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Exploring Christopher Wool’s meanings and messages in a comprehensive monograph
In-your-face, achingly simple, deceptively frank, the work of Christopher Wool is so very New York. Though he owes a debt to abstract expressionism and pop art, he completely transcends—even demolishes—these genres. Whether it’s a text-based painting or an abstract spray-painted piece, his work is immediately engaging. Wool questions painting, like many other artists in his generation, but he doesn’t provide any easy answers. “The harder you look the harder you look,” he puts it in one of his word paintings, and that is an excellent example of how he states the obvious whilst provoking us to think deeper about what seems obvious.
Christopher Wool became known in the mid-1980s through allover paintings produced with rubber rollers commonly used to simulate decorative wallpaper patterns on walls. By 1988 he had hit stride with his dry, dead-pan word paintings (“Trbl,” “Riot,” “Sell the House, Sell the Car, Sell the Kids”), while continuing to explore the possibilities of pattern painting. Since the 1990s, he has incorporated a widening variety of media in his work, including photography, silkscreen, and, in the new millennium, also the computer.
In over 400 pages, all of Wool’s work phases are covered in large-scale reproductions, accompanied by production Polaroids and installation photos by Wool himself. Essays and analyses by Glenn O’Brien, Jim Lewis, Ann Goldstein, Anne Pontégnie, Richard Hell, and Eric Banks make this book a great read as well as a definitive study of the artist’s oeuvre so far.
This is the unlimited trade edition
Twentieth-century artist Joseph Beuys (1921-1986)—legendary and self-mythologizing, enigmatic and controversial—remains an important influence on artists today. Beuys embraced radically democratic artistic and political ideas, proclaiming “Everyone is an artist,” and advocating direct democracy through referenda. He famously worked with such nontraditional materials as felt, fat, and plants and animals both alive and dead. Beuys and his work—performance art, drawing, painting, sculpture, installation—received perhaps the most contentious reception of any postwar artist. This reader brings together the crucial writings on Beuys and his work, presenting key essays by prominent artists and critics from North America and Europe. With a foreword by Arthur C. Danto, “Style and Salvation in the Art of Beuys,” Benjamin H. D. Buchloh’s now classic 1980 essay, “Beuys, Twilight of the Idol,” and influential texts by Vera Frenkel, Thierry de Duve, Rosalind Krauss, Peter Bürger, Irit Rogoff, and others, Joseph Beuys: The Reader is the most significant gathering of critical texts on this challenging artist that has ever been assembled. It will be essential reading for any student of Beuys and for all those interested in postwar art, the cult of the artist, and art’s engagement with politics and society. Claudia Mesch is Assistant Professor at the School of Art, Arizona State University. Viola Michely is a writer and curator and teaches art and philosophy at the August-Macke School, Bonn.ContributorsJoseph Beuys, Eugen Blume, Benjamin H. D. Buchloh, Peter Bürger, Jean-François Chevrier, Catherine David, Thierry de Duve, Vera Frenkel, Stefan Germer, Rosalind Krauss, Barbara Lange, Dirk Luckow, Claudia Mesch, Viola Michely, Irit Rogoff, Gregory Ulmer, Theodora Vischer, Antje von Graevenitz, Dorothea Zwirner
This book focuses on Aby Warburg (1866-1929), one of the legendary figures of twentieth century cultural history. His collection, which is now housed in the Warburg Institute of the University of London bears witness to his idiosyncratic approach to a psychology of symbolism, and explores the Nachleben of classical antiquity in its manifold cultural legacy. This collection of essays offers the first translation of one of Warburg’s key essays, the Gombrich lecture, described by Carlo Ginzburg as ‘the richest and most penetrating interpretation of Warburg’ and original essays on Warburg’s astrology, his Mnemosyne project and his favourite topic of festivals. Richard Woodfield is Research Professor in the Faculty of Art and Design at the Nottingham Trent University, England. He has edited E.H Gombrich’s Reflections on the History of Art (1987), Gombrich on Art and Psychology (1996), The Essential Gombrich *(1996), and a volume on Riegl in the *Critical Voices in Art, Theory and Culture series. He is also the General Editor of a new series of books for G+B Arts International, Aesthetics and the Arts. Edited by Richard Woodfield, Research Professor in the Faculty of Art and Design at Nottingham Trent University, UK.
Francesco Franchi’s perceptive book about the design of media and information graphics. In it, Franchi also envisions the future of news reporting by publishing companies and on the internet. Francesco Franchi is one of the most exceptional talents working in information graphics today. Although relatively young and new to the field, Franchi has already received worldwide acclaim for his distinctive graphic and editorial design of IL—Intelligence in Lifestyle, an Italian magazine now widely considered to be a modern classic. With Designing News, Franchi conveys his vision for the future of news and the media industry. Based on personal insight and experience, he offers valuable analysis and perspectives on the fundamental changes that are taking place in the way media is being used. Franchi explores consumer behaviors and expectations that represent the biggest challenges facing traditional publishing houses and broadcasting companies as well as journalists and designers. For Franchi, reporting is not merely filing a story once, but rather telling a continuous narrative in a way that is most relevant for a broad range of traditional and digital media—from breaking news to analysis, from interviews to commentaries, and from photo essays and illustrations to information graphics and interactive visualizations of data. In this book, Franchi explains the ramifications of this development and how newspapers can become credible, comprehensive news brands. In Designing News, Franchi also outlines a new, integrated approach for editorial designers. If they show enough dedication, creativity, and talent for interdisciplinary teamwork, Franchi sees editorial designers as playing a key role in advancing the evolution of media.
PIN–UP Interviews* is a compilation of over 50 of the most fascinating interviews from PIN–UP magazine since its first issue was published in October 2006. Serious, yet accessible, and featuring the elegant and modern aesthetic PIN–UP’s readers have come to expect, there is no comparable compilation found today with such a stunning array of contemporary design talent collected in one place. It’s an indispensable source for all lovers of today’s brightest architectural and design ideas.
PIN–UP Interviews is the first book produced by PIN–UP, the award-winning, New York-based biannual architecture and design magazine. Cheekily dubbing itself the “Magazine for Architectural Entertainment,” PIN–UP features interviews with architects, designers, and artists, and presents their work informally—as a whimsical assembly of ideas, stories, and conversations, all paired with cutting-edge photography and artwork. Both raw and glossy, this “cult design zine” in the words of The New York Times, is a nimble mix of genres and themes, finding inspiration in the high and the low by casting a refreshingly playful eye on rare architectural gems, amazing interiors, and smart design, resulting in a veritable Venn diagram of where these spheres cross-pollinate.
Included in PIN–UP Interviews are the architects David Adjaye, Shigeru Ban, Ricardo Bofill, David Chipperfield, Zaha Hadid, Junya Ishigami, Rem Koolhaas, Peter Marino, Richard Meier, and Ettore Sottsass; artists Daniel Arsham, Cyprien Gaillard, Simon Fujiwara, Boris Rebetez, Oscar Tuazon, Andro Wekua, and Robert Wilson; and designers Rafael de Cárdenas, Martino Gamper, Rick Owens, Clémence Seilles, Hedi Slimane, and Bethan Laura Wood.
When does an artist’s creation become art, and where? Does it occur in the solitary confines of an artist’s studio, or does it require the context of an art gallery’s white cube? Studio and Cube is author Brian O’Doherty’s long-awaited follow-up to his seminal 1976 essays for Artforum<, republished in 1999 as *Inside the White Cube: The Ideology of the Gallery Space. In Studio and Cube he expands his interpretation to include the artist’s studio, tracking the relationship between the artwork and the artist from Vermeer through late modernism.
Valiz’s Antennae series picks up new currents in the arts and commissions essays that transmit current waves of thought. The Fall of the Studio: Artists at Work, a collection of new essays examining the role and significance of the artist’s studio in the cultural production and criticism of the second half of the twentieth century, is its first publication. It critically assesses the changes that have occurred in the nature and function of the artist’s studio from the postwar period on. A blend of art history, art criticism and art theory, written in an accessible, non-academic style, the book illuminates a number of artists’ studio habits—from the 1960s through the present—including Eva Hesse, Mark Rothko, Olafur Eliasson, Bruce Nauman, Robert Morris, Daniel Buren, Martin Kippenberger, Paul McCarthy, Jason Rhoades and Jan De Cock.
"I, too, asked myself if I could not sell something and succeed in life… Finally the idea of inventing something insincere came to me and I got to work immediately." With this statement, penned for his first solo show in April, 1964, Marcel Broodthaers (1924-1976) announced his death as a poet and birth as an artist. In fact, he was to transform the category of artist completely, purging the vocation of its medium-specific implications to pursue a unified conceptualism across media such as artist’s books, prints, film, installation, sculpture and writings—" where the world of plastic arts and the world of poetry might possibly, I wouldn’t say meet, but at the very frontier where they part." Broodthaers’ Museum of Modern Art, Eagles Department (1968-1972) inaugurated the practice now known as institutional critique, and the linguistic foundations of his art—as well as his emphasis on printed multiples—also proved prescient for subsequent strains of Conceptual art. Edited by Gloria Moure in collaboration with the artist’s estate, this momentous publication eclipses in its scope all previous Broodthaers writings collections. It gathers his early poetry, statements, critical essays both published and unpublished, open letters, interviews, preparatory notes and scripts, plus a wealth of illustrations.
Marcel Broodthaers was born in Belgium in 1924. From the late 1940s to the early 1960s he worked primarily as a poet, and was a member of the Belgian Groupe Surréaliste-revolutionnaire, which included André Blavier, Achille Chavée and René Magritte. After almost two decades of poverty, Broodthaers performed a symbolic burial of his life as a poet by embedding 50 copies of his poetry collection Pense-Bête in plaster. However, his art continued to be characterized by its emphasis on written text. Broodthaers died in 1976, on his fifty-second birthday, and is buried in Brussels beneath a tomb of his own design that features images from his allegorical repertoire, including a pipe, a wine bottle and a parrot.
In this collection of essays, Amsterdam art historian and critic Camiel van Winkel digs up the conceptual roots of contemporary art, design and photography to argue that the art of today is, as a whole, “post-conceptual.” Focusing on the conceptual artists of the years 1965-1975, van Winkel examines how the art of that era continues to inform the art world today. Highly polemical and very readable, During the Exhibition the Gallery Will Be Closed looks at the cultural dominance of information in art discourse, the professionalization of artistic practices, the debate over “good design” in art and the role institutions play in art theory. It is an essential collection for any understanding of that idea, belief and desire we today call “the artist.”
Walter Nikkels is a large-scale, copiously illustrated monograph on the work of this influential Dutch book designer and typographer (born 1940). Nikkels has designed and edited numerous books and catalogues, as well as bank notes, house styles, invitations, logos, posters and stamps for galleries, museums and institutions worldwide. He has also designed and installed a number of major exhibitions—notably Documenta 7 in Kassel, Bilderstreit in Cologne and the 2003 van Gogh exhibition at the Kröller-Müller Museum in Otterlo. This wide-ranging overview of Nikkels’ award-winning work also addresses typography and its traditions, the representation of art, the meaning of institutional architecture and the communicative value of design. With over 1,000 images in color, the publication includes contributions by Lothar Baumgarten, Wigger Bierma, Wouter Davidts, Rudi Fuchs, Suzanna Héman and Nikkels himself.
After the Second World War, Willem Sandberg (NL, 1897–1984) transformed the Amsterdam Stedelijk museum into a dynamic centre for modern and innovative art and culture. He did this with exceptional creativity and in close collaboration with artists and architects. Sandberg had distinct ideas about heading up a museum for modern and contemporary art, about the importance of art, about dealing with artists and about his work as typographic designer, but also about social responsibility and community.
This book is based on interviews with Sandberg (from 1971 and 1981) and offers first-hand insight into questions such as: what does the task of museum director entail; how does art criticism work; what is the essence of being an artist; what does the ideal museum architecture look like; and what is the role of art and the museum in society? | more
His involvement in setting up various museums, such as Beaubourg/Centre Pompidou testifies to his ideas. He also discusses his experiences in the resistance during the Second World War and his unique personal life style. Many of Sandberg’s ideas about these issues are still intriguing and provocative. They can give new impulse to the ongoing discussion and place it into an historical perspective. In addition, a striking picture is drawn of the period with fascinating stories about artists such as Piet Mondrian, Picasso and Alexander Calder, and architects such as Gerrit Rietveld, Le Corbusier and Mies van der Rohe. Sandberg’s cosmopolitan spirit and his many foreign contacts made him into an internationally renowned pivotal figure in culture. | more
Thanks to this English translation of the revised text, plus photographic material and typographic work by Sandberg, a broad international public can now get to know those ideas which have still not lost any of their significance and relevance.
Monograph on one of the key figures of Czech graphic design, published on the occasion of his recent eightieth birthday, was designed by his former student Zuzana Lednická. The thin red line draws a subtle Zorro-esque Z on the cover and the double-sided poster drives through the chronology of Ziegler’s life as through a stylish serpentine of works and personal photos. hterracultura.cz