Art Feb 2016
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On Productive Shame, Reconciliation, And AgencySternberg Press 2015 ISBN 9783956791499 Acqn 25803Pb 17x22cm 264pp 41col ills £15.95
Texts by Tal Adler, Eva Blimlinger, Andrea B. Braidt, Jasmina Cibic, Das Kollektiv, Zsuzsi Flohr,Eduard Freudmann, Tímea Junghaus, Jakob Krameritsch, Jean-Paul Martinon, Suzana Milevska,Helge Mooshammer, Peter Mörtenböck, Trevor Ngwane, Karin Schneider, Primrose Sonti,
Gayatri Chakravorty Spivak, Working Group Four Faces of Omarska
On Productive Shame, Reconciliation, and Agency prompts a unique cross-disciplinary inquiryinto the productive potential of the affect of shame. This book contests the ontologicalunderstanding of shame and the psychoanalytical interpretation of it based on personal traumaticexperiences linked to lack, loss, memory repression, and absence. Rather, the book builds oncomplex issues (initially proposed by Paul Gilroy) that concern the coming to terms with a grimcolonial and imperial past: How can one deal with the personal and collective memories of“paralyzing guilt” after dreadful atrocities and genocides? How can such negative experiences betransformed into “productive shame” (not only for the perpetrators but also for the victims andwitnesses)?
This collection of essays, discussions, and interviews reflects on the intersection of the historicity,
materiality, and structures behind culturally constructed race and racism, anti-Semitism, anti-Romaism, and queer shame across different disciplines, fields, and theories (for example, inphilosophy, art and art history, visual culture, architecture, curating, postcolonial history, genderand queer studies). Various case studies and artistic projects employing collaborative andparticipatory research methods are analysed as practices that empower the process of turningshame into productive agency. The ensuing role of productive shame is to prevent the recurrenceof the institutional structures, patterns, and events that are responsible and constitutive of racism,and has been conceptualised in recent debates on political responsibility and reconciliation inEurope and Africa.
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Ull Hohn - Foregrounds, DistancesSternberg Press 2015 ISBN 9783956791567 Acqn 25765Hb 23x27cm 332pp 240ills 180col £26.95
Edited by Hannes Loichinger, Magnus SchaeferTexts by Tom Burr, Thomas Eggerer, Manfred Hermes, Hannes Loichinger, Fionn Meade,Magnus Schaefer, Megan Francis Sullivan, Lanka Tattersall, Alexis Vaillant
After his studies at the arts academies in Berlin and Düsseldorf, Ull Hohn (1960–1995) moved toNew York to attend the Whitney Independent Study Program in 1987. Enganging with currenttheoretical debates and cultural issues, his work from the late 1980s and early 1990s frequentlyinvokes questions of gender and homosexuality, as well as their representation. It interrogatesthe history of painting, traditional notions of virtuosity, the conventions of value and taste inherentto education, and the distinction between high and popular culture.
Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of hiswork, but also to contribute to a history of painting-based practices, which occupy a marginalplace in the established narratives of the art of the 1980s and 1990s.
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Shahryar Nashat – ObituarySternberg Press 2015 ISBN 9783956790997 Acqn 25766Pb 18x28cm 128pp 96col ills £14
Text by Sarah-Lehrer GraiwerCGI by Andrea Faraguna
The subject of this book is a deceased prop, an object of a particular colour, the green ofcinematic trickery and special effects. It edged itself into Shahryar Nashat’s work in 2011, firstappearing in Factor Green, an installation the artist produced for the Venice Biennale. Taking itsfinal form a year later, the prop became properly known as La Shape and garnered criticalacclaim for its sardonic personification of an unscrupulous impresario in Parade and star turn in
Nashat’s video Hustle in Hand (both 2014). Earlier this year, its mysterious death at the height ofits career became the occasion for Nashat and Los Angeles writer Sarah Lehrer-Graiwer toreflect upon the brief but meaningful life of a most singular figure.
Accompanied by archival images and a series of portraits that Nashat made during La Shape’smost prolific years, Obituary is a gripping read into a most mysterious icon and a timelyconsideration of the roles played, and agency expressed, by such a highly mediated art object.
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Daniel Buren - 1965-2015Kamel Mennour 2015 ISBN 9782914171588 Acqn 25309Pb 17x24cm 138pp col ills £19.95
Conceptual artist Daniel Buren has produced his signature regular coloured stripes for fivedecades. His body of work is dedicated to integrating the visual surface with architectural space,and most notably finds place outside the gallery space on historical or landmark buildings.
Buren’s particular method of abstract minimalism thus characterises his works as “modulations ofspace” in which colour, contrast, situation, and inventiveness come together in an expressivevocabulary of temporality and spatial plasticity. This exhaustive retrospective volume, publishedon the occasion of a solo exhibition at kamel mennour in Paris, paints a fascinating portrait of theartist through the years.
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Stan Douglas - The Secret AgentLudion 2015 ISBN 9789491819384 Acqn 25717Hb 22x27cm 192pp 150ills 100col £35.50
Visual artist Stan Douglas explores the turbulent history of 1970s Portugal, a time when thenation both freed itself from a dictatorship and relinquished its colonial holdings. The bookfeatures three works. The first, a video installation titled ‘The Secret Agent’, follows a story writtenby Joseph Conrad in 1907. Douglas keeps the plot characters but transports the narrative toLisbon, soon after the Carnation Revolution. ‘Disco Angola’, a series of staged historic photos inNew York and Angola, juxtaposes the city’s hedonistic nightlife with the African nation’s brutalcivil war. Finally, ‘Luanda-Kinshasa’ is a six-hour-long film comprising eleven jazz songs from thelegendary 30th Street Studio.
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Si Puo? - Dutch National Opera, 50 Yearsnai010 publishers 2015 ISBN 9789462082502 Acqn 25354Pb 28x35cm 256pp 350ills 200col £61.95
Over the past 50 years, the 'De Nederlandse Opera' (DNO) has offered its audience a widevariety of startling and compelling operas. Its adventurous and consistent artistic policy hasresulted in an unprecedented number of world premieres, as well as a solid and leading positionin the international field. This festive book offers a rich overview of the premieres, highlights,
developments and stories that 50 years of DNO have delivered. Artistic director Pierre Audi andgraphic designer Irma Boom have together made a surprising choice from the rich material, withmany unpublished photographs, posters and pictures.
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Graphic 33 – BookshopsPropaganda 2015 no ISBN Acqn 25177Pb 23x30cm 204pp 200ills 150col £22.50
Conceived and compiled as a direct follow up to issue 30, with the theme ‘Publishers’, whichappeared summer 2014, this issue of the magazine delves into the realm of the independentbookshop. Champions of some of the most stimulating and creative books appearing today,independent bookshops around the world strive to disseminate their own brand of topical cultureand inspiration to niche readers and specialised markets alike. Featured are 20 exemplarybookshops located in various cities (New York, Tokyo, Berlin, Melbourne, Auckland, London,Tallinn, Utrecht, Madrid, Seoul, and more). Each profile comprises an interview, photos, and bookrecommendations.Casco Bookshop, Dashwood, Desert Island, Ivorypress Bookshop, John Simons (Idea Books),Librairie Yvon Lambert, Lugemik Bookshop, OMMU, ON READING, Ooga Booga, PerimeterBooks, POST, Printed Matter, PrintRoom, Pro qm, Section 7 Books, split/fountain, The BookSociety, Torpedo Bookshop, World Food Books, X Marks the Bokship.
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Lee UfanPace Gallery NY 2015 ISBN 9781935410751 Acqn 25120Hb 29x23cm 72pp 31cil ills £35
Since his foundational role in Japan’s Mono-ha (“School of Things”) movement in the 1960s, Leehas developed an oeuvre attuned to the interconnectedness of matter and consciousness.Referring to his artworks as “living structures,” he takes a philosophical approach to creatingthem, viewing his gestures and raw materials as entities that reveal conditions and states of theworld as well as our relationship to it. The exhibition highlights the artist’s continued attention tohow objects and gestures shape space and will feature new paintings, watercolours andsculpture.
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Tara Donovan
Pace Gallery NY 2015 ISBN 9781935410744 Acqn 25121Hb 27x30cm 172pp 96ills £53
Donovan made her first pin drawings in 2009, continuing her practice of accumulating commonobjects into dense, visually rich compositions. Using thousands of nickel-plated steel pins—amaterial typically used by tailors—pressed into white gatorboard, she creates shimmeringgradients through the clustering of pins and their interaction with light.The works negotiate a space between sculpture and drawing, using three-dimensional objects tocreate what, at certain distances, seems to be a two-dimensional fieldDonovan expands upon her previous series of pin drawings by inscribing an underlying geometryinto the structure of the drawings, which reveals itself through a multi-perspectival observation.When viewed from the side, we see the length between the pinhead and gatorboard, whichgenerates a new experience of the field of pins.
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Lucas Samaras - Album 2Pace Gallery NY 2015 ISBN 9781935410737 Acqn 25122Hb 19x25cm 24pp 700col ills £26.50
Samaras continues his exploration of manipulated images and identity with 700 digitally alteredimages. Comprised mostly of self-portraits, the photographs reflect the artist’s unrelenting self-inquiry. Among the recent self-portraits, Samaras has interspersed personal family photographswith childhood images of himself, transforming the project into a personal archive and abiographical inquiry.The manipulations of the photographs refer back to the rainbow-tinged Auto-Polaroids Samarasbegan in the 1960s and his Photo-Transformations of the 1970s. Using a range of techniquesfrom filters to mirroring and doubling, Samaras’s manipulations form visual metaphors for thepsychological probing and self-investigation that appears throughout the artist’s oeuvre. Thefilters and changes that characterize this massive body of images also refer to his proto-Photoshop works of the 1980s and digital videos in the 2000s, constituting something of anarchive of previous techniques.
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Robert Irwin – CacophonousPace Gallery NY 2015 ISBN 9781935410720 Acqn 25123Pb 30x23cm 44pp 14col ills £31
Since the 1960s, Irwin has emphasized experience as an extension of the perceptual. Thepioneer of the Light and Space movement in Southern California, Irwin’s work draws focus toambient environmental conditions, making them palpable by heightening the viewer’s awarenessin the context of the work.For his exhibition at Pace, he has produced eight works that advance his use of fluorescent light,a material he first used in the 1970s. Irwin installs rows of columnar lights, coating the differenttubes with coloured gels that alter the transmission of light. Other tubes remain unlit taking some
advantage of the reflected light. The walls, as well as the contiguous elements that constitute thepiece, are perceived as a whole.
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Thomas NozkowskiPace Gallery NY 2015 ISBN 9781935410713 Acqn 25124Pb 29x23cm 76pp 61col ills £35
Since the 1970s Nozkowski has produced abstract paintings and drawings inspired by events andplaces he has experienced firsthand. His paintings are the result of an extensive series ofdecisions in which he experiments with a form, colour, or gesture, and then reworks it repeatedlyover subsequent days, weeks or even years. His compositions reveal vivid organic shapes,gradations of colour, exchanges between translucency and opaqueness, and explorations of thefigure/ground relationship.Nozkowski produces many of his oil on linen on panel and oil on paper works simultaneously.These two bodies of work provide insight into the artist’s process as he charts various possibilities
for forms, colours, or patterns that might initiate in a linen on panel work and be reinterpreted ordigress into something else on paper.
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James Siena - New SculpturesPace Gallery NY 2015 ISBN 9781935410706 Acqn 25125Pb 22x29cm 62pp 50col ills £31
The exhibition features three bodies of work that expand the formal language of his painting intosculpture, marking the culmination of a decades-long development of three-dimensional work.
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Mao YanPace Gallery NY 2015 ISBN 9781935410690 Acqn 25126Pb 22x30cm 46pp 18col ills £21.95
Mao Yan contends with the history of portraiture in his work, interpreting figures and facesthrough a subjective language steeped in the technical formalism he developed while studying inBeijing in the late 1980s and early 1990s. Mao Yan’s paintings exhibit tropes of portraiture suchas the seated nude and oval frames, but cede deliberate representation to style and mood.
Aqueous blue, green, and grey tones swirl around, coalescing into smoky figures defined by
gestural brushwork. He empties his portrait subjects of interiority and identity, divorcing them fromany background or context and allowing paint to take precedence. Mao Yan paints not torepresent but to explore and capture the relationship between painting’s spiritual and technicaldimensions.Painting at different sizes, Mao Yan creates distinct effects. Three nude portraits feature fullfigures looming over the viewer on their more than ten-feet-tall canvases. More small scaledworks show only a head or a bust and allow for a more intimate exchange between the paintingand viewer.
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Isamu Noguchi – VariationsPace Gallery NY 2015 ISBN 9781935410683 Acqn 25442Pb 21x26cm 114pp 61col ills £40
Isamu Noguchi’s work over his seven-decade practice varied from stone and plywood sculptureto furniture and paper lanterns. He approached all of his work through a sculptural lens, believingsculpture to be relevant to the principles of design and public space. Variations highlights the rolecollaboration played in Noguchi’s expansive practice. Works such as Octetra, a painted cement
sculpture, display a lyrical, hard-edged geometry that reveal the influence Noguchi’s friendshipwith Buckminster Fuller had on his practice. In addition to working for Knoll and Herman Miller,Noguchi also designed sets for choreographers and enjoyed a particularly fruitful relationship withMartha Graham over many decades.Working in Brancusi’s Paris studio in the late 1920s was a profoundly influential experience forNoguchi. A selection of his Paris Abstraction gouaches made at that time demonstrate his earlyunderstanding of space and form that can be reflected in his sleek and roughhewn stone works,biomorphic plywood sculptures and iconic pieces such as his glass and wood coffee table.
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Thomas Ruff - Nature MorteGagosian Gallery (NY) 2015 ISBN 9781938748196 Acqn 25761Pb 15x20cm 40pp 15col ills £35
Ruff is a leading innovator in the generation of German artists that propelled photography intomainstream art. Open and explorative, he has pushed the limits of the medium, harnessingtechnologies both old and new—including night vision, hand-tinting, and stereoscopy—toreconceptualize architectural, astrological, pornographic, and portrait photography. Ruff's recentnegatives extend his explorations of the photogram, in which he used positive and negative
imagery to create a mesmerizing photographic world of nebulous shadows, spheres, zigzags, andhard edges against richly coloured backgrounds. Reversing the negative's role as a means to anend—the master image from which the print is created—he digitally transforms sepia-tonedalbumen prints into dramatically contrasting apparitions.
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Sprayed - Works From 1929 to 2015
Gagosian Gallery (NY) 2015 ISBN 9781938748189 Acqn 25762Pb 25x30cm 232pp 200ills 150col £87
This extensive exhibition spanning four generations explores the myriad ways in which artistshave employed the impulsive yet de-personalized and non-gestural forces of spray. It begins withPaul Klee's work on paper Seltsames Theater (1929), where he improvised with a blowpipe toachieve hazy background effects in a circus scene. This tentative experiment presaged the boldand diverse artistic licence that would come with the post-war advent of aerosol paint as aconsumer product and the use of the industrial paint compressor.Justin Adian, Richard Artschwager, Tauba Auerbach, Martin Barré, Jean-Michel Basquiat, DavidBatchelor, Dike Blair, John Chamberlain, Dan Christensen, Dan Colen, Ida Ekblad, Jeff Elrod, UrsFischer, Jack Goldstein, Piero Golia, Kim Gordon, Katharina Grosse, Wade Guyton, RichardHamilton, Keith Haring, Hans Hartung, Alex Israel, Anish Kapoor, Paul Klee, Jeff Koons,
Harmony Korine, John Latham, Joseph Logan, Nate Lowman, Olivier Mosset, Takashi Murakami, Albert Oehlen, Jules Olitski, David Ostrowski, Steven Parrino, Sigmar Polke, Stephen Prina, UgoRondinone, Pamela Rosenkranz, Sterling Ruby, Ed Ruscha, Mira Schendel, Julian Schnabel,David Smith, Rudolf Stingel, Blair Thurman, Charline von Heyl, Andy Warhol, Lawrence Weiner,Franz West, Michael Williams, Christopher Wool, Richard Wright.
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Bridget RileyHolzwarth Publications 2015 ISBN 9783935567817 Acqn 25760Hb 25x31cm 38pp 20col ills £24.95
Bridget Riley's debut is marked by her famous optical black and white paintings, nowsynonymous with the 1960s. However, she later focused more specifically on the effectsproduced by the juxtaposition of colour, believing that “the challenge of colour had to be met on
its own terms.”The recent black and white works, which will be featured for the first time, include a wall painting,a very large canvas, two triangular paintings and a square one. The paintings somehow echo hervery early work. They are incisive examples of Riley’s reorientation in terms of structure andcolour since the rigorous black and white paintings of the 60s.
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John Hilliard - Accident And DesignHolzwarth Publications 2015 ISBN 9783935567848 Acqn 25806
Hb 24x29cm 104pp 33col ills £32
Since the late sixties John Hilliard's work has evolved by continually raising questions about thenature of photography as a representational medium, subjecting it to a critical examination of itsshortcomings and unreliability while also celebrating its material specificity. The exhibitioncomprises a body of work made primarily between 2006 and 2015, complemented by a fewearlier photographs from the 70's and 90's. Various themes and approaches are represented andthus allow an overview of the diversity of Hilliard's oeuvre.
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Frog 15Frog 2015 no ISBN Acqn 25833
Pb 23x30cm 304pp 250ills 200col £17.50
Featuring: Cady Noland, Robert Gober, Sturtevant, Angela Bulloch, Sigmar Polke, Hilary Lloyd,Jeff Koons, Stephen Felton, Avery Singer, 12th Sharjah Biennale; interviews with Andrea Branzi,Bernard Picasso, Ippei Takahashi, Brian Calvin, Oscar Tuazon, Olivier Zahm, William PopeL,William Leavitt, Ida Tursic & Wilfried Mille; the Picasso Museum photographed by JuergenTeller, Trisha Donnelly, “Disobedient Objects” by Bruno Serralongue, “Artists and Poets” byMarina Faust, Hans Walter Müller, “After Ben Green” by Marie Angeletti.
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The Territories Of Artists' PeriodicalsPlagiarist Press 2015 ISBN 9782953402728 Acqn 25831Pb 15x21cm 168pp 30ills £12.50
This book gathers the papers presented at an international symposium on artists' periodicals,organized by academic arie Boivent and curator Stephen Perkins. It serves as a smartintroduction to a broad range of publishing strategies adopted by artists and others who wereexperimenting across the field of periodical publishing in new and expanded ways from the 1960sonwards.This 168-page book contains 13 texts and 2 interviews that were presented at the international
symposium “The Territories of Artists' Periodicals” at University of Wisconsin-Green Bay in June2014. Jointly organized by Marie Boivent (Université Rennes 2, France) and Stephen Perkins(UW-Green Bay, USA) this conference sought to take the pulse of both the past and thecontemporary history of artists' periodicals. Structured around 5 chapters this book presentsperiodicals case studies, periodicals surveys, artists' and publishers' testimonies, issues of theoryand practice, as well as themes related to archives and archiving.
As a welcome addition to the literature on this long neglected field, it explores the variouscurrents that constitute the territories of artists' periodicals, as well as the accompanyingdifficulties in establishing the borders between different periodical currents.
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The Drawer 09 - Paris, TexasLes Presses Du Reel 2015 ISBN 9782840668374 Acqn 25832Pb 17x24cm 160pp 150ills 125col £21
With Sonia Almeida, Linus Bill + Adrien Horni, Milena Bonilla, Stéphane Calais, Jean-Charles deCastelbajac, Olga Chernysheva, Clara Citron, Etienne Derœux, Juliette Frenay, Jochen Gerner,Edwin Herkens, Raphaël Julliard, Sophie Lamm, Corinne Laroche, Olivier Masmonteil, Jean-Charles Massera, Adriana Minoliti, Yves Oppenheim, Ed Ruscha, Pierre Seinturier, RobertStadler, Pier Stockholm, Eduardo Stupia, Claude Tétot, Laurent Tixador, Guy Yanai, MarieZawieja, and the Antoine de Galbert Collection.
9th issue of the monomaniac, thematic, artisanal and transversal magazine dedicated to drawing(contributions by twenty contemporary artists).
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Nguyen Trinh Thi - Letters From PandurangaCAPC Musee 2015 ISBN 9782877212250 Acqn 25834Pb 15x21cm 64pp 60ills 45col £13.50
Letters from Panduranga evokes the fate of the Vietnamese Cham community, whose territory isthreatened by the construction of two nuclear power plants. Acting as an ethnologist NguyenTrinh Thi explores the issues related to speech and history as well as new forms of colonialism.
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Giorgio Griffa - Works 1965-2015Mousse Publishing 2015 ISBN 9788867491759 Acqn 25835Hb 18x25cm 248pp 125ills 40col £31
This monograph aims to highlight the very diverse features and extraordinary richness of ArtePovera painter Giorgio Griffa. With a selection of the artist's writings and comprehensivechronology. Giorgio Griffa abandoned figurative painting in favour of a format of abstract paintingthat still characterizes his work to this day. Painting with acrylic on raw un-stretched canvas,burlap and linen, Griffa's works are nailed directly to the wall along their top edge. When notexhibited, the works are folded and stacked, resulting creases that create an underlying grid forhis compositions. In keeping with his idea that painting is “constant and never finished”, many ofhis works display a deliberate end-point that has been described as “stopping a thought mid-sentence.”
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Georgia O'Keeffe – WatercolorsRadius Books 2016 ISBN 9781942185048 Acqn 25899Hb 26x33cm 140pp 55col ills £48
Georgia O’Keeffe: Watercolors catalogues the first major exhibition of the nearly 50 watercolorscreated by O’Keeffe between 1916 and 1918, while she lived in Canyon, Texas. These yearsmark a period of radical innovation for the artist, during which she firmly established hercommitment to abstraction. While her work in Texas is often understood as merely a prelude toher career in New York City, these watercolors and drawings mark a seminal stage in O’Keeffe’sartistic formation, representing the pivotal intersection of her disciplined art practice and herallegiance to the revolutionary techniques of her mentor, Arthur Wesley Dow. O’Keeffe’swatercolors explore the texture and landscape of the Texas desert and the artist’s own body in anexceptionally fragile and sensitive medium, representing a substantial achievement in their ownright. These early works also relate to O’Keeffe’s large-scale oil paintings, which in their handlingof color and texture in some ways seem to aspire to the condition of watercolor. Designed toemphasize direct contact with these beautiful works, Watercolors features full-scale color
reproductions of the paintings, most of which are approximately 8x12 inches in scale, offering apowerful testament to the significance of the watercolors in O’Keeffe’s creative evolution. GeorgiaO’Keeffe (1887–1986) is best known for her distinctive paintings of flowers and landscapes whichapplied a precise, often hard-edged abstract language to evocative natural forms. Dubbed the"mother of American modernism," O’Keeffe produced more than 1,000 artworks in a career ofmore than 60 years.
