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Positioning the Art Gallery Valiz 2012 ISBN 9789078088394 Acqn 19242 Pb 20x17cm 208pp 60ills 15.95 This second publication in the All Amsterdam series explores the world of galleries in Amsterdam and their place in a broader, international context. It covers the history of the citys galleries from around 1960 to the present, and widens its focus to include the functioning of the gallery as an institution. It investigates what a gallery means in terms of substantive, economic, social and (art) historical aspects for the artist, art and the public, as well as in what ways the gallery relates to other platforms for contemporary art. Includes texts by Jan van Adrichem, Dominic van den Boogerd, Xander Karskens, Noor Mertens, Tineke Reijnders, Olav Velthuis and many others.

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Kenneth Noland - Paintings 1958-1968 Mitchell-Innes Nash 2011 ISBN 9780981457871 Acqn 20270 Hb 26x31cm 76pp 48ills 41col 29.50 American abstract painter Kenneth Noland (1924-2010) was one of the primary exponents of Color Field painting. In the late 1950s and early 1960s, Noland began using two central motifs that would have enduring significance in his work: the circle and the chevron. These seemingly reductive forms also conjured military badges, corporate logos for cars and other consumer products that were omnipresent in postwar America. Kenneth Noland: Paintings 1958-1968 is the first major publication on the artist since his recent death. In it, art historian Paul Hayes Tucker explores Noland's history as a soldier in the United States Army and his subsequent re-entry into a burgeoning American consumer society, portraying his art as inextricable from atomic age America. The book also features rare photographs of the artist as a young man and full-color reproductions of Noland's early formative work.

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Requiem For The Sun - The Art Of Mono-ha Blum & Poe 2012 ISBN 9780966350326 Acqn 20949 Hb 21x26cm 200pp 170ills 60col 43.95 Requiem for the Sun: The Art of Mono-ha is the most comprehensive study in English to date on the postwar Japanese movement Mono-ha (School of Things), and examines the groups practice in Tokyo between 19681972 at the height of the nations political upheaval against the US Japan Security Treaty, anti-Vietnam War protests and its oil crisis. The Mono-ha artists--who included Noburu Sekine, Lee Ufan, Kishio Suga and Koji Enokura--all distinguished themselves through an aesthetic detachment that, instead of creating things, strove instead to rearrange them into artworks that interacted with the spaces around them. While sharing certain traits with the Land Art and Minimalism movements that were taking place in the United States, and the Arte Povera movement in Italy, Mono-ha was ultimately a rejection of the Euro-American avant-garde and is now synonymous with the beginnings of contemporary art in Japan.

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Fransje Killaars Samples 010 Publishers 2012 ISBN 9789064507922 Acqn 21127 Hb 24x26cm 476pp 83ills 80col 36.95 Fransje Killaars is internationally renowned for her installations of bright coloured textiles. She refers to her hand-woven carpets, blankets and collection of coloured fabrics as the 'alphabet' that she draws upon to create her installations. Killaars is fascinated by the power of colour, the relationship between people and textiles and the ways the textiles are bound up with daily life. This publication is an overview of her work, including the piece she recently designed for the North Delegate's Lounge of the UN Headquarters in New York.

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The Beginning Of The Missunderstanding Revolver Publishing by VVV 2012 ISBN 9783868951714 Acqn 21161 Hb 21x29cm 544pp 1712ills 1500col 39.95 A book with 544pages, 17 chapters, more than 1700 photos/drawings and texts by various people... An archive that tells stories. A sculptural manifesto. A model of reality. A series of places and ideas. Questions the images that we have of built Modernism. Thinks about research studios as sculpture. Combines a collection of found uses of the public realm. Develops minimal billboard houses with maximum common space. Recognises an identity-giving potential for the future in historical memories. A source of inspiration and a working tool for a more real reality. Refers to planned cities and historical cities that have grown in time. Considers monuments as graphic signs or signposts. Has a sculptural view of public space. Asks which Modernism is still important to us today.

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Jess - O! Tricky Cad And Other Jessoterica Siglio 2012 ISBN 9781938221002 Acqn 21382 Pb 21x26cm 192pp 150ills 92col 35 The San Francisco artist Jess (19232004) has for decades been known to cognoscenti as an inventive and sophisticated master of the collage aesthetic. Recently however, his works are receiving fresh attention from a younger generation attuned to Jess interests in myth, narrative and appropriation. Jess used images taken from sources ranging from Dick Tracy to Drer, from a Beatles bubblegum card to medical textbook drawings, from 1887 Scientific American line engravings to frames from George Herrimans Krazy Kat. In reexamining myth through a synthesis of art and literature, Jess work remains a crucial assemblage of the meanings of our time. This volume brings to light collages, collage books, word poems and altered comics that have been largely inaccessible or unavailable since their making. Originally published in small editions and hard-to-find journals, or made as one-off artists books, these works demonstrate the full range of Jesss extraordinary verbal and visual play. Several of Jesss surreal comic-strip manipulations, Tricky Cad (19541959), are reproduced for the first time in their entirety, as are others such as Ben Big Bolt and Nance that have never before been published. The book also includes a group of complex wraparound book covers, several unpublished collage poems, and two artists books never before reproduced in full: From Force of Habit, a fantastic tale which plays with the pages of a Swedish cult sci-fi novel, and When a Young Lad Dreams of Manhood, a homoerotic paean (and naughty parody) of the priapic urge. A facsimile reproduction of the 20page collage masterpiece O! is included as a separate booklet, and the book sports a dustjacket that folds out into a poster-size collage.

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Sophie Calle - The Address Book Siglio 2012 ISBN 9780979956294 Acqn 21383 Hb 13x19cm 104pp 28ills 2col 21.95 The Address Book, a key and controversial work in Sophie Calle's oeuvre, lies at the epicenter of many layers of reality and fiction. Having found a lost address book on the street in Paris, Calle copied the pages before returning it anonymously to its owner. She then embarked on a search to come to know this stranger by contacting listed individuals--in essence, following him through the map of his acquaintances. Originally published as a serial in the newspaper Libration over the course of one month, her incisive written accounts with friends, family and colleagues, juxtaposed with photographs, yield vivid subjective impressions of the address book's owner, Pierre D., while also suggesting ever more complicated stories as information is parsed and withheld by the people she encounters. Collaged through a multitude of details--from the banal to the luminous, this fragile and strangely intimate portrait of Pierre D. is a prism through which to see the desire for, and the elusivity of, knowledge. Upon learning of this work and its publication in the newspaper, Pierre D. expressed his anger, and Calle agreed not to republish the work until after his death. Until then, The Address Book had only been described in English--as the work of the character Maria Turner, whom Paul Auster based on Calle in his novel Leviathan; and in Double Game, Calle's monograph which converses with Auster's novel. This is the first trade publication in English of The Address Book (Gemini G.E.L. in Los Angeles released a suite of lithographs modeled on the original tabloid pages from Libration in an edition of 24). The book has the physical weight and feel of an actual address book with a new design of text and images which allow the story to unfold and be savored by the reader.

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The Language Of Less, Then And Now Museum Of Contemporary Art Chicago 2012 ISBN 9780933856912 Acqn 21411 Hb 20x28cm 64pp 43 col ills 22 The Language of Less (Then and Now) accompanies an exhibition at MCA Chicago inspired by the museums rich holdings of Minimalist and post-Minimalist art of the 60s and 70s. These are complemented by works from a younger generation of artists, such as Leonor Antunes, Carole Bove, Jason Dodge, Gedi Sibony and Oscar Tuazon.

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Jimmy Robert Museum Of Contemporary Art Chicago 2012 ISBN 9780933856950 Acqn 21412 Pb 22x26cm 96pp 47ills 42col This catalogue accompanies the first large-scale solo U.S. exhibition of the work of Brussels based artist Jimmy Robert (born 1975). One of Europes most dynamic younger artists, Robert works in a range of media, including photography, sculptural objects, film, video and collaborative performances. What unites these different threads is a concern for the body and a guiding interest in the poetic potential of ephemeral materials such as paper and tape. Creating form through gesture, Robert draws inspiration from such artists as Yvonne Rainer and Yoko Ono. His exploration of folding bodies, crumpling paper and filmed repetitive gestures has come to define him as an artist of touching: the act of tearing tape from skin, a hand stroking hair, fingers rubbing a text. Jimmy Robert includes multiple paper stocks and sizes, is spiral-bound and features the artists newest work.

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Anne Truitt Drawings Matthew Marks 2012 ISBN 9781880146583 Acqn 21426 Hb 25x30cm 104pp 66col ills 47.95 This retrospective of Anne Truitts works on paper spans the four decades of her career, from the early 1960s--when Truitt first developed the totemic sculptures in painted wood for which she is best known--to the last years of her life. Many of the drawings are reproduced here for the first time, and cover the full range of her drawing techniques, from graphite, ink and pastel to acrylic on paper. Edges are variously taped, rolled or sliced; Truitts line is sometimes bold, and at other times subtle enough to seem almost invisible. In one group of works from 1976, paint is applied in layers of subtle color (a signature of her work in all media); a 1966 series of distilled, hard-edged abstractions evoke the architecture of the artists childhood home with its white clapboard siding and picket fence. This volume offers the first overview of Truitts drawings to date.

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Ellsworth Kelly - Los Angeles Matthew Marks 2012 ISBN 9781880146590 Acqn 21436 Hb 30x32cm 40pp 27col ills 33 Los Angeles documents six new two-panel paintings by Ellsworth Kelly, each made from a single shaped canvas featuring a dramatic curve carefully painted with many coats of a bright color (blue, green, yellow, orange). These curved panels are attached to a rectangular canvas painted in a contrasting color. Also reproduced here are a group of 195254 collages that Kelly made in Paris as a young man, including Study for Black and White Panels, as well as the 1966 painting Black over White. All of these works provide the inspiration for Kellys monumental sculpture installed on the faade of the Matthew Marks Gallery. Among his largest works, Kellys new Los Angeles sculpture is the first to incorporate a buildings architecture into his own work: in one succinct gesture, the gallerys entire faade has become part of his sculpture.

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Terry Winters - Cricket Music, Tessellation Figures & Notebook Matthew Marks 2012 ISBN 9781880146606 Acqn 21437 Hb 27x31cm 68pp 57col ills 33 Cricket Music, Tessellation Figures & Notebook presents a series of new works by acclaimed New York painter Terry Winters (born 1949), in which he explores forms inspired by mathematical concepts such as tessellations, knot theory and similar shapes derived from natural and scientific realms. Winters kaleidoscopic compositions of overlapping grids and patterns create complex pictorial spaces, and his use of transparent pigments allows the viewer to see, as the artist has said, all the events that went into the making of the painting. Tessellation Figures refers to the process of creating a two-dimensional plane through the repetition of a geometric shape. The Notebook series (20032011) consists of collages of found images, layered on top of one another, which have provided the source material for several of Winters recent paintings, and which affirm the enduring tension between abstraction and representation throughout his work.

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The Fertile Crescent Gender, Art and Society Rutgers University Institute 2012 ISBN 9780979049798 Acqn 21454 Hb 22x28cm 256pp 180col ills 33 The Fertile Crescent examines the work of 24 women artists of Middle East heritage: Negar Ahkami (Iranian), Shiva Ahmadi (Iranian), Jananne Al-Ani (Iraqi), Fatima and Monira Al Qadiri (Kuwaiti), Ghada Amer (Egyptian), Zeina Barakeh (Lebanese), Ofri Cnaani (Israeli), Nezaket Ekici (Turkish), Diana El Jeiroudi (Syrian), Parastou Forouhar (Iranian), Ayana Friedman (Israeli), Shadi Ghadirian (Iranian), Mona Hatoum (Palestinian), Hayv Kahraman (Iraqi), Efrat Kedem (Israeli), Sigalit Landau (Israeli), Ariane Littman (Israeli), Shirin Neshat (Iranian), Ebru zseen (Turkish), Laila Shawa (Palestinian), Shahzia Sikander (Pakistani), Fatimah Tuggar (Nigerian) and Nil Yalter (Turkish). These artists all explore matters of gender, homeland, geopolitics, theology and the environment. The authors in this volume address transnationalism and the interaction between Muslim culture and Jewish, Christian and Euro-American cultures, resulting in U.S. and European relationships that are sometimes congenial and at other times problematic. The book also addresses the Middle Easts cultural diaspora in black Africa and South Asia. The Fertile Crescent is published in conjunction with a fall 2012 multi-venue exhibition at Rutgers and Princeton Universities and the Arts Council of Princeton/Paul Robeson Center for the Arts.

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Thinking Contemporary Curating Independent Curators Inc. 2012 ISBN 9780916365868 Acqn 21461 Pb 14x20cm 272pp 25ills 14.95 What is contemporary curatorial thought? Current discourse on the topic is heating up with a new cocktail of bold ideas and ethical imperatives. These include: cooperative curating, especially with artists; the reimagination of museums; curating as knowledge production; the historicization of exhibition-making; and commitment to extra-artworld participatory activism. Less obvious, but increasingly of concern, are issues such as rethinking spectatorship, engaging viewers as cocurators and the challenge of curating contemporaneity itself. In these five essays, art historian and theorist Terry Smith surveys the international landscape of current thinking by curators; explores a number of exhibitions that show contemporaneity in recent, present and past art; describes the enormous growth world wide of exhibition infrastructure and the instability that haunts it; re-examines the contribution of artist-curators and questions the rise of curators utilizing artistic strategies; and, finally, assesses a number of key tendencies in curating as responses to contemporary conditions. Thinking Contemporary Curating is the first book to comprehensively chart the variety of practices of curating undertaken today, and to think through, systematically, what is distinctive about contemporary curatorial thought.

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Slavs and Tatars - Not Moscow Not Mecca. Secession Revolver Publishing by VVV 2012 ISBN 9783868952193 Acqn 21642 Pb 23x31cm 108pp 80ills 70col 15.95 Communism and Islam are the two grand narratives of Central Asia, claim Slavs and Tatars, and they go further: "In fact, Communism and Islam are the two most important geopolitical factors of the 20th and 21st centuries." With the exhibition Not Moscow Not Mecca in the Grafisches Kabinett and an outdoor installation at the Secession, the collective formed in 2006 writes the "autobiography" of a region that is little known in this country and that bears many names: from Central Asia to Greater Khorasan, from Turkestan to Ma Wara' al-NahrArabic for "the land beyond the river". As part of a cycle of works with the title The Faculty of Substitution, the artists pursue with the exhibition but also with the acompaying publication the theme of self-knowledge in the broadest sense. "Substitution," say Slavs and Tatars with reference to the title, "means the mental agility needed to develop coordination and equilibrium so that we can tell one story through another." Not Moscow Not Mecca is the title of the show at the Secessionneither, nor. In their ongoing search for a basis for comparison between cultures, between Orient and Occident, between modernity and Islam, Slavs and Tatars discover similarities between things that seem incomparable. These processes of equation lead to an appropriation and reinterpretation of history, a process at odds with the familiar narratives of the powerful and victorious.

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Kotscha Reist Echoes Revolver Publishing by VVV 2012 ISBN 9783868952391 Acqn 21643 Pb 21x28cm 176pp 150ills 110col 29.50 Kotscha Reists paintings are based on photographs transferred to the canvas in a process of free interpretation and sometimes variation. The images are mostly from newspapers or magazines, although he also takes his own pictures. A cosmos of current events and history thus unfolds itself before our eyes, sometimes cautiously, sometimes rather forcefully and assertively. Landscapes and interiors are shown next to figurative works without discrimination. His subjects are divers:branches, people in strange poses, windows or animals, and he often produces several, free versions of the same subject. Regardless of the motifs, however, it is always life that is at the centre of his attention: the images are invariably from life and about life. In this, Reists focus is on the seemingly trivial things, which he exaggerates in order to diminish their references to the real. He likes to combine several photographic templates into complex compositions. The originals are transformed by enlarging or reducing their size, details are faded out or placed right in the centre of the picture, or he even covers complete parts of the picture with geometric forms. The present monograph shows works from the last ten years. Kotscha Reists paintings are clearly structured and painted with the kind of light brushstroke that brings them close to the ephemeral nature of a sketch. When his earlier paintings were characterised by a multilayered application of paint and thus rather restrained colours, brightness seems to have returned in his later works, and the prominent outlines developed in his recent works on paper have found their adequate place on the canvas. Also, the foglike glazes that clouded earlier works have gradually lifted. The subject confronts the beholder more directly so that it seems impossible to avert ones eyes. The works seem freer, the colour planes are placed next to each other with great mastery hard facts meet sensuality. The paintings are snapshots taken out of time and sometimes almost entirely out of context, placed into a new world - irritating fragments of a collective memory. The beholders own life experiences, charged with the visual experiences of the artist, are reflected by the works like an echo. It is this echoing that makes the paintings an immediate part of ones own history and memories.

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Klara Liden - Bodies of Society New Museum Of Contemporary Art 2012 ISBN 9780985448523 Acqn 21739 Pb 14x21cm 72pp 48ills 40col 11 This catalogue documents the first substantial American museum exhibition of the Swedish artist Klara Lidn (born 1979) at the New Museum, combining installation, photography and performance video. Crafting sculptural hideouts from street detritus, and scaling them to her own size, Lidn intimately relates the museums environment to the world outside.

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Phyllida Barlow Siege New Museum Of Contemporary Art 2012 ISBN 9780985448516 Acqn 21740 Pb 14x21cm 72pp 28ills 24col 11 This volume documents the first New York solo exhibition of British sculptor Phyllida Barlow (born 1944) at the New Museum. Barlow began making work in the early 1970s, and was inspired by American sculptors like Eva Hesse to explore connections between the sculpture and the artist's body, using disparate substances such as concrete, felt, wooden pallets, polystyrene and fabric.

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Tacita Dean - Five Americans New Museum Of Contemporary Art 2012 ISBN 9780985448509 Acqn 21741 Pb 14x21cm 72pp 30ills 24col 11 Tacita Dean (born 1965) has become one of Britains most celebrated artists, with more than 40 16mm films and a rich body of drawings, photographs and writing to her name. This volume focuses on five recent film portraits of important American artists and thinkers: Merce Cunningham, Leo Steinberg, Julie Mehretu, Claes Oldenburg and Cy Twombly.

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Dive Deep - Eric Fischl And The Process of Painting Pennsylvania Academy Of Fine Art 2012 ISBN 9780943836416 Acqn 21744 Pb 22x28cm 96pp 149ills 113col 29.95 Over the past three decades, Eric Fischl (born 1948) has infused American figurative painting with fresh edginess and a new vocabulary of suburban disquiet. Richly illustrated with 148 works of art--including photographs, drawings, prints, sculptures and paintings from 1979 to the present-this companion catalogue to the Pennsylvania Academy of the Fine Arts and San Jose Museum of Arts 2012 exhibition Dive Deep: Eric Fischl and the Process of Painting explores Fischl's rigorous and iterative creative process as well as his exemplary readiness to embrace new technological changes in the service of his art. Fischls commentary and preparatory works provide readers with a glimpse of the evolution of compositions and the intensive craft his painting involves. An interview with the artist reveals the nuances of Fischl's painterly perspective and his extensive knowledge of art history, and places him squarely in the great tradition of artists who have defined the iconography of their age.

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Transformations Access 2010 ISBN 9784901976848 Acqn 21769 Hb 16x22cm 192pp 100col ills 43.95 Published in conjunction with the eponymous exhibition at the Museum of Contemporary Art in Tokyo (October 29, 2010 January 30, 2011), this book examines transformation as an artistic theme. According to co-curator Shinichi Nakazawa, Western European artists are especially challenged when dealing with transformation, due to cultural and historical dictates, while artists from Asia, Africa and the so-called European hinterlands are prone to a different attitude, one which more easily dissolves the barrier between human and animal worlds. Works from 21 artists are presented, including Matthew Barney, Masakatsu Takagi, Sarah Sze, Simon Birch, Patricia Piccinini and Jagannath Panda.

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Hito Steyerl - The Wretched Of The Screen. e-flux Journal Sternberg Press 2012 ISBN 9781934105825 Acqn 21781 Pb 11x17cm 200pp 27ills 9.95 In Hito Steyerls writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerls landmark essays from recent years in which she has steadily developed her very own politics of the image. Twisting the politics of representation around the representation of politics, these essays uncover a rich trove of information in the formal shifts and aberrant distortions of accelerated capitalism, of the art system as a vast mine of labor extraction and passionate commitment, of occupation and internship, of structural and literal violence, enchantment and fun, of hysterical, uncontrollable flight through the wreckage of postcolonial and modernist discourses and their unanticipated openings.

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Critical Spatial Practice - What Is Critical Spatial Practice? Sternberg Press 2012 ISBN 9783943365276 Acqn 21782 Pb 12x17cm 240pp 8col ills 12.50 In September 2011, Nikolaus Hirsch and Markus Miessen invited protagonists from the fields of architecture, art, philosophy, and literature to reflect on the single question of what, today, can be understood as a critical modality of spatial practice. Most of the sixty-four contributions presented in this volume were composed concurrently with the evictions of many of the Occupy movements, sustained turmoil in countries of the Arab Spring, and continued spasms in the global financial system, which, interestingly, all pointed at the question and problematic of whether architecture and our physical environment can still be understood as a res publica. A response by the editors takes the form of a conversation. This book is first in a series on critical spatial practice developed alongside the Stdelschule program of the same name. Each edition includes work by invited artiststhe first includes newly commissioned work by the photographer Armin Linke, who documented the Occupy camp around the European Central Bank in Frankfurt.

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Isabelle Cornaro White Cube 2012 ISBN 9781906072728 Acqn 21800 Pb 17x23cm 64pp 39ills 38col 12.50 Through film, sculpture, drawing and painting, French artist Isabelle Cornaro re-evaluates objects by exploring the tensions between their aesthetic and cultural value and by questioning meaning through formal and conceptual modes of display. Cornaro uses scanning, photography and plaster casting as her methods of production. Through meticulous arrangements, she investigates the properties of objects and the historicity they can point to or steer away from. Homonyms (II) (2012), for example, are coloured plaster casts taken from soft materials such as laces, quilts and carpets. The misplaced use of colour and materiality of their new form alters their original identity and disrupts how these transformed objects are perceived. In the film, Money filmed from the side and a three-quarter view (2010), Cornraro portrays actual coins and Euro notes being transformed into abstract forms through the cinematic use of light and colour. The preoccupation with spatiality and light in the film brings currencys aesthetic into the composition, stripping the importance of its monetary value. Cornaro creates differing landscapes in her work, welcoming new reflections on the ideology of object and space. Born in 1974 in France, Isabelle Cornaro lives and works in Paris. Recent solo exhibitions include, Le Magasin, 2012, FRAC (Regional Fund for Contemporary Art) Aquitaine, France (2012), Le Collge des Bernardins, Paris (2011), 1m3, Lausanne (2011), Centre dArt Contemporain de Troyes, Troyes (2010), Kunstverein Dsseldorf (2009), Recent group shows include Intense Proximit/y, Paris Triennale, Palais de Tokyo (2012), Un'espressione geografica, Fondazione Sandretto, Turin (2011), Vide-Poche, Sculpture Center, New-York (2011), Projection, Centre Pompidou (2011), Paris, Sharjah Biennale, UAE (2011), Unto This Last, Raven Row, London (2010), The square, the Line and the Light, Tate Modern, London (2010).

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William E Jones White Cube 2012 ISBN 9781906072735 Acqn 21801 Pb 17x23cm 64pp 50ills 40col 12.50 Originally trained as a filmmaker in Los Angeles, William E. Jones artistic practice analyses the political content of archival material such as found film footage or documentary photographs to highlight the inherent relationship between images and power. For this exhibition, Jones has been a scripophilist, appropriating nineteenth and twentieth century stock certificates that traditionally symbolise monetary value through the pictorialisation of idealised manhood and physical strength. Inspired by the recent crash of the Euro and the US recession, Jones examined numerous company share certificates that had illustrated headers, such as those of the Harlem and New York Railroad or the Inland Steel Company, Pittsburgh. These certificates depict allegorical figures such as an Adonis-like man wearing a crown of leaves or a heroic manual labourer wielding an axe or sledgehammer, which have been selected and montaged together from the catalogue of standard engravings that were held by printing companies. These incongruous figures, with their collaged anatomical parts, were designed to reflect an image of solid investment and represented what Jarett Kobek has described as, the principle authority of an unknown, faceless entity. Jones has enlarged and printed these images to a human scale to further instil their heroic yet, ill-proportioned designs, each colour coded to represent their honouree value. William E. Jones was born in Canton, Ohio in 1962. He currently lives and works in Los Angeles. Recent exhibitions include: The Whitney Biennial, New York (2008), Wexner Center for the Arts, Columbus, Ohio (2009) and 12th Istanbul Biennial, Turkey (2011). Solo presentations of his films have taken place at Tate Modern (2005), San Francisco Museum of Modern Art (2006), Andy Warhol Museum, Pittsburgh (2007) and Museum of Modern Art, New York (2010). William will be doing a Q&A on Saturday, September 8th, 2012 at 3pm to coincide with an Artists Film Club screening of his work at the Institute of Contemporary Arts, London.

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Mitchell Squire White Cube 2012 ISBN 9781906072742 Acqn 21802 Pb 17x23cm 64pp 24ills 23col 12.50 Mitchell Squire's practice is founded on an exploration of how artefacts are projections of the body and how material culture becomes a lens through which to view society and history. Using a combination of found and salvaged objects his work creates a complexity of socio-political associations and personal narratives that underline particularly potent historic events and institutional practices that quietly and continually influence the American national dialogue. In the The Annunciation of Johnny (Jack) Trice, (2011), Squire pays homage to a twenty-one year-old footballer who was the first African American to compete for the Iowa State College (now Iowa State University). Trice died in 1923 following his first contest, a violent game where the opposing white athletes beat him severely. As he was being prepared for his funeral, a note written on the eve of the game was found in his breast pocket that read The honor of my race, family and self is at stake. Everyone is expecting me to do big things fight low, with your eyes open. Squires Annunciation comprises of a knee-length pair of footballers trousers sat upright in one corner of the space with the words FIGHT LO embroidered on them. A neon halo rests over the crotch, tied by a lengthy, amorphous, taped cable reaching for the nearest socket. For the writer Carmen Winant, The Annunciation... is a symbol of mortal exhaustion in the face of confrontational violence and profound vulnerability. Born in 1958 in Natchez, Mississippi, Mitchell Squires is Associate Professor of Architecture at the Iowa State University and lives and works in Ames. Solo exhibitions include Drake University, Des Moines, Iowa (2005); UNI Gallery of Art, University of Northern Iowa (2006); University of Michigan (2009); University of California, Berkeley (2010) and CUE Art Foundation, New York curated by Theaster Gates (201112). In 2010 he received a fellowship to attend the Skowhegan School of Painting and Sculptures summer programme in Maine, and was recently listed among 25 artists in Art Review Magazines annual issue Future Greats.

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Fukt #11 Revolver Publishing by VVV 2012 ISBN 9783868952582 Acqn 21804 Pb 24x30cm 96pp 100ills 50col 12.95 The Berlin based publication FUKT, founded in 1999 by Bjrn Hegardt, is dedicated to drawing. The annual magazine is inviting the most interesting and adventurous international artists and writers to publish their images and views on contemporary drawing practice. FUKT is in constant transformation with all issues in different sizes and layouts Contributors: Anke Becker, Christian Weihrauch, Deanna Petherbridge, Eric Winarto, Frank Hhne, Frdric Malette , Iliana Antonova, Teo Treloar, Leonard Rickhard, Michael Kutschbach, Bettina Krieg, yvind Torseter, Rik Smits, Robbie Cornelissen, Thrse Mastroiacovo, Bjrn Hegardt, Thomas Mller, Tim Knowles, Andrew Hewish, Arno Kramer, Anonymous drawings, Lars Bang Larsen, C.F. Hill.

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Michael Snow - Recent Works. Secession Revolver Publishing by VVV 2012 ISBN 9783868952179 Acqn 21805 Hb 17x22cm 88pp 43ills 40col 15 Born in 1929, Snow has worked as a professional musician since the 1950s and began in the early 1960s to explore painting and sculpture, soon also developing an intense interest in experimental film and photography. With Wavelength (1966/67), he created what Annette Michelson has called a "paradigmatic" work of film history that also represents a turning point in his artistic career. He has now been working for over fifty years in a wide range of media, often operating on thresholds, exploring one medium from the perspective of another. His systematic examination of the structures, procedures, and limits of the various media is coupled with a discussion of questions concerning the perception of reality and art, always recognizing the "unpredictability of the spectator" (Martha Langford*).

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Stones According To Egill Saebjornsson Revolver Publishing by VVV 2012 ISBN 9783868952537 Acqn 21807 Pb 17x22cm 140pp 80ills 50col 19 Icelandic artist and musician Egill Sbjrnsson devotes his latest project to the task of kindling life into inanimate objects, namely rocks and minerals. His research into the subject takes on the realms of theory and science, for which he interviews natural scientists, sociologists and genealogists in an attempt to communicate in an unorthodox way our relationship with both lifeless objects and our surroundings. The book is based on the 2011 exhibition The Egg or the Hen, Us or Them, shown at Knstlerhaus Bremen, where these ideas came alive through humanized stones that would talk to each other, argue and even sing together. Includes photos, interviews and other analyses.

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Bogomir Ecker - Kontact Schlaufen Problematic Revolver Publishing by VVV 2012 ISBN 9783868952032 Acqn 21808 Pb 17x22cm 128pp 77col ills 17.50 Text in German New monograph featuring recent work by Bogomir Ecker.

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Judith Groth & Frederike Vidal - Google Carmina Revolver Publishing by VVV 2012 ISBN 9783868951851 Acqn 21810 Pb 11x17cm 56pp 7.95 In "Google Carmina" Judith Groth and Frederike Vidal present digital poetry that they have gathered from the internet over the past years. This conceptual literature entirely consists of so called "suggests", an autocompletion of the most popular search results based on a constant evaluation of user data. Whatever word or question you type in is monitored. So this poetry has been written by everyone who ever typed in anything in google.de or google.com.

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Draw 5 - Norbert Schwontkowski Revolver Publishing by VVV 2012 ISBN 9783868952308 Acqn 21811 Pb 16x23cm 32pp 32ills 9.95 Text in German New issue of Draw featuring the drawings of Norbert Schwontkowski.

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Julie Sass Revolver Publishing by VVV 2012 ISBN 9783868952544 Acqn 21812 Pb 13x17cm 36pp 14col ills 11.95 Whats the point of displays that are only displays of the fact of being displays? If that is art, then isnt it proof that art itself has lost all content, become display for displays sake? Some might say sobut consider whats not being displayed: most obviously wealth. There is nothing rare or valuable about the materials being displayed. Nor is it a display of skill. Yes, a certain amount of craft has gone into the making of these things, but nothing specialindeed, nothing that your high school arts and crafts instructor couldnt have shown you how to do. And neither is it a display of extraordinary intellect. Its a display of doing and thinking, to be sure but a doing and a thinking that are not aimed at mastery or brilliance, seduction or magnificence. They are neither beautiful nor sublime. Still less are they ugly. They are really about ordinariness, but not about any particular ordinary things or activities. They aim to provoke thought without imparting knowledge. In this sense they are about a certain idea of what art might benot the only idea, but one that seems recurrently resonant. Immanuel Kant spoke of purposiveness without purpose. These pieces seem to wonder whether purposiveness without purpose alone can sustain aesthetic experience, without any of the other definite attributes of art, or those of the particular arts.Barry Schwabsky New York, May 2012

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Gabriele Tinti / Sebastian Diaz Morales - Ring. The Means Of Illusioh# Revolver Publishing by VVV 2012 ISBN Acqn 21813 Hb 17x24cm 32pp 20ills 16 Ring the means of illusion is a conceptual look at the boxing world. The author, Gabriele Tinti, considers boxing to be one of the fine arts. In this work he seeks to capture and convey the complex, deep and existential impact that the display of violence has on the spectator. His words are a kind of simulacra of the boxing world a world depicted as a place of illusion and magic in which you can lose your dreams, your identity and all sense of certainty. Images from the sametitled video installation by the Argentine artist Sebastian Diaz Morales complete the book. The video installation is made up of pictorial readings of violence and reality. The images do not tend to show violence as such but rather they reflect a study on its various appearances and ambiguities; and they pose questions about the perception, reality and effect of violence.

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Cultures Of The Curatorial Sternberg Press 2012 ISBN 9781934105979 Acqn 21819 Pb 14x21cm 376pp 17ills 15.50 Contributions by Beatrice von Bismarck, Gabriele Brandtstetter, Helmut Draxler, Liam Gillick, Dorothea von Hantelmann, Hannah Hurtzig, Pirkko Husemann, Maria Lind, Marion von Osten, Raqs Media Collective, Dorothee Richter, Irit Rogoff, Jrn Schafaff, Avinoam Shalem, Simon Sheikh, Barbara Steiner, Nora Sternfeld, Hito Steyerl, Anton Vidokle, Eyal Weizman, Thomas Weski, Tirdad Zolghadr Cultures of the Curatorial assumes a curatorial turn in contemporary cultural practice and discourse. Encompassing a whole field of knowledge relating to the conditions and relations of the appearance of art and culture, the curatorial has developed as a field of overlapping and intertwining activities, tasks, and roles that were formerly divided and more clearly attributed to different professions, institutions, and disciplines. This development has affected the notion of curatingprincipally an activity of putting togetherand widened its scope beyond showing or presenting to include enabling, making public, educating, analyzing, criticizing, theorizing, editing, and staging. Embedded in the globalization of the art field, on the one hand, and the conditions of labor in the twenty-first century, on the other, the curatorial has gained a specific sociopolitical relevance within contemporary society. The publication aims to map the scope of perspectives from which this field of knowledge can be discussed. Coming from a variety of disciplines and professional backgrounds, the contributors exemplify the entanglement of theory and practice, consider recent developments within the curatorial field, allow self-reflexive analysis, and explore the conditionsdisciplinary, institutional, economic, political, and regionalunder which art and culture become public.

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Too Much Issue 3 Editions OK FRED 2012 no ISBN Acqn 21820 Pb 18x26cm 152pp 130ills 100col 14.95 The third issue of Too Much magazine is about migrant people. It is devoted to the questions of how and why individuals move between countries, and delves into the illusions that migrants carry with them. Migration changes people, memories and identity, but how do spaces, objects and landscapes change during this journey? The fast pace of technology has set the human world and its phenomena in constant motion, and the messy and complex place in which we live requires a new outlook and new values. With diverse contributions from Charlie Koolhaas, Fiona Tan, Chong Tese, Naoki Ishikawa, Ryan Gander and several others.

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In A Manner Of Reading Design Sternberg Press 2012 ISBN 9783943365450 Acqn 21824 Pb 14x21cm 198pp 30ills 14.50 Contributions by Ruth Buchanan, Helmut Draxler, Faculty of Invisibility, Katja Gretzinger, Rama Hamadeh, Claudia Mareis, Doreen Mende What we perceive and think of as "true" is widely influenced by our knowledgecarrying with it implicit conceptions we are not aware of. Design, as a planned action, is necessarily both theory and practice. It brings together thinking and everyday objects and therefore ingrains itself in the contexts we are all living in. Yet, being largely unreflected on, design is likely to simply affirm societal norms instead of questioning them. If design aims at taking a critical stance, it needs to change its acquaintance with knowledge and develop its own discourse to understand the underlying conceptions that are at play. The metaphor of the "blind spot" proposes the perspective of looking at what is implicit or unnoticed in our perception. By doing so, it seeks to open up common readings of what design is and can do. The montage of texts featured here includes diverse voices and readings, meant to create a space in which debate can unfold, a debate that considers the impossibility of an unbiased position and as such reminds us of our dependence on the other in any conception and any project design might aspire to.

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Ursula Mayer And Maria Fusco GONDA Sternberg Press 2012 ISBN 9783943365320 Acqn 21829 Hb 12x20cm 104pp 129col ills 17.95 Gonda is based on Ursula Mayers 16 mm film of the same name written by Maria Fusco. The film is informed by Ayn Rands 1934 play Ideal, in which the controversial Russian American writer unpacked her philosophical system of Objectivism, with its stubborn individualism and antialtruism. As a critical counter to Rands position, Gonda addresses cinematic and linguistic space by creating kaleidoscopic spaces in which image, text, and sound shift roles to affect presupposed ideals of identity and existence. The film experiments in polyphonic monologue embodied in the eponymous main character, Gonda, who is portrayed by Dutch transgender model, Valentijn de Hingh. The screenplay reproduced in the book alongside film stillswas developed from a series of interdisciplinary workshops, which included academics, curators, critics, and writers, who were invited to creatively respond to Ideal.

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Marcel Dzama The Never Known into the Forgotten Kettler 2012 Isbn 9783862061013 Acqn 21849 Pb 21x27cm 184pp 156col ills 25 This volume, published for Dzamas exhibitions at Sies + Hke and Kunstverein Braunschweig, reproduces a wealth of new work, including images, stage sets, puppets, dioramas and sculptures from the films; a suite of ten drawings called Forgotten Terrorists (20082011), that draw on a photograph of the Palestinian terrorist and hijacker Leila Khaled; and other recent drawings, such as Pepper Spray Saturday (2011), an interpretation of the already iconic image of policeman John Pike pepper spraying Occupy protesters at University of California Davis.

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Theaster Gates - My Labor Is My Protest White Cube 2012 ISBN 9781906072568 Acqn 21881 Hb 22x29cm 152pp 122ills 110col 43.75 White Cube is pleased to present its first exhibition with Theaster Gates. Gates is an artist, curator and urban activist whose work aims to galvanise communities and act as a catalyst for social change. For this exhibition, Gates has created a multi-faceted installation that investigates themes of race and history through sculpture, installation, performance and two-dimensional works exhibited both inside and outside of the Bermondsey site. The exhibition furthers the artist's interest in a critique of social practice, shared economies and the question of objects in relation to political and cultural thought. Theaster Gates was born in 1973. He lives and works in Chicago. He has had solo exhibitions at Seattle Art Museum (2011), Los Angeles Museum of Contemporary Art (2011), Milwaukee Art Museum (2010), Museum of Contemporary Art, Chicago (2009) and Art Institute of Chicago (2007). His work has been shown in group exhibitions at the Contemporary Arts Museum Houston (2010) and the Tokoname Museum of Ceramic History, Japan (2005). He also featured in dOCUMENTA 13, Kassel, Germany (2012), the Armory Show, New York (2011) and Whitney Biennial, Whitney Museum of American Art, New York (2010). One of his most esteemed projects is The Dorchester Project (2006), which is ongoing.

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Magnus Plessen - Riding The Image White Cube 2012 ISBN 9781906072667 Acqn 21882 Hb 25x31cm 112pp 74ills 72col 37.50 These new paintings simultaneously feature figurative elements that are ostensibly recognisable hands, heads, feet combined with abstract passages that serve to re-structure order and dimensionality within the painting, creating a palpable sense of disorientation. This effect is reinforced by a deliberate illogicality; representational aspects of body parts are fragmented and disembodied, elusive and transitory, unbound by any particular viewpoint or frame of reference. This is combined with added or subtracted sections of paint to imply spatial depth within the image, such as curved bands, which suggest dynamic rotation or movement. As Plessen notes, For me, the key to understanding inner and outer space in painting is the space of the revolving door; at its centre there is no one looking back at you. The line between inside and outside is indifferent to appearances. Representation in abstraction All things present without being recognised. Magnus Plessen was born in 1967 in Hamburg and lives with his wife and three sons in Berlin. Solo exhibitions include Art Institute of Chicago (2005), Espace 315, Centre Pompidou, Paris (2004), K 21, Dsseldorf (2002) and PS1, New York (2002). He has participated in numerous group exhibitions internationally including Images in Painting Museu Serralves, Porto (2007), Imagination Becomes Reality Sammlung Goetz, Munich (2006) and the Venice Biennale (2003).

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