Accompagnant une exposition au musée The Broad à Los Angeles, ce catalogue retrace de manière chronologique et thématique la pratique artistique de Keith Haring de 1978 à 1990, en mettant l'accent sur son lien à l'activisme, son engagement politique dans le milieu culturel new-yorkais et dans la lutte contre le Sida. Son titre, Art is for Everybody, est une citation extraite de son journal.
L'histoire du Land Art a longtemps été dominée par les hommes, mais ce catalogue d'une exposition présentée à Dallas change de cap pour apporter un éclairage nouveau sur le grand nombre d'oeuvres produites par des femmes. Bien que leur carrière ait été parallèle à celle de leurs homologues masculins mieux connus, elles ont reçu moins de reconnaissance et de représentation dans l'espace public et au sein des institutions muséales, et ce jusqu'à aujourd'hui. Ce livre comprend cinq essais, ainsi qu'une chronologie détaillée, une liste d'expositions et des biographies illustrées d'artistes d'exposition. Groundswell est une ressource pour les lecteurs qui cherchent à réenvisager l'histoire du Land Art et ce qu'il dit de notre relation à la terre. Parmi les artistes présentées figurent Lita Albuquerque, Alice Aycock, Beverly Buchanan, Agnes Denes, Maren Hassinger, Nancy Holt, Patricia Johanson, Ana Mendieta, Mary Miss, Jody Pinto, Michelle Stuart et Meg Webster.
Unsettled Landscapes, published for Santa Fe's inaugural SITElines Biennial, looks at the urgencies, political conditions and historical narratives that inform the work of contemporary artists across the Americas. Work by 47 artists from 14 different countries is featured.
On artistic ingenuity in the face of economic and social crisis, from Chicago to Cuba Published in four differently colored cloth covers, Landlord Colors reconsiders periods of economic and social collapse through the lens of artistic innovations. It examines five art scenes generated during heightened periods of upheaval: America's Detroit from the 1967 Rebellion to the present; the cultural climate of the Italian avant-garde during the 1960s-80s; authoritarian-ruled South Korea of the 1970s; Cuba since the collapse of the Soviet Union in the 1990s to the present; and contemporary Greece since the financial crisis of 2009. While the project unearths microhistories and vernaculars specific to place, it also examines a powerful global dialogue communicated through materiality.
Mexican artist Damián Ortega (born 1967) is well known for his sculptures that literally deconstruct and reconfigure commercial products, like Coke bottles or, in one of his most celebrated works, a Volkswagen Beetle. In a new body of sculptural work, documented in Damián Ortega: Reading Landscapes, the artist turns his deconstructive impulses toward natural, geologic forms. Inspired by ideas of "deep time," a geological concept of how the earth documents its own history in layers of rock deposited over some 4.6 billion years, Ortega explores how basic concepts of geology--like the phenomenon of sedimentary layers--can be used as a formal approach to making sculpture. Damián Ortega: Reading Landscapes, published to accompany the artist's first solo show in Korea, includes an interview with the artist conducted by Clara Kim and a text by Gabriel Kuri.
Premier livre consacré à ces oeuvres sur papier, David Hammons: Body Prints, 1968-1979 rassemble les impressions en un tirages et les collages dans lesquels l'artiste a utilisé son coprs à la fois comme outil de dessin et comme plaque d'impression pour explorer des formes performatives et non conventionnelles de création d'images.
A visual primer on Philips' graffiti-infused critiques of American culture, examining his material resources alongside his paintings.
This volume compiles Philadelphia-based Pat Phillips' (born 1987) photography, sketchbook drawings and reference materials alongside artworks spanning the past 10 years of his career. With a foreword by Mario Ybarra and an interview with Mark Thomas Gibson, the book includes installation photos from the Whitney, M+B Gallery and his recent solo exhibition at Jeffrey Deitch Gallery.
Historical graffiti, personal photos and the experience of growing up in Louisiana figure heavily in the artist's work, visible here in collages and full-page spreads. Indeed, Phillips' paintings often combine personal and historical imagery in surreal juxtapositions, drawing on his experience living in the US to meditate on complex questions of race, class, labor and a militarized culture. Objects that suggest the violent underpinnings of this country and its institutions crop up frequently, such as confederate flags, fences and guns.
