Friday, July 2, 2010
NEW ARRIVALS: Art
Dada: Zurich, Berlin, Hanover, Cologne, New York, Paris
this lavishly illustrated and astonishingly comprehensive volume stands as the definitive study of the influential but deliberately elusive international Dada movement of the early twentieth century. Organized according to the primary city centers where this shifting, quintessentially avant garde movement emerged, Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris features the work of 40 key artists, both infamous and lesser-known, including Louis Aragon, Hans Arp, Hugo Ball, André Breton, Otto Dix, Marcel Duchamp, Hannah Höch, Man Ray, Tristan Tzara and Kurt Schwitters, to name just a few, in media spanning painting, sculpture, photography, collage, photomontage, prints and graphic work. Dynamically designed with an uncommon intelligence suited to the complexity of the movement itself, it contains hundreds of reproductions of works which, until the major traveling exhibition of 2005 and 2006 for which this book was originally produced, had for the most part never been seen in one place together. Documentary images, topical essays and an invaluable illustrated chronology of the movement make this volume uniquely essential, along with witty chronicles of events in each city center, a selected bibliography and biographies of each artist, accompanied by Dada-era photographs.
Jean-Michel Basquiat: 1981, The Studio of the Street
In 1981 Jean-Michel Basquiat made the momentous transition from the street to the studio. He had attracted considerable attention with his Times Square Show the summer before, and reinforced that nascent notoriety with a wall of phenomenal works in Diego Cortez's New York/New Wave at P.S. 1, which opened the following winter. A few months later, the dealer Annina Nosei offered Basquiat an independent space in which to prepare work for her September group show, Public Address. He was only 20. Between the world of spray-painted poetry and what critic Peter Schjeldahl called "New York big-painting aesthetics" lies a fantastic coming-of-age: Jean-Michel Basquiat: 1981: The Studio of the Street includes paintings and drawings on everything from note cards to sheet metal to a leather jacket and conventional canvas. In them, as throughout his career, Basquiat married an exuberant spontaneity and art-brut sensibility with a firm command of not only art materials but art history. He would go on to define the 80s Neo-Expressionist idiom, and to remain its most compelling representative. The Studio of the Street examines this charged point of contact in works that show the artist's progression from text to text-and-image, from found materials to traditional canvasses, and from pure drawing to his uniquely evocative hybrid of drawing and painting.
Diego Rivera: Great Illustrator
Best known for his epic mural production, Mexican artist Diego Rivera was also an important easel painter and--as this book eloquently demonstrates--an extraordinary illustrator. This volume takes a detailed and long-overdue look at this rich and significant facet of Rivera's immense oeuvre: the illustrations he contributed to books and periodical publications over the course of his long career. Accompanying the numerous reproductions is a long and splendidly researched essay by noted art critic Raquel Tibol, an expert on the artist's work. The panorama of Rivera's themes--Modernist poetry, political issues, Mexican folklore, pre-Columbian America and many others--take the reader on a tour of the history of Mexican art in the first half of the twentieth century. Even those who think they know Rivera's work will find new aspects to explore in this beautiful book.
Beyond The Visible: The Art Of Odilon Redon
Caught between description and dream, the felt and the imagined, French artist Odilon Redon, whose career bridged the nineteenth and twentieth centuries, transformed the natural world into nightmarish visions and bizarre fantasies. Closely allied with the Symbolist movement, Redon offered his own interpretations of literary, biblical and mythological subjects; created a universe of strange hybrid creatures; and presented landscape in a singular way: we see grinning disembodied teeth, smiling spiders, melancholic floating faces, winged chariots, unfamiliar plant life, and velvety black or colored swirls of atmosphere. With a recent gift from the Ian Woodner family, The Museum of Modern Art is now the site of the most significant body of the artist's work outside France, and this book will showcase the full range of Redon's varied oeuvre--charcoal “noirs,” luminous pastels, richly textured canvases, literary collaborations and experiments in printmaking--and will illuminate the hold his particular kind of Modernism has had on both twentieth-century and contemporary artists.
Jasper Johns: A Retrospective
Jasper Johns's art unites mastery, mystery, simplicity, and contradiction. His methodical working process combines intense deliberation and experimentation, obsessive craft, cycles of revision and repetition, and decisive shifts of direction. Johns also frequently borrows images from other artists, which, ironically, only underscores the originality of his own vision. His work occupies a key position in the art of the second half of the twentieth century. Jasper Johns: A Retrospective is the most complete and authoritative resource on it available, containing 264 color plates illustrating his paintings, drawings, sculptures, and prints. Accompanying essays review his essential themes, analyze his references to other artists, and explore how his contemporaries have, in turn, seen and absorbed his own work. The plates are arranged to follow the stages of his career, allowing comparison of paintings, drawings, sculptures, and prints from each period, as his style developed and changed. That comprehensive selection of reproductions is interwoven with an illustrated chronology tracing Johns' life and work with unprecedented accuracy and thoroughness. With its scholarly essays and extensive bibliography, Jasper Johns: A Retrospective is the indispensable reference work on this crucial artist. This volume was originally published to accompany the major exhibition of Johns' work held at The Museum of Modern Art in 1996 and 1997, his first full retrospective in 20 years. It has been out of print since 2002.
Between the Lines: A Coloring Book of Drawings by Contemporary Artists
What if an ordinary little coloring book were to be upgraded with a set of 54 energetic line drawings by some of today's best-known contemporary artists instead of the usual dumbed-down pedagogical renderings? And what if the proceeds from the sale of this high-art coloring book were to go to a worthy charitable organization that seeks to install upbeat, original contemporary artworks in participating hospitals? Well, then you would have Between the Lines, this lively new collection of work by Vito Acconci, Rita Ackermann, John Baldessari, Jeremy Blake, Will Cotton, R. Crumb, Keith Haring, Sol LeWitt, Robert Longo, John Lurie, Robert Mapplethorpe, Jason Middlebrook, Julian Opie, Laura Owens, Alexis Rockman, Kenny Scharf, William Wegman and John Wesley, among others. And what if this same coloring book were to include four vibrant pages of original stickers by Assume Vivid Astro Focus and Ryan McGinness? Well, then you would have a collector's item. RxArt is a not-for-profit organization that curates contemporary art installations in hospitals and outpatient centers. The organization's goal is to create more energetic and therapeutic environments for patients, staff and visitors engaged in the act of healing. RxArt donates coloring books to children in participating healthcare facilities; like the installed artworks, the coloring books are meant to give children and their families something new and stimulating to think about under sometimes quite trying circumstances.
Matthew Barney & Joseph Beuys: All in the Present Must Be Transformed
All in the Present Must Be Transformed: Matthew Barney and Joseph Beuys examines key affinities between these two seminal twentieth-century artists, who, though separated by generation and geography, share many aesthetic and conceptual concerns. Published in conjunction with the exhibition at the Deutsche Guggenheim, Berlin, it focuses on the two artists' metaphoric use of materials, their interest in metamorphosis, their employment of narrative structures and the relationship between action and documentation in their work. The exhibition, whose content is drawn largely from the Guggenheim's substantial permanent collection, pairs a selection of drawings and vitrines by both artists, as well as Barney's multipart sculpture, "Chrysler Imperial" (2002) from Cremaster 3, with Beuys' installation "Terremoto" (1981). The book examines the performative side of both artists' practices, as evidenced by the way each has theatricalized his own sculptural production. In addition, it documents both artists' one-person exhibitions at the Solomon R. Guggenheim Museum in New York and includes an extensive selection of drawings and key comparative works.
Matthew Barney: Drawing Restraint Vol. 5
Matthew Barney's Drawing Restraint series imagines mythic interactions and subtle energy currents that meld legend and technology in dark, non-allegorical fairytales. In the film Drawing Restraint 9, the tension is strung between creative discipline (restraint, orderliness, pattern) and protean creativity (oceanic chaos)--a theme that is symbolically enacted in the construction and transformation of a vast sculpture of liquid Vaseline called "The Field." Over the course of the film, "The Field" is molded, poured, bisected and re-formed on the deck of a whaling ship. These shifts in the sculpture's state are then echoed in the tale of The Guests, two visitors to the ship (played by Barney and Björk) who, locked in a lover's embrace and breathing through blowhole orifices in the back of their necks, cut away each other's feet and thighs with flensing knives to reveal nascent whale tails. In conjunction with the Serpentine Gallery's 2007 exhibition, this catalogue for Drawing Restraint 9 and the Drawing Restraint series to date features autonomous sketches, drawings, sculptures and photographs. It offers an assessment of the project's fusion of sculpture, architecture, music, computer-generated effects and prosthetics that draws from mythology, history, sports and biology to explore the interplay between polymorphous desire and applied order.
Images of Death in Mexican Prints
Over the past two centuries, Mexican culture has kept up a unique dialogue with the fact of death, rather than defying it as most contemporary cultures are wont to do. Today, Mexico even boasts a Museum of Death (in Aguascalientes), filled with pre-Columbian sculpture and pottery, reproductions of ancient Indian codices depicting human sacrifices, colonial-era artworks, skeletons, artisan’s toys and works by the countless Modern artists who have treated the theme. It is, of course, in Mexico’s arts that the blend of respect and irreverence for death and the afterlife is made most clear. Here, Mercurio López Casillas, expert on nineteenth-century Mexican graphic art and the author of studies of José Guadalupe Posada and Manuel Manilla, surveys the subject from pre-Hispanic times to the comic pages of contemporary Mexican newspapers. López Casillas examines the long tradition of representing death and skeleton figures that leads up to Posada, and traces the influence of this great popular engraver in the work of many other twentieth-century artists, including those of the Taller de Gráfica Popular workshop, like Leopoldo Méndez. Readers of this richly illustrated book will also be fascinated by early colonial examples of calaveras, or skeleton caricatures. Images of Death is a colorful and lively deterrent against our habitual inclination to take the Grim Reaper too seriously. For enthusiasts of Mexican folk art, underground comics, tattoo art, the occult and more.
The Book of Stamps
The world's smallest and most widely reproduced work of art, the postage stamp was an official vehicle for extraordinary visual work for more than 100 years before twentieth-century artists and activists began to appropriate the format as a potential venue for their own unsanctioned expressions. From the stamp experiments of Fluxus mail artists like Robert Watts to fantasy stamps issued by fictional countries, this humble canvas has been home to all manner of free expression. The Book of Stamps is at once an homage to and continuation of this tradition. Sumptuously designed and printed, this cloth-bound volume features 15 detachable, perforated and gummed full-page sheets of limited edition, artist-designed stamps by Walead Beshty, Emily Jacir and David Shrigley, among others. A must-have for collectors of artist multiples and stamps alike, the edition also includes a text by author and journalist George Pendle.
Few artists have captured the public's imagination with the force of Mexican painter Frida Kahlo. During her lifetime, she was best known as the flamboyant wife of celebrated muralist Diego Rivera. Theirs was a tumultuous relationship: Rivera declared himself to be "unfit for fidelity." As if to assuage her pain, Kahlo recorded the vicissitudes of her marriage in paint. She also recorded the misery of her deteriorating health--the orthopedic corsets that she was forced to wear, the numerous spinal surgeries, the miscarriages and therapeutic abortions. The artist's sometimes harrowing imagery is mitigated by an intentional primitivism and small scale, as well as by her sardonic humor and extraordinary imagination.
In celebration of the one-hundredth anniversary of Kahlo's birth, this major new monograph is published on the occasion of the 2007-08 traveling exhibition. It features the artist's most renowned work--the hauntingly seductive and often brutal self-portraits--as well as a selection of key portraits and still lifes; more than 100 color plates, from Kahlo's earliest works, made in 1926, to her last, in 1954; critical essays by Elizabeth Carpenter, Hayden Herrera and Victor Zamudio-Taylor; and a selection of photographs of Kahlo and Rivera by preeminent photographers of the period, including Manuel Alvarez Bravo, Lola Alvarez Bravo, Gisele Freund, Tina Modotti and Nickolas Muray. The catalogue also contains snapshots from the artist's own photo albums of Kahlo with family and friends such as André Breton and Leon Trotsky--some of which have never been published, and several of which Kahlo inscribed with dedications, effaced with self-deprecating marks or kissed with a lipstick trace--plus an extensive illustrated timeline, selected bibliography, exhibition history and index.
Gerhard Richter: Writings
For a painter who has so successfully neutralized the declarative potential of his medium, Gerhard Richter has committed to print a surprisingly large amount of discussion on his work. Perhaps it is only natural that an artist whose painting incarnates the Cagean premise that there is nothing to communicate should be moved to address that fact over and over. For this reason, the first edition of Richter's writings, The Daily Practice of Painting (published in 1993 by MIT Press) was an especially compelling collection, gathering the speculations of an artist profoundly involved in states of doubt, uncertainty and negation. Edited by Hans Ulrich Obrist, it quickly became a basic text in all of the creative fields. For this new, complete edition of the writings, Richter has placed his private archive at the editor's disposal; most of the photographic material comes from this archive and has not been previously published. The volume begins with the artist's farewell letters to his teacher Heinz Lohmar in 1961, is augmented with 15 unpublished texts from 1962 to 1993, as well as texts from the past 14 (highly productive) years of his career, and closes with an interview on his contribution to the 52nd Venice Biennale in 2007. In between are public statements on specific exhibitions, private reflections drawn from personal correspondence, answers to questions posed by critics and journal excerpts discussing the intentions, methods and subjects of his works from various periods. At more than 600 pages (the first edition was only 288), it is without doubt the essential companion to Richter's colossal oeuvre.
Alfred Jensen: Concordance
In an imaginative merging of abstraction and personalized iconography, Alfred Jensen's bright paintings elaborate his comsological speculations, drawing on astronomy, physics and mathematics, and frequently implicating Mayan and Chinese calendrical systems. Included in Concordance are large-scale multi-faceted paintings that span the artist’s mature career from 1960 onwards. Concordance includes many rarely seen works from the artist's estate as well as a late 12-panel work, "The Great Pyramid," executed in 1979 and never before published.
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