso. Edited by William Rubin. Contributions by Kirk Varnedoe. Text by Ezio Bassani, Christian Feest, Sidney Geist, Donald Gordon, Jean Laude, Gail Levin, Jean-Louis Paudrat, Philippe Peltier, Laura Rosenstock, Alan Wilkinson, Evan Maurer, Richard Oldenburg, Jack Flam, Rosalind Krauss.
In 1906 tribal sculpture was ìdiscoveredî by 20th century artists; these objects had suddenly become relevant because of changes in the nature of modern art itself. These two volumes comprise the first comprehensive scholarly treatment in half a century of the crucial influence of the tribal arts--particularly those of Africa and Oceania--on modern painters and sculptors. In this visually stunning and intellectually provocative work, 19 essays confront complex aesthetic, art-historical, and sociological problems posed by this dramatic chapter in the history of modern art. The main body of the book contains a series of essays on primitivism in the works of Gauguin, the Fauves, Picasso, Brancusi, the German Expressionists, Lipchitz, Modigliani, Klee, Giacometti, Moore, the Surrealists, and the Abstract Expressionists. It concludes with a discussion of primitivist contemporary artists, including those involved in earthworks, shamanism, and ritual-inspired performances.
Published by The Museum of Modern Art, New York. Edited by Kirk Varnedoe and Pepe Karmel. Essays by T.J. Clark, Robert Storr, James Coddington, Carol C. Mancusi-Ungaro, Rosalind E. Krauss, Anne M. Wagner, Jeremy Lewison, Pepe Karmel and Kirk Varnedoe.
Presenting nine critical essays by leading scholars--among them T.J. Clark, Robert Storr, James Coddington, Rosalind Krauss, and Kirk Varnedoe--this collection offers dramatically different ways of understanding Jackson Pollock's art and influence. Revealing not just the richness of Pollock's work, but also the vitality and diversity of contemporary criticisms, these texts discuss the crisis of easel painting, Pollock's relationship with his wife, artist Helen Frankenthaler, the Americanization of Europe, and the place of chaos in Pollock's work. Based on a symposium held in 1999 during The Museum of Modern Art, New York's retrospective exhibition of Pollock's oeuvre, this volume is a companion to Jackson Pollock: Key Interviews, Articles, and Reviews, a collection of older texts by or about the artist.
Sol LeWitt
Robert Lehman Lectures on Contemporary Art No. 4
Giovanni Anselmo: Where The Stars Are Coming
Christian Marclay: Replay
David Smith: A Centennial
Surrealism: Two Private Eyes
Primitivism In 20Th Century Art
Primitivism In 20Th Century Art
Jackson Pollock: New Approaches
Richard Serra: Props