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Distributed Art Publishers Art Distributed Artbook Spring  artbook Spring SPRING 2014 NEW BOOKS ON ART & CULTURE & distributed art publishers artbook distributed art publishers 155 Sixth Avenue, nd Floor, New York, NY 10013 www.artbook.com Ray Johnson, from Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Featured releases 2 Journals 82 sprIng HIgHlIgHts 90 CATALOGUE EDITOR Thomas Evans photography 92 ART DIRECTION art 108 Stacy Wakefield group exhibitions 136 IMAGE PRODUCTION Ranya Asmar Writings 142 DATA PRODUCTION design 150 Alexa Forosty COPY WRITING Film 158 Jarrod Annis, Thomas Evans, Tyler Fields, Annabelle Maroney, Seamus Mullarkey architecture 159 PRINTING limited editions 168 Sonic Media Solutions, Inc. Front Cover Image speCIalty Books 170 5 7 Robert Heinecken, Recto/Verso #2, 1988. Silver dye bleach print, 8 ⁄8 x 7 ⁄8''. The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund. art 172 © 2013 The Robert Heinecken Trust. From Robert Heinecken: Object Matter, photography 196 published by The Museum of Modern Art, New York. See page 36. BaCk Cover Image Backlist Highlights 201 Ray Johnson © Ray Johnson Estate, courtesy Richard L. Feigen & Co. From Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Index 207 © Ray Johnson Estate, courtesy Richard L. Feigen & Co & Feigen L. Richard courtesy Estate, Johnson Ray © ​Show​Time:​The​50​Most​ “a fascinating survey of Influential​Exhibitions of​Contemporary​Art​ groundbreaking exhibitions from Edited and with text by Jens Hoffman. Conversation with Hans Ulrich Obrist, Massimiliano Gioni, Maria the 1980s through to now . the Lind, Jessica Morgan, Carolyn Christov-Bakargiev, Adriano Pedrosa, Mary Jane Jacob. selection shines with the inquiring This monumental new book explores the recent history of exhibition-making, looking at the radical intelligence and practical know-how shifts that have taken place in the practice of curat- ing contemporary art over the last 20 years. Tracing that make Jens Hoffmann one of a history of curating through its most innovative shows, renowned curator Jens Hoffmann selects the most inventive of contemporary the 50 key exhibitions that have most significantly shaped the practice of both artists and curators. curators.” —terry smith Chosen from the plethora of exhibitions, biennials and art events that have sprung up across the world since the 1990s, each exhibition reviewed here has triggered profound changes in curatorial practice, EXHIBITIONS INCLUDE Sculpture and reanimated the potential of contemporary art. The book includes an international roster of curators, Projects Münster 1977, 1987, 1997, 2007 • and exhibition venues that span the globe, from the Magiciens de la Terre 1989 • Helter USA, Mexico, Brazil and South Africa to France, Skelter 1992 • Mike Kelley: The Uncanny Germany, the Netherlands, Turkey and Spain. It is 1993 • This Is the Show and the Show Is comprised of nine themed sections, including: Many Things 1994 • Inside the Visible “New Lands” (on shows such as Magiciens de la 1995 • In a Different Light 1995 • Traffic Terre, The Short Century and After the Wall); “Bien- nial Years” (which documents influential biennials 1996 • Sensation 1997 • Cities on the Move such as the Documentas [10, 11, 13] and the Berlin 1997–98 • 24th São Paulo Biennial 1998 • and São Paulo Biennials); “New Forms” (including The Museum as Muse 1999 • Global experiments in exhibition-making such as Do It and Conceptualism 1999 • Freestyle 2001 • NowHere); “Others Everywhere” (on ‘identity poli- The Short Century 2001 • Century City tics’ shows such as In a Different Light, Phantom 2001 • WACK! Art and the Feminist Sightings and the 1993 Whitney Biennial); “Tomor- row’s Talents Today” (on influential group exhibitions Revolution 2007 • What Keeps Mankind of emerging artists such as Helter Skelter and Sensa- Alive? 2009 • Documenta (13) 2012 tion); and “History” (on historical surveys such as Inside the Visible, Global Conceptualism and WACK!). A bold proposition for the future of exhibition culture as well as a means of making the recent past acces- sible, Show Time is essential reading for any student of curating or museum studies, for professional cu- CURATORS INCLUDE Iwona Blazwick • rators and for all those interested in one of today’s Francesco Bonami • nicolas Bourriaud • most dynamic forms of cultural production. Jens Hoffmann is an exhibition maker and writer 50 exhibitions Cornelia Butler • dan Cameron • Carolyn based in New York. He is Deputy Director and Head Christov-Bakargiev • Catherine de Zegher • of Exhibitions and Public Programs at The Jewish that changed okwui enwezor • Charles esche • massimiliano Museum, New York. He has curated and co-curated gioni • thelma golden • Hou Hanru • damien a number of large-scale exhibitions, including the the course of Hirst • mary Jane Jacob • Joseph kosuth • 2nd San Juan Triennial (2009), the 12th Istanbul Bi- contemporary art Jean-Hubert martin • kynaston mcshine • ennial (2011) and the 9th Shanghai Biennial (2012). Jessica morgan • Hans ulrich obrist • adriano D.A.P./DISTRIBUTED ART PUBLISHERS, INC. 9781938922336 U.S. | CDN $ 45.00 pedrosa • paul schimmel • Fred Wilson Hbk, 8 x 10.25 in. / 256 pgs / 187 color / 15 b&w. March / Art 2 artbook.com­­ artbook.com 3 ​Sigmar​Polke:​Alibis​1963–2010​ Edited and with text by Kathy Halbreich. Text by Paul Chan, Christophe Cherix, Tacita Dean, Barbara Engelbach, Mark Godfrey, Stefan Gronert, Rachel Jans, John Kelsey, Erhard The first career-spanning publication to show Polke’s work across Klein, Jutta Koether, Christine Mehring, Matthias Muehling, Marcelle Polednik, Christian Rattemeyer, Kathrin Rottmann, all media, Alibis celebrates the artist’s punishing and experimental Magnus Schaefer, Lanka Tattersall. Interview by Benjamin H.D. Buchloh. critiques of artistic and social conventions Working across an unusually broad range of media, including painting, photography, film, drawing and sculpture, Sigmar Polke is widely regarded as one of the most ferociously exper- imental and influential artists of the postwar generation. His irreverent wit and promiscuous intelligence, coupled with the ways in which he blurred the boundaries of his media, pro- vided the foundation for his punishing critiques of the con- ventions of art history and social behavior. Experimenting wildly with materials and tools as varied as meteor dust and the copy machine, Polke made work of both an intimate and monumental scale, drawn from sources as diverse as news- paper headlines and Dürer prints. Polke avoided any one sig- nature style, a fluid method best defined by the word “alibi,” which means “in or at another place.” This term is also a re- minder of the deflection of responsibility which shaped Ger- man behavior during the Nazi period, compelling Polke’s generation to reinvent the role of the artist. Published in con- junction with Alibis: Sigmar Polke 1963–2010, the first retro- spective to encompass the artist’s work across all media, this richly illustrated publication provides an overview of his cross-disciplinary innovations and career. Essays by Kathy Halbreich, Associate Director of The Museum of Modern Art; Mark Godfrey, Curator of International Art, Tate Modern; and a range of scholars and artists bring new perspectives to the broad scope of Polke’s exceptionally inventive oeuvre and place his enormous skepticism of all social, political and artis- tic conventions in relation to German history. Sigmar Polke (1941–2010) was born in Oels, in eastern Ger- many, now Olésnica in present-day Poland. At the end of World War II, Polke and his family fled to East Germany and, in 1953, escaped to Düsseldorf, where he was trained as a glass painter and subsequently studied at the Kunstakademie Düsseldorf. Since the late 1960s, Polke’s work has been shown widely in solo and group exhibitions around the world. He won numerous other prizes, including the Golden Lion at the Venice Biennale in 1986 and the Japan Art Association’s Praemium Imperiale in 2002. His last major work was a com- mission for 12 stained glass windows of the Grossmünster Cathedral in Zurich, Switzerland, completed in 2009. THE MUSEUM OF MODERN ART, NEW YORK 9780870708893 U.S. | CDN $ 75.00 Hbk, 9.5 x 12 in. / 320 pgs / 520 color. April / Art ALSO AVAILABLE Sigmar Polke: We Petty Sigmar Polke: Windows for EXHIBITION SCHEDULE Polke & Co: We Petty Bourgeois the Zurich Grossmünster New York: The Museum of Modern Art, 04/19/14–08/03/14 Bourgeois 9781935202615 9783907582275 London, England: Tate Modern, 10/01/14–02/15/15 9783865607881 Hbk, U.S. | CDN $75.00 Hbk, U.S. | CDN $65.00 Cologne, Germany: Museum Ludwig, 03/14/15–07/05/15 Pbk, U.S. | CDN $49.95 D.A.P./ Walther König, Parkett/Zurich Grossmünster Walther König, Köln Köln 4 artbook.com­­ artbook.com 5 ​Andrew​Wyeth:​Looking​Out, Looking​In​ The window as subject takes us beyond and into Wyeth’s world Text by Nancy K. Anderson, Charles Brock. One of Andrew Wyeth’s most important paintings, “Wind from the Sea” (1947), is also the artist’s first full realization of the window as a recurring subject in his art. Wyeth returned to windows during the course of the next 60 years, producing more than 300 remarkable works that explore both the formal and conceptual richness of the subject. Absent from these spare, ele- gant, almost abstract paintings is the narrative element inevitably associated with Wyeth’s better-known figural compositions. In 2014 the National Gallery of Art, Wash- ington, presents an exhibition of a select group of these deceptively realistic works, window paintings that are in truth skillfully manipulated compositions centering on the visual complexities posed by the transparency, beauty and formal structure of windows. In its exclusive focus on paintings without human subjects, this cata- logue offers a new approach to Wyeth’s work and repre- sents the first time that his non-figural works have been published as a group. The authors explore Wyeth’s fasci- nation with windows—their formal structure and metaphorical complexity.
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