Wednesday, September 14, 2011
New Arrivals: Art
Don't Kiss Me: The Art of Claude Cahun and Marcel Moore
"This first comprehensive overview of the oeuvre of Claude Cahun offers a wealth of previously unpublished photographs and drawings, illuminating not only her work but also that of her partner Marcel Moore and establishing for the first time the extent of their collaboration. It also includes the first thorough account of their Resistance operations, trial, imprisonment and attempted suicides during the Occupation. Cahun (1894-1954) is best known for riveting photographic self-portraits that seem eerily ahead of their time and has become the focus of an almost cultlike following. She acted out diverse identities, both male and female, in scenes ranging from severely simple to elaborately staged and was a pioneer of the gender-bending role-playing now seen in works by artists such as Cindy Sherman (born the year Cahun died), Nikki S. Lee and many others. Cahun (a pseudonym for Lucy Schwob) and Marcel Moore (Suzanne Malherbe, 1892-1972) were an extraordinary couple who worked and lived together for more than 40 years. Avid participants in the cultural avant-garde in Montparnasse during the 1920s and 30s, they ultimately moved to Jersey, in the Channel Islands, the only part of Great Britain to be occupied by the Germans during World War II. In Don't Kiss Me, seven international authors examine Cahun's and Moore's lives and art-making; their theatrical, literary and performance activities; their relationship with the Surrealist movement; their writings and Cahun's photographic technique. The extensive illustrations encompass not only Cahun's iconic images but also Moore's drawings and previously unseen photographs, manuscripts and ephemera."
"Joseph Beuys created his “Block Beuys” in the 1960s. This complex and extensive installation consists of a wide range of materials and salvaged items that were selected, manipulated, altered and brought together by Beuys in unusual ways. The objects correspond to each other and, in their unmistakable forms, refer to the artist’s work in its entirety. The “Block Beuys” is permanently installed in a series of seven inter-connected rooms in the Hessische Landesmuseum in Darmstadt.
The photographer Manfred Leve has documented the work, “Block Beuys”, not only in the variety of its individual pieces, but also with a view of the entire work of art. His black-and-white photographs, devoid of any kind of staging, allow a thorough and genuine look at this radiant work. Leve sieht Beuys — Leve looks at Beuys."
"The work of Eva Hesse (1936–1970), one of the greatest American artists of the 1960s, continues to inspire and to endure in large part because of its deeply emotional and evocative qualities. Her latex and fiberglass sculptures in particular have a resonance that transcends the boundaries of minimalist art in which she had her roots. Hesse’s breakthrough solo exhibition—Chain Polymers at the Fischbach Gallery in New York in 1968—was a turning point in postwar American art.
Eva Hesse: Sculpture focuses on the artist’s large-scale sculptures in latex and fiberglass and provides a rare opportunity to look at Hesse’s artistic achievement within the historical context of her life in never-before-seen family diaries and photographs. Essays consider Hesse’s art from a variety of angles: Elisabeth Sussman discusses the sculptures shown in the 1968 solo exhibition; Fred Wasserman delves into the Hesse family’s life in Nazi Germany and in the German Jewish community in New York in the 1940s; Yve-Alain Bois examines Hesse’s works within the context of the art and aesthetic theories of the 1960s; and Mark Godfrey analyzes the importance of Hesse’s celebrated hanging sculptures of 1969–70. In addition to color reproductions of the artist’s sculpture, the book features a copiously illustrated chronology of the artist’s life."
Catalog from the 1995 Philadelphia ICA show. Very Nice.
"Jasper Johns (b. 1930) is one of the most significant figures in the history of postwar art. His work from 1955 to 1965 was pivotal, exercising an enormous impact on the subsequent development of pop, minimalism, and conceptual art in the United States and Europe. This is the first publication to approach Johns’s work of this ten-year period through a thematic framework. It examines the artist's interest in the condition of painting as a medium, a practice, and an instrument of encoded meaning through several interrelated motifs: the target, the “device,” the naming of colors, and the imprint of the body.
In this handsome book, leading scholars, a conservator, and a contemporary artist consider Johns’s activity in this critical decade and discuss many of his iconic paintings, such as Target with Four Faces (1955), Diver (1962), Periscope (Hart Crane) (1963), and Arrive-Depart (1963). Their new critical and historical perspectives are grounded in an unusually close visual and material analysis of Johns's work."
"Thomas Chimes is one of the most important artists to emerge in Philadelphia since World War II. Tracing the stylistic evolution of Chimes's idiosyncratic art, this book presents a long-overdue survey of his remarkable five-decade career: canvases combining landscape imagery with symbols such as crucifixes (late 1950s–mid–1960s); mixed-media constructions set within finely crafted metal boxes (late 1960s-early 1970s); his best-known works, a series of forty-eight intimate sepia-toned panel portraits of nineteenth- and twentieth-century writers and artists that are placed within oversized wood frames (1973-78); and the enigmatic "white paintings" of the past two decades.
In an essay that explores each of these creative periods in detail, Michael R. Taylor reveals how Chimes has found inspiration in the writings of literary heroes such as Antonin Artaud, James Joyce, and especially Alfred Jarry, the iconoclastic French playwright and novelist whose invented "'Pataphysics"—the "science of imaginary solutions"—has provided the artist with a seemingly inexhaustible font of imagery. Taylor discusses the links between Chimes's work and that of contemporaries such as Gerhard Richter, Cy Twombly, Jess, and Nancy Spero, as well as that of important predecessors like Vincent van Gogh, Marcel Duchamp, and fellow Philadelphian Thomas Eakins."
Annotated Catalogue Raisonné Of The Books By Martin Kippenberger 1977-1997
"Roberta Smith called him the “madcap bad boy of contemporary German art” and also “one of the three or four best German artists of the postwar period.” Martin Kippenberger disrupted the status quo throughout his brief, excessive life, not just by making art of every variety and medium but also by conducting an extended performance in the vicinity of art that involved running galleries, organizing exhibitions, collecting the work of his contemporaries and overseeing assistants. He published books and catalogues, played in a rock-and-roll band and cut records, ran a performance-art space during his early years in Berlin, became part owner of a restaurant in Los Angeles during six months he spent there preparing for an exhibition, and collaborated extensively with other artists. This particular volume considers his output of artist’s books, as well as his exhibition catalogues and all the publications whose content he either created or edited. More than just documentation, this publication makes accessible for a wider public the multiple aspects of Kippenberger’s books, with all the complexity and consequence of his oeuvre intact."
These books, and thousands of others, can be purchased from:
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Philadelphia, PA 19147
215 592 1207
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