The Other Side of A Cul-De-Sac
Lawrence Weiner: The Other Side of A Cul-De-Sac
Hardcover, 48 pp., offset 3/1, 185 x 225 mm
Edition of 900
ISBN 9781894212250
Published by The Power Plant
$35.00 ·
Very red and very shiny, this artist’s book–also the catalogue for Lawrence Weiner’s show at the Power Plant in Toronto — collects a variety of sentences and statements by the veteran Conceptualist, typeset with Weiner’s customary care, and accompanied by a text by poet Wystan Curnow, and an essay by Gregory Burke. It is printed in a limited edition of 900.
Some Changes
Glenn Ligon — Some Changes
Softcover/slipcase, 200 pp., offset 4/1, 220 x 270 mm
Edition of 2000
ISBN 9781894212069
Published by The Power Plant
$40.00 ·
Glenn Ligon is one of the preeminent members of a generation of American artists who came to prominence in the late 1980s with conceptually-based paintings, photographs and text-oriented works concerning the social, linguistic and political constructions of race, gender and sexuality. Incorporating sources as diverse as photographic scrapbooks and Richard Pryor’s stand-up comedy routines — his lush coal-dust paintings of excerpts from James Baldwin’s 1955 essay “Stranger in the Village,” for instance — Ligon’s art is a meditation on representation of the self in relation to culture and history. Handsomely designed with a hardcover slipcase, Some Changes is the artist’s first significant monograph. Well-illustrated texts by critics and curators Wayne Baerwaldt, Huey Copeland, Darby English, Wayne Koestenbaum and Mark Nash survey Ligon’s works from 1982 to 2005, and a candid interview with Toronto artist Stephen Andrews delves into Ligon’s personal insights and professional experiences.
Album
Hans-Peter Feldmann, Album
Hardcover, 308 pp., offset 4/4, 240 x 305 mm
Edition of 2000
ISBN 9783865602602
Published by Walther König
$95.00 · out of stock
Pin-up girls, weight-lifting studies, newspaper clippings, baby pictures…Hans-Peter Feldmann tells stories with pictures. Accordingly, apart from the title page, this photo album contains no text. Even the frontispiece is a photograph of boxes from Feldmann’s picture archive — amassed over many years and comprising images from magazines, advertising supplements, photography books, postcards and collectibles. Travel photos, family snapshots and pictures of friends play their part as well. In recent years, Feldmann has become increasingly noted for his commentary on the way we archive photos, sending up the everyday from a very personal perspective. He seeks out the trivial incidents, the unnoticed moments, and keeps them close at hand. According to Feldmann, “Works of art should not be expensive, nor unique, but cheap and fast to produce. A painting immediately acquires a sort of importance, whereas a photo is much more arbitrary, as it’s a lot easier to throw away.”
Portraits
Wolfgang Tillmans, Portraits
Softcover, 144 pp., offset 4/4, 235 x 305 mm
Edition of 2000
ISBN 9781891024368
Published by Walther König/Distributed Art Publishers
$40.00 ·
For artist Wolfgang Tillmans, portraiture is a collaborative process between photographer and accomplice. While Tillmans’ photographs are often referred to as casual, they are actually the result of a carefully constructed process of engagement with his models. Each sitter, be they a world-famous rock star or a family member, projects both vulnerability and dignity. Presented here are a selection of some of the best of these portraits, taken between 1988 to 2001, and chosen by Tillmans himself. Subjects include filmmaker John Waters, architect Rem Koolhaas, musicians Moby and Michael Stipe, actresses Irm Hermann and Chloë Sevigny, as well as the artist’s family and friends.
Richard Phillips
Richard Phillips
Hardcover, 144 pp., offset 4/1, 205 x 285 mm
Edition of 2000
ISBN 978-3-905770-28-5
Published by JRP|Ringier
$35.00 ·
This new monograph features work by the admired New York painter, Richard Phillips, whose brash, often pornographic paintings borrow from fashion, art, the news and other graphic media. Equally apt to take his motifs from glossy magazines as from art historical or kitsch icons, he blends Pop art with a contemporary critique of the representation which emerged in the “Picture Group” generation of the 1980s. Richly illustrated, the book features recent work as well as essays by musician Kim Gordon and artist Liam Gillick.
I Like Your Music I Love Your Music
Dave Muller, I Like Your Music I Love Your Music
Hardcover, 168 pp., offset 4/4, 305 x 305 mm
Edition of 2000
ISBN 9783905829860
Published by JRP|Ringier
$68.00 ·
The exquisite paintings of record covers and spines by Los Angeles-based artist Dave Muller give us a glimpse into his cultural identity. I Like Your Music I Love Your Music presents a selection of recent works dealing with the ways in which we construct our cultural identities through music — which he represents as a network of aesthetic, social and personal exchanges. Muller’s multifaceted practice includes curating, cultural agitating, DJing and record collecting — his collection tops out at 15,000 digital albums. He is particularly well known for his multitextured installations that blend his own sound tracks with his visual work. He is represented by Blum & Poe in Los Angeles and was included in the 2004 Whitney Biennial. This volume is published in collaboration with Spain’s Museo de Arte Contemporáneo de Castilla y León (MUSAC), and includes an essay by artist and Director of New York’s White Columns, Matthew Higgs.
And/Or
Jonathan Horowitz, And/Or
Softcover, 192 pp., offset 4/4, 240 x 285 mm
Edition of 2000
ISBN 9783037640180
Published by JRP|Ringier
$55.00 ·
Orienting himself firmly in the media-present, New York artist Jonathan Horowitz replays the recent past in the incarnations of our times. This reprisal occurs particularly in video works such as “Maxell,” in which the name of the now obsolete videotape company is worn down to a VHS blur, and “The Soul of Tammi Terrell,” in which 1960s footage of the eponymous pop star singing “Ain’t No Mountain High Enough” is juxtaposed with Julia Roberts and Susan Sarandon’s rendition of the song in the 1998 film Stepmom. Horowitz himself makes no overt political critique, but always ensures that the work’s underlying edge is laid plainly before the viewer. Queer and ecological themes also abound, as does sly humor and a Warholian detachment. This is the first thorough survey of Horowitz’s work.
The Failever of Judgement
Wade Guyton and Kelley Walker, The Failever of Judgement
Hardcover, 64 pp., offset 4/4, 205 x 285 mm
Edition of 2000
ISBN 9783905701050
Published by JRP|Ringier
$29.00 ·
The first monograph devoted to these two young American artists.
Focusing on their collaborations, the publication offers, through the analytical texts of Johanna Burton and Fabrice Stroun, a first reading of the practice of two of the most visible representatives of the new “neo-formalist” American scene. With an interview with the artists by John Rasmussen and Douglas Fogle, and numerous illustrations.
PSYOP: Post-9/11 Leaflets
Christoph Büchel and Giovanni Carmine, PSYOP: Post-9/11 Leaflets
Softcover, 144 pp., offset 4/4, 165 x 235 mm
Edition of 2000
ISBN 9783905701128
Published by JRP|Ringier
$22.00 ·
In the spirit of Taliban, this artist’s book on military “psychological operations” collects over 120 propaganda leaflets that have been dropped by the U.S. Army on Afghanistan and Iraq, as well as other similar material. It offers unique insight into the intense and varied strategies in play in a chaotic Middle East.
Having Been Said: Writings & Interviews Of Lawrence Weiner 1968-2003
Lawrence Weiner, Having Been Said: Writings & Interviews Of Lawrence Weiner 1968-2003
Softcover, 488 pp., offset 1/1, 170 x 240 mm
Edition of 2000
ISBN 9783775791946
Published by Hatje Cantz
out of print
Lawrence Weiner’s art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual art of the late 60s, yet he does not see his own work as “conceptual.” The “space” he works within is the entire cultural context, and his works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and outdoors, and more. Since his earliest days as a professional artist, Weiner has given written and verbal expression to questions concerning his work and its context. These utterances — statements, interviews, lectures and conference contributions — have been collected together in this publication for the first time, and ordered chronologically. Taken as a whole they afford an insight both into a complex individual biography and into the wider development of art and culture and the challenge that this entails.
Push and Shove
Sturtevant, Push and Shove
Softcover, 120 pp., offset 4/4, 8.5 x 11 inches
Edition of 2000
ISBN 9788881585441
Published by Charta
$40.00 ·
An art-world legend records that somebody once asked Andy Warhol about his process, to which he replied, “I don’t know. Ask Elaine.” True or not, one thing is sure — Elaine Sturtevant likes to fake it. Working alongside her contemporaries since the mid-1960s, the artist is best known today for her reproductions of then-radical works by Andy Warhol, Frank Stella, Claus Oldenburg, Jasper Johns, Joseph Beuys, and others. Mainly absent from the art scene in the 1970s, Sturtevant reemerged in the 1980s, and has adhered to her rigorous conceptual strategy ever since, even re-creating Paul McCarthy’s fabulously grotesque video performance, “The Painter” in 2002. Exploring notions of originality, replication and simulacra, Sturtevant’s work has been a meditation on as much as a provocation of such concepts, and has continued to garner attention in her 40 years of practice in the fields of art history and philosophy. Included here are images of her re-installation of Marcel Duchamp’s 1,200 coal bags at New York’s Perry Rubinstein Gallery and stills from her 1967 film, Nude Descending a Staircase. Also represented is the artist’s seven-channel video installation from 2003, The Dark Threat of Absence/Fragmented and Sliced.
Uncommon Places
Stephen Shore, Uncommon Places
Hardcover, 188 pp., offset 4/4, 12.75 x 10.5 inches
Edition of 5000
ISBN 9781931788342
Published by Aperture
$55.00 ·
Published by Aperture in 1982 and long unavailable, Stephen Shore’s legendary Uncommon Places has influenced a generation of photographers. Among the first artists to take color beyond advertising and fashion photography, Shore’s large-format color work on the American vernacular landscape stands at the root of what has become a vital photographic tradition. Uncommon Places: The Complete Works presents a definitive collection of the original series, much of it never before published or exhibited. Like Robert Frank and Walker Evans before him, Shore discovered a hitherto unarticulated version of America via highway and camera. Approaching his subjects with cool objectivity, Shore’s images retain precise internal systems of gestures in composition and light through which the objects before his lens assume both an archetypal aura and an ambiguously personal importance. In contrast to Shore’s signature landscapes with which Uncommon Places is often associated, this expanded survey reveals equally remarkable collections of interiors and portraits. As a new generation of artists expands on the projects of the New Topographic and New Color photographers of the seventies — Thomas Struth (whose first book was titled Unconscious Places), Andreas Gursky and Catherine Opie among them — Uncommon Places: The Complete Works provides a timely opportunity to reexamine the diverse implications of Shore’s project and offers a fundamental primer for the last 30 years of large-format color photography.
Un Coup de Dés: Writing Turned Image. An Alphabet of Pensive Language
Un Coup de Dés: Writing Turned Image. An Alphabet of Pensive Language
Softcover, 250 pp., offset 4/1, 215 x 280 mm
Edition of 5000
ISBN 9783865605436
Published by Walther König
$60.00 ·
In her essay “Writing Turned Image. An Alphabet of Pensive Language,” Sabine Folie writes, “An idea…explored in Stéphane Mallarmé’s Un coup de dés (A roll of the dice) of 1897 has in the twentieth century become an integral part of the poetological and, more generally, the avant-gardist vocabulary: the idea of unmasking language as a convention whose purpose it is to discipline the individual and to subject it to a regulated system of capitalist exploitation as well as to guarantee orientation in the world… Writing was released from the textual ensemble of the book and integrated into the flow of its media — as a disturbance, a deconstruction of meaning.” The ideas of Symbolist poet and galvanizing nineteenth-century intellectual Stéphane Mallarmé are discussed in this text-heavy volume in relation to works by Robert Barry, Lothar Baumgarten, Marcel Broodthaers, Theresa Hak Kyung Cha and Rodney Graham, among others. Scholarly essays by Sabine Folie, Anna Sigridur Arnar, Jacques Rancière, Gabriele Mackert and Michael Newman accompany a generous selection of images by each of the artists.