Phantom Paintings gathers several series of paintings on aluminum panel produced over the last three years by the Swiss artist Urs Fischer (born 1973).
Pbk, 9.75 x 12 in. / 170 pgs / 76 color. | 9/26/2017 | Out of stock $30.00
Published by Kiito-San. Edited by Abby Haywood, Priya Bhatnagar, Annie Roff. Text by Candace Wetmore.
Beautifully illustrated and elegantly bound, this 602-page volume is the first overview of New York–based artist Urs Fischer (born 1973) since 2009’s Shovel in a Hole. The book includes selected works thoughtfully arranged according to common threads, spanning from the beginning of Fischer’s career and concluding with his capstone NFT series, CHAOS. A spotlight on earlier works and notations provide context for Fischer’s oeuvre. The book offers a holistic view of his career to date, showing how ideas have been nurtured over time. His sense of playfulness, humor and wry self-awareness permeates the book, with more than 700 full-color images.
Published by Holzwarth Publications. Text by Gregor Jansen.
Urs Fischer’s (born 1973) silkscreen paintings in this series at Berlin’s Galerie Max Hetzler feature publicity shots of male and female Hollywood film actors intercut with their own double images and naturally flowing abstractions. These paintings are juxtaposed with small gesso figures interacting with found objects around a mirror pond framed by potted plants.
Bandaids brings together two separately exhibited series of silk-screened paintings with colored sculpted resin frames by New York–based artist Urs Fischer (born 1973), produced in 2018.
The artist composed the collective 57 works entirely in an app on his iPhone, a tool always on hand in almost any situation, allowing him to keep creating at any moment. When translated from device to painting medium, the resulting works have a luminous quality.
Fischer’s process blends drawing, painting and silkscreen to create groupings that react with each other to form dynamic and varied narratives. Echoes of subjects present in Fischer’s early works—cats, bread houses, birds—personify romance and playfulness in this highly surreal series.
PUBLISHER Kiito-San
BOOK FORMAT Hardcover, 11.75 x 14.75 in. / 124 pgs / 60 color / 4 duotone.
PUBLISHING STATUS Pub Date 8/20/2019 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2019 p. 162
PRODUCT DETAILS ISBN 9780996413060TRADE List Price: $50.00 CAD $69.95 GBP £45.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Kiito-San. Edited by Priya Bhatnagar, Jaime Gecker, Abby Haywood, Angela Kunicky, Annie Roft, Natalie Skinner.
Housed in a slipcase, this three-volume retrospective of the paintings of Urs Fischer (born 1973) offers the viewer an intimate look at every painting produced from the beginning of his career up to 2017.
Fischer’s two-dimensional works elegantly encapsulate some of his greatest strengths: color, precision and juxtaposition. His inventive approach to painting capitalizes on the relationship between photography and painting in many works, exploring two-dimensional texture.
The images in this book are printed to scale relative to one another. Selected works are also printed 1:1, providing the reader with a detail view not available in any other context. This retrospective includes fresh documentation of early collage works, many of which have not been exhibited for years.
PUBLISHER Kiito-San
BOOK FORMAT Slip, pbk, 3 vols, 10 x 12 in. / 572 pgs / 613 color.
PUBLISHING STATUS Pub Date 8/20/2019 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2019 p. 162
PRODUCT DETAILS ISBN 9780996413053TRADE List Price: $125.00 CAD $170.00 GBP £115.00
Published by Kiito-San. Edited by Priya Bhatnagar.
Featuring over 100 works and documentation of forty exhibitions and installations both public and private, New York–based artist Urs Fischer (born 1973) presents six years of work in this substantial volume.
Arranged chronologically, this book allows the reader to follow Fischer's developments in form and his frequent adventure into whimsy. The artist's instinct for design is evident not only in his individual works but also in his clarity of vision for a space, beautifully illustrated in this volume.
Sculpture inherently has physical presence and Fischer utilizes this to manipulate the viewer's perception of reality. Encountering the immense and the minuscule, the ever-changing and the static, a viewer must reconcile with his or her own presence in time. With this volume, the reader is invited to experience significant ephemeral, collaborative and interactive works in context in over 400 pages plus gatefold inserts.
PUBLISHER Kiito-San
BOOK FORMAT Hardcover, 9.75 x 12.25 in. / 450 pgs / 358 color.
PUBLISHING STATUS Pub Date 5/21/2019 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2019 p. 162
PRODUCT DETAILS ISBN 9780996413046TRADE List Price: $60.00 CAD $85.00 GBP £53.00
From far away many of these paintings appear to be large-scale gestural abstractions, but on closer inspection the viewer detects total flatness—the abstract paint marks were actually photographed and silkscreened on top of images of personal spaces, creating an image of abstraction rather than the abstraction itself. This process allows a largeness of motion and an immediacy, as two representational systems clash. In other works, the abstractions obstruct images taken from vintage Hollywood publicity headshots as well as close-up photographs of the artist’s own face. Finally, bold paintings on cutout aluminum panels push the limits of line, color and shape, transforming facial features into intersecting organic shapes that slide and mutate in a new form of landscape painting.
PUBLISHER Kiito-San
BOOK FORMAT Paperback, 9.75 x 12 in. / 170 pgs / 76 color.
PUBLISHING STATUS Pub Date 9/26/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2017 p. 139
PRODUCT DETAILS ISBN 9780996413022FLAT40 List Price: $30.00 CAD $40.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by DESTE Foundation for Contemporary Art. Foreword by Dakis Joannou. Preface by Jean-Yves Marin. Text by Massimiliano Gioni.
An unusual hybrid between a solo exhibition and a group show, Urs Fisher: False Friends places the oeuvre of Swiss artist Urs Fischer (born 1973) in conversation with the work of a selection of his peers: Pawel Althamer, Maurizio Cattelan, Peter Fischli and David Weiss, Robert Gober, Martin Kippenberger, Jeff Koons, Paul McCarthy, Cindy Sherman and Kiki Smith.
Drawn from the holdings of the Dakis Joannou Collection and installed in the beautiful spaces of Geneva’s Museum of Art and History, False Friends proposes unexpected connections between artworks and aesthetics, methods and materials, offering a reading of contemporary art as a magnetic field of elective affinities and striking variations—a cacophonic concerto of forms.
Published by DESTE Foundation/Kiito-San, LLC. Edited by Priya Bhatnagar, Abby Haywood.
Bound in a tête-bêche format as a reversible book with two front covers, Urs Fischer: Yes documents two iterations of the ongoing collaborative project of the same name orchestrated by Urs Fischer (born 1973), which has brought together thousands of collaborators from all walks of life-schoolchildren and adults, artists and amateurs-to make objects out of clay. Yes has populated numerous locations with clay figures, including the warehouse-like space of the Geffen Contemporary at The Museum of Contemporary Art, Los Angeles, and the sun-washed terrain surrounding the Deste Foundation's project space in a former slaughterhouse on the Greek island of Hydra. In this volume, installation photographs from both locations capture what entropy adds to the project: the unfired clay sculptures disintegrate over time, creating continuously changing landscapes of fragmented, crumbling forms.
Constructed almost entirely of paraffin wax, "Julian" is one of Swiss artist Urs Fischer’s most ambitious wax-candle sculptures to date. This large-format artist's book is composed entirely of photographs documenting Fischer’s 2015 show in Amagansett, New York, where the life-size sculpture--made to resemble fellow artist Julian Schnabel--was exhibited and then set alight.
The Making of Yes features photographs by Cassandra MacLeod documenting a vast collaborative project by Urs Fischer with contributions by 1,500 individuals who were invited to work in clay over the weeks preceding the opening of Fischer’s retrospective exhibition at the Museum of Contemporary Art in Los Angeles. All were asked to join Fischer in making figures and animals out of clay, allowing for variation within a theme so that the possibilities for style, structure, scale and finish would be open to exploration while preserving the unity of the project. Filling the expansive spaces of the museum, the unfired clay forms disintegrated over time to create a fantastical landscape of fragmented figures. The lively photographs in this volume convey the hands-on sense of fun and excitement the individual participants experienced from partaking in this exuberant project.
New York-based artist Urs Fischer (born 1973 in Zurich) has devised a surreal universe in which dust bunnies are magnified into landscapes and a lump of clay squeezed in the artist’s fist becomes a towering monolith. In this catalogue for Fischer’s solo exhibition at The Brant Foundation Art Study Center in Greenwich, Connecticut, a cast aluminum grave pierces the ceiling and the exhibition space becomes an excavation site. A gallery wallpapered with trompe l’oeil reproductions of collector Peter Brant’s living room features artworks from his extensive private collection. Wax likenesses of Brant have been set alight and slowly melt away, dissolving into puddles. With these audacious formal investigations of scale and material, Fischer has produced an off-kilter installation that disconcerts and entrances.
Published by Kiito-San. Text by Jessica Morgan, Ulrich Lehmann.
Urs Fischer provides an overview of the Swiss artist’s heterogeneous oeuvre and features many of his best-known works. Designed and conceived by Fischer, the book is arranged thematically rather than chronologically, with clusters of works that allow the reader to observe how Fischer has explored disparate formal strategies to engage with his multifarious interests--which include gravity, architecture, shadows, representation, destruction, entropy and time--and revisit favorite motifs, such as furniture, fruit, animals, skeletons and other surrogates for his cardinal subject, the human body, over the past decade and a half. Produced for his retrospective exhibition at the Museum of Contemporary Art in Los Angeles, this hefty volume includes essays by Jessica Morgan and Ulrich Lehmann that unpack the dominant thematics in Fischer’s work and examine the significance of the materials and production techniques in his sculptural practice.
Published by DESTE Foundation for Contemporary Art. Edited by Karen Marta, Massimiliano Gioni. Text by Jessica Morgan.
Swiss artist Urs Fischer is best known for his dramatic transfiguration of the exhibition space, as well as for his unexpected transformations of quotidian objects. Offering grand gestures with a pop attitude, the artist works in a variety of media--which is grounded in sculpture despite the artist's training as a photographer--to explore the intersection between art and everyday life. Part of the new 2000 Words series, conceived and commissioned by Massimiliano Gioni and published by the Deste Foundation, this colorful monograph, with an essay by Jessica Morgan, presents the wide array of Urs Fischer's work in the Dakis Joannou Collection.
Documenting Urs Fischer’s solo exhibition of the same title at the Kunsthalle Wien in 2012, Skinny Sunrise presents a survey of the artist’s oeuvre. Among the new sculptures produced for the exhibition is Fischer’s first candle self-portrait, which is set alight and slowly burns down before our eyes, in the fashion of his acclaimed installation at the Arsenale di Venezia, which was described by the Financial Times as “the single most stunning new piece anywhere” in the 2011 Biennale.
Published by Kiito-San. Introduction by Caroline Bourgeois. Text by Patricia Falguieres, Michele Robecchi.
Bringing together more than 30 works from numerous international collections spanning almost two decades of genre-defying production, this volume presents an overview of the artist’s striking and often humorous work from the late 1990s to the present. It centers on an eponymously titled installation reconstituting the artist’s former studio within the exhibition space.
Necrophonia documents a 2011 collaborative exhibition by Urs Fischer and Georg Herold at The Modern Institute in Glasgow. Transforming the gallery into a studio, the artists created sculptures based on models from a nearby art school. For the exhibition’s duration, the resulting sculptures--made of unfired clay, so that they started to disintegrate over time--were exhibited alongside the live nude models from which they were derived.
Published by JRP|Ringier. Edited by Massimiliano Gioni. Text by Jessica Morgan, Bice Curiger, Massimiliano Gioni.
In a move that now seems prescient, Swiss artist Urs Fischer--who was born in 1973--literally pulled the floor out from under viewers for a 2007 exhibition at Gavin Brown's Enterprise, New York, by digging through the gallery foundations and exposing the dirt and rubble beneath. Best known for this kind of dramatic transfiguration of the exhibition space, as well as for his unexpected transformations of quotidian objects and his lack of allegiance to any one style, Fischer consistently projects a sense of transience and existential uncertainty. This volume--which includes newly commissioned essays by Massimiliano Gioni and Jessica Morgan, as well as over 200 images of Fischer's work, including installation views and studio shots--functions like a search engine, cross-referencing Fischer's thought processes. Published concurrently with his solo exhibition at New York's New Museum, it was conceived by designer Scipio Schneider in close collaboration with the artist.
Published by JRP|Ringier. Edited by Urs Fischer. Text by Rein Wolfs.
One of the most striking and remarked-upon pieces at the 2006 Day For Night Whitney Biennial was Urs Fisher's, and the curators gave it pride of place: on entry, the first walls that viewers encountered had been torn open. Those new gallery entrances led through to an outsized candelabra, composed of two detailed aluminum tree-branches suspended parallel to the floor, each with a lit candle at one end, spinning in slow motion and creating interlocking circles of wax drippings on the floor. Those who remember it will not be surprised to find, in this survey of recent works, that Fischer has long been disorienting viewers with materials such as mirror-lined walls and gigantic plush bears.
Published by JRP|Ringier. Edited by Mirjam Varadinis. Essays by Bruce Hainley and Jàrg Heiser.
The heterogeneous punk spirit of Urs Fischer is in full threat in this catalogue from his recent retrospective exhibition (including many new works) at Kunsthaus Zrich. All materials were considered fair game, and Fischer took every possible liberty in the museum space. He cut huge walk-through holes in the gallery walls and leaned the removed pieces on their edges in the rooms. He made burning wax sculptures, put obstacles on the ground, and hung a DANGEr sign above it all. As curator Mirjam Varadinis says, "the familiarity of everyday motifs is undermined in a process of metamorphosis that renders [the work] uncanny and even threatening." Of course, a dose of humor, drawing upon the grotesque, informs the work as well. You can try to name influences, inspirations, and related artists--Thek, Nauman, Barney, Fischli & Weiss--but Fischer is sui generis.
Published by JRP|Ringier. Edited by Beatrix Ruf. Essay by Garrick Jones.
Urs Fischer's sculptures, drawings and installations, says curator Beatrix Ruf, strike the viewer “as if an Internet search engine had generated a massive number of hits leading to technical and mental breakdown.” This book has been conceived by the artist as a cross-reading of his process-related and “style-less” work through the arrangement of more than 200 images, including reproductions of works, installation views, studio shots and special features. Using a multitude of ordinary materials, Fischer creates non-hierarchical collages of objects and thoughts, high and low aesthetics, mundane and artistic memories, and personal and political interrogations. Laid out as a studio journal, the publication also includes musical scores from the London-based composer, engineer and consultant Garrick Jones, who wrote eight compositions inspired by Fischer's work. The scores are reproduced over 200 pages of the book, and recordings of them are available separately on CD or as downloads.