Kunsthalle Wien 2002
232 pages B&W reproductions. ISBN 3883755982
24 x 30 cm English/German text. Hardcover
Ugo Rondinone uses a complex system of sampling and quotations in his work. References to the history of art, film and design all characterise his pictorial language, as does a highly developed sense of poetry and music.
For example, in the exhibition NO HOW ON, which this book was published alongside, he combines huge mirrored columns with life-size clowns sleeping on the floor. In LOWLAND LULLABY (2002) he remains faithful to his principle of the bewilderingly beautiful ‘atmospheric cells’ (Bice Curiger), covering the floor with seemingly endless waves.
Summarises all Rondinone’s exhibitions (1989 - 2002), in a brief, documentary-like style.
Includes texts by Gaby Hartel, Laura Hoptman and Pierre André Lienhard. Price: £27.00
Hatje Cantz 2000
192 pages Colour and B&W reproductions. ISBN 3775790063
24 x 28 cm English text. Hardcover
Rondinone takes up the question of identity through his multimedia artworks. Guided by voices shows Rondinone´s work from the past six years.
Was 29.99
NOW ONLY Price: £13.99
Buchhandlung Walter Koenig 1998
32 pages Colour reproductions. ISBN 3883753041
23 x 28.5 cm Hardcover
For the viewer, peering through the looking hole, an absurd saloon scene is laid out, presenting us with a ‘nightmare’ Disneyland. Pervert puppet hybrids set in a strange evocation of a plastic Wild West, challenge our taboos and present a humour as black as death. Price: £35.00
Dundee Contemporary Arts 2002
128 pages Colour and B&W reproductions. ISBN: 0953517896
22 x 29 cm English text. Hardcover
Price: £15.95
Phaidon 2001
160 pages Colour and B&W reproductions.ISBN 0714839191
25 x 29 cm English text. Softcover
California-based artist Raymond Pettibon began making his signature ink-wash drawings – combinations of cartoon-like images with short, enigmatic texts – in the 1980s. Since then he produced thousands of drawings in his unusual drafting style; framed or pinned directly on the wall, they are often combined by the dozens in no discernible order, like a giant scattered notebook. With solo exhibitions worldwide including a retrospective at The Museum of Contemporary Art, Los Angeles (1994), Pettibon is considered one of the world’s most significant innovators of figurative art.
Poet and novelist Dennis Cooper speaks with the artist about recurring obsessions such as baseball, film noir, surfers and the animated figure Gumby. Museum of Modern Art curator Robert Storr examines the full scope of Pettibon’s prolific career, setting the artist firmly within the tradition of Western figurative painting. Critic and curator Ulrich Loock looks at a single strand in Pettibon’s oeuvre: a drawing centring on the character Vavoom. The artist has chosen three extracts from The Art of English Poesie by George Puttenham, The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne, and Modern Painters by John Ruskin. This book also includes never-before-published scripts from as-yet-unmade videos on subjects from Jim Morrison to Hollywood. Price: £24.95
160 pages Colour and B&W reproductions. ISBN 0714839892
American video and installation artist Doug Aitken exploded on the international art scene with his multi-screen work electric earth, which captivated audiences at the Venice and Whitney Biennales. This work focused on the bizarre nocturnal experiences of a young man exploring the edges of Los Angeles, presenting dream-like sequences which rearrange the linear flow of narrative into a series of unforgettable, disjointed photographic tableaux. Like much of his work, it contrasts the high-tech speed of contemporary daily life with the monotony of the urban landscape. In subsequent work set in distant places, from the island of Montserrat to the jungles of Guyana, Aitken creates unexpected yet beautiful imagery which encircles the viewer and creates a suspended, hyper-real portrait of contemporary life.
In the Survey, curator and critic Daniel Birnbaum sets Aitken’s art within the context of contemporary philosophy and the work of other recent artists who have explored expanded notions of time and space; in the Interview frieze publisher and critic Amanda Sharp discusses the artist’s working methods; in the Focus section critic Jörg Heiser looks at Aitken’s recent i am in you, a five-screen work centering on the imaginative experiences of a young girl. For his Artist’s Choice Aitken has selected a short story by Jorge Luis Borges whose description of altered realities through the distortions of mirrors and memory echoes the artist’s own interests. Artist’s Writings include Aitken’s retelling of an unusual story he once heard from strangers which served as the basis for subsequent video work. Price: £24.95
Memory Cage
112 pages colour and B&W reproductions. ISBN 3952049751
Ed Lionel Bovier, Paolo Colombo, Daniel Kurjakovic, Michelle Nicol,
Hans Ulrich Obrist and Rein Wolfs
24.5 x 31 cm German/English/French text. Hardcover
Was 25.00
Now 14.99
In this exhibition catalog for the Museum of Contemporary Art in Zurich and the Centre d'Art Contemporain Geneva, Swiss artist Ugo Rondinone (1963) freely mingles such disparate elements as old landscape engravings, redone as large scale ink drawings, polaroid photos of a clown, paintings of targets in blurred, highkey color, video stills, and black-and-white comic books. His work touches on questions of late-century nihilism, hybridization, and gender theatricality. Texts by Lionel Bovier, Paolo Colombo, Daniel Kurjakovic, Michelle Nicol, Hans Ulrich Obrist and Rein Wolfs.
NOW ONLY Price: £14.99
Hans Op De Beeck 2002
208 pages Colour reproductions. ISBN 9057790092
21.5 17.5 cm English/Dutch text. Hardcover
Price: £18.50
OUT OF STOCK
Phaidon 2002
160pp Colour and B&W repoductions. ISBN 0714841048
Japanese-born, New York-based On Kawara is one of the world's best-known Conceptual artists, a major international figure since the 1960s. Kawara's existence is documented solely through his daily art-making practice; best known are his Date Paintings (1965-ongoing), in which he methodically creates a single painting a day, always in the same size and with simply the date written upon it. This book is a chance for his followers to unravel more of the mystery of this cult figure.
A unique feature of this book is the 'Tribute' section, to replace the Interview, which reflects the artist's lifelong commitment never to be personally documented in his own words. A collection of short statements by thirty individuals selected by Kawara - among them artists Lawrence Weiner and Dan Graham and cultural theorist Homi Bhabha - create an indirect 'portrait of the artist'. In his Survey, curator Jonathan Watkins examines the artist's long career, from his early figurative painting in the 1950s, to his later, text-based Conceptual art. Curator Rene Denizot analyses in his Focus a two-person exhibition combining Kawara's work with Alberto Giacometti's, revealing both artists' shared concern for the essence of human existence. The artist's interest in consciousness is reflected in a scientific essay he has selected for his Artist's Choice from the academic Journal of Consciousness Studies. In the Artist's Writings a series of handwritten love letters in an indecipherable code reflect the mix of the impersonal and the deeply humanistic that runs through his art. Price: £24.95
Little More 2000
144 pages Colour reproductions throughout. ISBN 489815039X
18.5 x 26 cm Softcover
Barry McGee A.K.A. TWIST, Stephen Powers A.K.A. ESPO and Todd James A.K.A. REAS collaborated to create Street Market shown at the Venice Biennale last year to great critical acclaim...'THE GOOD: Street Market...stole the show' Cedar Lewisohn in Flash Art. McGee, Powers and James have brought the street into the gallery, a 3-D version of the city complete with shops, signs and burnt-out cars. The Venice installation took on the proportions of a miniature street block filtered through the ironic, witty, and at times, post apocalyptic interpretations of the urban condition as the artists perceive it.
McGee is known for his trademark down-and-out characters and his calligraphic tag TWIST, his gallery work features these urban luck-less, drunk figures amid tags, paint drips and miscellaneous texts. Powers and James also explore this subject matter, creating the fabrication of simulated street corners and impoverished corner stores. Price: £16.95
175 pages Colour and B&W reproductions. ISBN 3883755923
23 x 27 cm English/German text. Softcover
After graduating from high school in Paris, Sophie Calle took a seven-year break to travel around the world. During this time she worked as a barmaid, dancer, and dog trainer. She completed her first artwork shortly after her return, inviting 45 friends, neighbours and strangers to sleep in her bed. She documented these encounters with photographs and text. The Sleeper (1979) is the first link in a chain of often incredibly adventurous incursions into one’s own sphere of privacy and that of others, a theme that seems to run through Calle’s oeuvre. This publication presents Calle’s Autobiographical Stories for the first time (since 1987) in a cycle of text-photo works. Also being published for the first time outside France, is a 2002 remake of the work, The Shadow (1981). The presentation will be supplemented with what might be considered Calle’s most controversial work, The Blind (1986), as well as the film stills of her 1999 video collaboration Double Blind, produced with Greg Sheppard (the film version of No Sex Last Night). Price: £32.00
Emily Tsingou 2002
84 pages Colour and B&W reproductions. ISBN 0953245810
21 x 29 cm Englsih text. Hardcover Price: £20.00
Lenbachaus/Ikon Gallery/Kunstverein St Gallen/Kunsthalle zu Kiel 2002
160 pages Colour reproductions. ISBN 3932353641
22 x 25 cm English/German text. Softcover
This catalogue, including installation shots, illustrates Grosse's rejection of the traditional canvas as a foundation for her colourful, abstract paintings in favour of architectural form. The artist combines different varieties of paint and methods of application to cover the wall's surfaces with intense colour.
The context of architecture is crucial for Grosse, particularly for an understanding of her most recent work. Painted or sprayed directly onto walls it constitutes an acknowledgement of the formal qualities of its most immediate environment. It also embodies the traces of the artist's movements within the space in the process of painting. Architecture, informed by an architect's understanding of human behaviour, thus provides a cue for the artist's response. At once rigorous and informal, the finished work is compelling graffiti, beautiful evidence that 'she was here'.
Interview by Jonathan Watkins. Texts by Marion Ackermann, Beate Ermacora and Roland Waspe Price: £16.95
Reihe Cantz 2001
168 pages Colour reproductions. ISBN 3775790462
15 .5 x 20 cm English/German text. Softcover
This is the first full-length publication about Tobias Rehberger, the shooting star of the German art scene. After his studies at the Frankfurt Städelschule, the artist, born in 1966, has been working not only as an architectect and sculptor but also as a painter, designer and film director during the last five years.
This book in the Cantz Series provides an overview of the artist's exhibition activities in museums and galleries as well as in public spaces, most recently his garden Tsutsumu at EXPO 2000 in Hanover. With both personal and critical texts by Daniel Birnbaum, Francesco Bonami, Florian Matzner, Markus Müller and Pier Luigi Tazzi, this publication may well be considered the first monograph of the artist's work. Price: £12.99
Museu d'Art Contemporani de Barcelona/ACTAR 2001
126 pages Colour and B&W reproductions. ISBN 8495273705
15 x 21 cm English/German text. Softcover
The work of Tacita Dean mainly consists of 16mm films and sound pieces in which process, transformation, coincidences, facts and fiction play an important role. After beginning her artistic career as a painter at the start of the 1990s, Dean discovered the possibilities of images projected from 16mm films. At the time many artists had already adopted a more practical, economic and informal medium of expression: video. Tacita Dean's work method is highly flexible. The artist allows chance to intervene during the phases of preparation, filming, sound recording and editing, in such a way that she encounters a road for her work to proceed along, instead of directing it from a strict and unbending position. Whence the importance of coincidence as a formative element of her work. In the presentation of this artist's works, the physical presence of the projector with its sounds and its peculiar characteristics provides a sculptural element. The tension between the machine and what it does (amplifying minute images in order to transform them into an immaculate animated image with sound) intensifies the magic of the work. Technically speaking, film per se is made up of two elements, the image and the sound, the latter being recorded independently on a reduced portion of the celluloid. Scenes can only be filmed in sections lasting from 2.5 to 10 minutes, something that calls for a later process of editing. The constant ritual -of cutting, splicing, rewinding, viewing; cutting, splicing, rewinding, and so on- involved in the editing process of a film serves to give time an appearance of being a continuous whole. Price: £18.50
160pp Colour and B&W repoductions. ISBN 0714840750
Cai Guo-Qiang is one of the most important Chinese artists to have emerged internationally in the 1990s. Best known for his spectacular gunpowder projects at locations ranging from museum entrances to the sites of Land art works such as Robert Smithson's Spiral Jetty, Cai has explored a diversity of media and artforms. These have included works such as an extension of the Great Wall of China, designed to be seen from outer space by extraterrestrial beings; feng shui rearrangements of public and private spaces both in Japan and New York; participatory projects with kites, jacuzzis and mini golf courses; and sculptures constructed from melted-down cars or abandoned boats. His projects are strongly influenced by their location and the works are frequently altered or developed as they are exhibited at new sites. Unifying Cai's wide-ranging work is his consistent investigation of humanity's place within the universe. Born in Quanzhou, China, in 1957, Cai lived in Tokyo from 1985 until 1995 when he moved to New York. Now recognized as a major artist worldwide, he has made projects in all the inhabited continents of the world. Price: £24.95
Book Works 2002
52pp Colour reproductions throughout. ISBN 1870699688
22 x 20.5 cm English text. Hardcover
The Auto Roto Font machine produces text cores that are four letters long. Therefore, 'literature and science' will become lite ratu rean dsci ence. Auto Roto Font explains this principle whilst speculating on the use of these cores as building blocks for new architecture. With a new text by Edward Allington.
Price: £14.50
Peer 2002
This intricate graphic artist's book, borrowing the format of the classic A-Z street guide, comprises 18 characters in scenarios that evolve through more than 250 illustrations. The narratives traverse and intersect across the map horizontally, vertically and diagonally in a web-like formation reminiscent of the underground network. From the tragic to the romantic, the absurd to the cynical, these stories encapsulate the complexity of the city in an entirely fresh visual language.
An investigative index by the author Geoff Ryman unpicks events and poses quetions, from the rhetorical to the unanswerable, of the implied and real narratives of urban life. In contrast, an essay by art historian Andrew Wilson considers this project in the context of the displaced reality of the languages of maps. Price: £18.95
Verlag der Buchhandlung Walther Konig 2000
200 pages B&W reproductions. ISBN 388375420X
18 x 24.5 cm Softcover
"Here is my book idea. It is a book of a drawing. The drawing is the cover. The drawing is both a drawing and a (un-illuminated) text… I want my drawing to be a book. This is the idea!" Paul Noble
Nobson is an imaginary town conceived by Paul Noble, and brought to life through grimly humorous pencil drawings. This new town is bleak; there are no people anywhere to be seen, and the visitor is left with the overwhelming impression that wherever man has been, destruction and sadness are never far behind. Price: £20.00
Manchester Art Gallery 2002
150 pages Colour reproductions throughout. ISBN 0901673595
23 x 30 cm English text. Hardcover
Belgian artist Wim Delvoye's exhibition features mainly new work on a Gothic theme. A series of stained glass windows named after the Nine Muses of Greek mythology will be dramatically displayed in the Gallery's new exhibitions space, along with two giant earth movers resembling miniature gothic cathedrals.
Wim Delvoye's art is extremely eclectic and can be grouped into different themes, of which the Gothic is just one strand. Whilst he has deeply serious intentions, Delvoye also applies a sense of humour, at times risque, at others disturbing to create unique and challenging work. Price: £24.95
New Art Gallery Walsall 2002
48pp Colour reproductions throughout. ISBN 0946652643
18 x 24 cm English text. Hardcover
Copper Jubilee has been published to accompany Gavin Turk's solo exhibition at the New Art Gallery Walsall. The publication documents several new works including sculpture, photography, drawings and watercolours, and includes an essay by Deborah Robinson on the artist's career to date, and an essay by Turk's Studio Assistant, Esther Lane, on Turk's studio practice, which is illustrated by photographs of work in progress. Four Seasons with Gavin, a text by Mary McCaughey, consists of four short vignettes of Turk's 'interactions' with the art world, and a dialogue between the artist and Don Brown on portraiture in Turk's work. Price: £20.00
Weapons of Mass Distraction 2002
48 pages B&W reproductions. ISBN 0954170407
10.5 x 15 cm English text. Softcover
Banksy's first publication, packed full of the earliest works both as graphic plates and in situ in and around London.
Price: £4.99
Whitechapel Art Gallery 2002
120 pages Colour and B&W reproductions. ISBN 0854881328
22 x 25 cm English text. Hardcover
The works in the exhibition are grouped thematically into five sections that trace a psychological journey. Having passed the threshold of a dream or drug-induced state, the reader enters Graham’s ‘upside down, inside out world’ in an essay by Carolyn Christov-Bakargiev. Psychoanalyst and author, Darian Leader takes us through the recurring dreams of Graham’s looping cinematic dramas. Curator and critic Russell Ferguson reads between the lines in his analysis of Graham’s text-based works. Rodney Graham talks with artist and curator Matthew Higgs about his performance and music-based pieces where he occupies different personnae and musical genres. Finally, curator Anthony Spira traces the foiled attempts in Graham’s work to reach a state of nirvana, while Graham’s own notes about his work complement their reproductions throughout the publication.
texts by Carolyn Christov-Bakargiev, Darian Leader, Russell Ferguson, Matthew Higgs, Anthony Spira. Price: £24.99
160pp Colour and B&W repoductions. ISBN 0714840386
Photo-based artist and filmmaker Lorna Simpson is considered one of the key representatives of Black-American visual culture. Emerging in the 1980s, Lorna Simpson was in 1993 the first African-American woman ever to show in the Venice Biennale and to have a solo exhibition in the 'Projects' series of The Museum of Modern Art in New York. She is also one of very few Black-American artists ever to have exhibited at Documenta, in 1987 and 2002.
Simpson's well-known fragmented photographs combining images with fragments of text create mysterious, quiet works that reflect the silence of a portion of society - African-American women - rarely if ever represented in art.
Curator of Simpson's Autumn 2002 exhibition at the Studio Museum, Harlem, New York, Thelma Golden talks about the artist's shift from her signature photographic work to her recent, more filmic and sculptural art. In her Survey critic and scholar Kellie Jones places the work in the context of the history of African-American culture as well as the recent history of self-portraiture in art through photography and performance. Curator of Simpson's film presentation at the Whitney Museum of American Art, New York, in 2002, Chrissie Iles analyses in her Focus the artist's filmworks including a new work to be screened at Documenta 11 (2002). The artist's fragmentary usage of speech is paralleled in her Artist's Choice, an extract from Top Dog/UnderDog by contemporary African-American playwright Suzan Lori Parks, and reflected in her Artist's Writings. Price: £24.95
Hopefulmonster 2002
112 pages Colour reproductions. ISBN 8877571543
21 x 28 cm English/Italian text. Softcover
The tenth catalogue of the series "Avvistamenti Sightings", dedicated to the German artist Tobias Rehberger, was published for the solo exhibition held at GAM, Galleria Civica d'Arte Moderna e Contemporanea in Torino, from May 4th to June 30th 2002. "Avvistamenti Sightings", a series of ten monographs about ten artists from the international stage, to whom the GAM has dedicated the cycle of exhibitions curated by Alessandra Pace. The monograph opens with photographic documentation of the exhibition showing the progress of Rehberger's art through the images from 1994 up to today, closing with the photos of the recent exhibition of the artist opened in Karlsruhe in Germany. The book also contains an interview with the artist by Alessandra Pace. Price: £12.99
Book Works 2001
A young woman's car is illegally parked in Soho in June 1995. Inside the police find tear gas, weapons and ammunition. The woman who returns to the car is arrested but refuses to speak, Romanov attempts to ‘locate’ this woman with no name and no voice. Published as part of Book Works New Writing Series. Price: £9.95
New Museum of Contemporary Art 2000
254 pages Colour and B&W reproductions. ISBN 3775709495
21.5 x 27 cm English text. Softcover
29.95
Working from a pioneering fusion of sculpture and conceptually based performance, Paul McCarthy is one of the most influential, yet least recognized artists in the U.S. today. While his architecural installations incorporating video and performance artifacts have received critical and curatorial attention during the present decade, few viewers are familiar with his artistic evolution, or with the impact his work has had on two generations of Los Angeles artists.ì
This publication, covering about 400 works from all areas of his activity, gives an exemplary insight into McCarthy's works from the early 1970s up to the present day. Experts on his work give comprehensive descriptions and analyses of the American artist's performances and installations, examine the unique ties between his works and cinema, and explore the dialogue between New York and Los Angeles, particularly in the formulation and development of conceptual art. Texts by Dan Cameron, Amelia Jones, Anthony Vidler Price: £29.95
Secession
152 pages Colour and B&W reproductions. ISBN 390192602X
21 x 29 cm English/German text. Softcover
In 1998 Mike Kelly and Paul McCarthy had a joint exhibition at the Secession Museum in Vienna, Austria. They dedicated their work to the Austrian artist Kurt Kren, who in the 1960s had been among the first artists – the Vienna Actionists - to refuse to serve the establishment. In spite of the substantial recognition and respect he and the other Vienna Activists received outside Austria, they gained little praise in their own country. Their aim was to bring back the originality of critical thinking that had vanished after Austria had ended its military occupation and developed a civil, neutral society.
This book presents a series of photos of the exhibition, where Kelly and McCarthy arranged a wild kind of military camp in the halls of the Secession Museum. The nomadic-military looks of the architecture refer to conflicts in parts of mass culture. What constitutes the main core of the work is their conveying of social phenomena - such as racism, family structures and male domination. At the same time they use the exhibition’s army camp setting to produce a bizarre video.
Inspired by what Kelly and McCarthy had read, and loosely based on a US cartoon entitled Sad Sack (which tried to illustrate ‘army life’ for children), what results in Sod & Sodie Sock is a mixture of Vietnam recollections, pervert dreams and sideswipes at the ideological concepts of American post-war art.
This catalogue is very well illustrated - with over 100 colour and 20 black & white plates. It also includes13 pages of annotated text, as well as detailing each of the artists’ work to date. Price: £27.00
Scalo 2005
348 pages 2 Vols Colour reproductions. ISBN 3908247896
31 x 31 cm English text. Hardcover Slipcase
'Using the Victorian interior of an abandoned bank on London’s Piccadilly as the on-site location for this video performance, and a rudimentary recreation of that bank’s subterranean vaults in his studio outside Los Angeles for supplementary footage, McCarthy has staged a slapstick Twilight of the Gods that also doubles as the most disturbing Sadeian fantasia since Pier Paolo Pasolini’s Salo.' (Robert Storr)A president (George W. Bush), multiple Queen Mums, and a terrorist (Osama bin Laden) are the protagonists, 'With their oversized heads and giant clown shoes, they resemble strangely hybrid creatures....cartoon characters that shit, bleed, and possess real genitals.' (Ralph Rugoff) In frenzied acts of self- and reciprocal mutilation, sawing and hacking away at each other’s oversized foam heads, McCarthy’s characters 'do not appear to be think-ing at all. Instead, they act instinctually, which is the political moral of McCarthy’s riotous scenario; reasons of state cannot explain such destruction and debauchery but an amoral state of nature, which no mask of decorum can hide or contain, unleashes primary urges that do.' (Robert Storr) Scalo is very excited to present this 348-page two-volume edition of photographs, which contains an extensive documentation of McCarthy’s unrestrained performances and over-the-top installations. Exhibited internationally since the late 1970s, McCarthy’s work has been shown most recently at important museums and galleries, including: the Tate Modern, London (2003); Museum of Contemporary Art, Los Angeles (2000); and New Museum of Contemporary Art New York (2001).Piccadilly Circus was performed and exhibited at Hauser & Wirth London; Bunker Basement was performed at Paul McCarthy’s studio in Los Angeles and the video was shown as part of the installation at Hauser & Wirth London (2003).Born 1945 in Salt Lake City, McCarthy trained as a painter before experimenting with film and producing photographic work in the late 1960s and early 1970s. Based in Los Angeles, his work is known for its perverted interpretations of childhood stories and vulgarity of expression. Price: £60.00
Buchhandlung Walter Koenig 2004
125 pages Colour reproductions. ISBN 3883756148
27 x 39.5 cm English text. Hardcover
Paul McCarthy is master of producing captivating installations. He realised this project, Tokyo Santa, in 1996, when it was first shown at the Tokyo Gallery Tomeo Koyama. Here Santa Claus acts with a camera and a knife, with colour and paper. We see paintings, print and satire on the paradigm of society. This book is brilliantly illustrated throughout and includes text by the artist. Price: £59.00
Van Abbemuseum 2004
272 pages Colour and B&W reproductions. ISBN 3937572120
24.5 x 30.5 cm English text. softcover
Published in parallel with the exhibition of the same name in the Van Abbemuseum Eindhoven, June to October 2004. Paul McCarthy’s drawings are largely unknown to the wider public, despite the fact that since 1968 he has produced around 6,000 works on papers. Brain Box Dream Box concentrates extensively on this aspect of his work. Yet it is neither devoted purely to his drawings nor is it specifically a homage to the ‘draughtsman’ Paul McCarthy. In his output, drawing is less an independent genre than a work-immanent artistic principle. For this reason, the more than 300 representative works on paper are juxtaposed with three-dimensional objects and installations from the last 10 years. The two genres interconnect both in terms of their subject matter and execution. Price: £48.00
Hamburg Kunstverein 2003
176 pages B&W reproductions. ISBN 3883755370
16.5 x 24 pages English/German text
This small volume, intended to give a survey of his art, lists all his works - including those which have not yet been presented in public -and catalogues 15 works from the 1970s to the present.
In his filmic works - in the form of narratives - McCarthy examines the appropriation by media fixated on human drives, as it is located in the American media industry. The works, which are sometimes produced with extreme extravagance, yet still seem amateurish, do not shy away from aiming directly at the perverse connotations of a Heidi or Pinocchio as they are presented in the media. Price: £15.50
Buchhandlung Walter Koenig 2002
100 pages ISBN 3883756822
25 x 42 cm
Special limited edition signed artists' book - edition of 500 copies only.
Designed and produced by the artists in Los Angeles, this title consists of a number of different parts in different formats. Roberto Ohrt's text in the form of a brochure, along with a number of photographs, were stuck into a slightly distorted reprint of the artist's book Memoires by Guy Debord and Asger Jorn and a piece of red carpet was used as the cover. Finally, the entire book was wrapped in plastic, an artistic method frequently found in the work of Jason Rhoades. On the one hand, the packaging protects the book, on the other, it tranforms it into an art object. Price: £154.00
Tate Publishing 2003
192 pages Colour and B&W reproductions ISBN 1854375148
24 x 29 cm English text. Softcover
From May to October 2003 the immediate surroundings of Tate Modern at Bankside were the site of an extraordinary installation by internationally acclaimed American artist Paul McCarthy (b.1945). Two enormous inflatable sculptures loomed above visitors to Tate Modern and those strolling along the riverbank, imposing their surreal, humorous and slightly sinister presence on one of London's best-known landmark locations.
The first, Blockhead, revisited one of McCarthy's trademark characters, a mutant cartoon character with a Pinocchio nose emerging from its cuboid head. At 35 meters, it towered as high as the fourth level of Tate Modern. The second sculpture, Daddies Bighead, was a 16-meter high figure with a body constructed from a giant replica of a ketchup bottle. McCarthy has frequently used ketchup in his performances and installations as a stand-in for blood and other bodily excretions. Much of his work has courted controversy, dealing as it does with iconic imagery taken from childhood and popular culture combined with sexually charged and transgressive elements. McCarthy has exhibited widely across the United States, Europe and Japan, and has undertaken collaborations with artists including Mike Kelly and Jason Rhoades. His works are in numerous major collections.
A unique record of a stunning artistic event, Paul McCarthy at Tate Modern includes a new interview with the artist, brand new dramatic installation photography, working drawings and models, and essays that place this incredible work in the context of McCarthy's career. Price: £25.00
Revolver 2003
232 pages B&W reproductions. ISBN 3936919186
20 x 20 cm English/German text. Softcover
Similar to his well-known "Trunks" in which Paul McCarthy stored the props used in his performances and films "The Three Boxes” serve as storage for the films themselves – video tapes recorded between 1970 and 1975. The publication gives a unique insight into the boxes which were conceived as a piece in its final arrangement in 1984 and have been undisclosed ever since.
"'The Three Boxes' were thought of as skulls – containers for an internal substance. The tapes are no longer physically visible as an object. 'The Three Boxes' are not to be opened. There is no significance to the order of the video tapes in 'The Three Boxes'. The order of 'The Three Boxes' is also not significant. What is important is that they are stacked – one on top of the other." (Paul McCarthy) Price: £18.50
Charta 1999
128 pages Colour reproductions. ISBN 8881582104
18. x 185 cm English/Italian text. Softcover
Paul McCarthy began making performances and films in 1967 and videos in 1970. His work has been exhibited widely in major museums throughout Europe and the United States. PROPO is a collection of color photographs of the soiled props used in McCarthy’s performances between 1973-83. After this period, the artist packed away the objects of his perfomances in a big trunk. In 1991 he opened the trunk full of props, and photographed them one by one. The photographs are of dismembered toys, dolls, stuffed animals, bottles, masks, and utensils which have been transformed into besmirched and befould emblems. Price: £19.95
Richter Verlag 2002
104 pages Colour and B&W reproductions. ISBN 3933807670
23.5 x 28.5 cm English/German text. Hardcover
Katharina Grosse’s wall paintings are large-scale, temporary, architecture or site-dependent. The works, produced within a period of three years, are scattered around half the world: in Germany, Switzerland, America, Australia, New Zealand, among others. In museums, galleries or fair halls the artist has placed her painterly interventions with utmost precision. The issue for Katharina Grosse is the emotional effect of colour. She is convinced that the art of painting is sufficient unto itself and only wants to represent itself. Her paintings do not tell stories or subject themselves to any kind of geometric structure. For several years now Katharina Grosse has applied paint with an airbrush atomizer, making the colours appear willfully and radically free-range. During the painting process what is depicted is the speed and the rhythm of the application.
Texts by Steffan Bodekker, Roman Kurzmeyer, Judy Millar, Angela Schneider, Beat Wismer, Price: £25.00
Les Presses du Reel 2002
242 pages Colour and B&W reproductions. ISBN: 2711843742
20 x 26 cm Hardcover Price: £27.50
Centro nazionale per le arti contemporanee, Roma/Museum fur Gegenwartskunst Basel 2002
80pp Colour and B&W reproductions. ISBN 3720401396
31 x 23.5 cm English/Italian/German text. Hardcover
Recent catalogue, to accompany the touring exhibition, documenting a selection of Raedecker's work from the last three years. With 'Artist's Scrapbook' artists' pages and texts by Paolo Colombo, Jennifer Higgie and Philipp Kaiser. Price: £23.50
Picture This Moving Image 2002
136pp Colour and B&W reproductions. ISBN 0953987248
136pp English text. Softcover
John Smith's films, made over the past three decades, comprise one of the most consistently rich, inventive and thought provoking bodies of work in British film-making. In a climate that is increasingly hostile to ideas and experimentation in cinema, Smith's works are exemplars of aesthetic elegance and narrative play.
Published to accompany a retrospective touring exhibition, this book celebrates Smith's unique visual and literary vocabulary developed through some forty films, videos and installations. Smith tests the limits of the art of film-making, exerting pressure on each of its constituent parts: script, sound, image and editing.
Texts include an examination of Smith's work in relation to the London Film-makers Co-operative by AL Rees and an interview with John Smith by Cate Elwes.
Price: £12.00
152pp Colour reproductions throughout. ISBN 1870699599
11 x 15 cm English/Japanese text. Soft Cover
Alison Turnbull takes Japanese author Yukio Mishima's novel Spring Snow as a starting point to produce Spring Snow A Translation, literally a visual translation ordered by colour, what emerges is a visual essay on the nature of translation. With a new text by Tony White, this book is dual text, English/Japanese. Price: £12.00
Progetto Prada Arte 2002
340pp Colour and B&W reproductions. ISBN 8887029210
15 x 24 cm English text. Softcover
McGee's artistic career began in the 1980s, when he was active in the streets of San Francisco producing works that he signed with the pseudonym "Twist". Since then the artist has always regarded the city as the ideal space for his intervention.
The city is seen as the non-place where everything happens, where a wide variety of ideas and lifestyles are mixed together, drawing their strength from this amalgamation, and where the contrast between the centre and the periphery, between the wealthy districts and the slums, is even more striking.
In an age in which such cities as Mexico City, Los Angeles, Lagos and São Paulo continue to sprawl outwards and explode demographically, the historic vision of the city, focused on its centre, is making way for a peripheral vision that includes the suburban areas, an environment in which an eclectic, radical artistic language is developing, involving new forms of identity.
It is a trans-urban dimension that, with its hybridization, is transforming the modalities of creation, making them more dynamic and, at the same time, unstable and transitory. McGee's first works simply involved painting on walls and shutters, but he soon began to use waste materials, such as wrecked cars, empty bottles, discarded signs, broken cartons, abandoned bicycles, old sheet metal and any object or fragment attesting to the alienation, the precariousness and resignation of the city-dwellers: "I use anything near me... I'll paint on anything,"* says the artist, whose work reflects "the melancholia, humour and sensory overload of urban street life." In his works, which are characterized by acid romanticism, with its nocturnal overtones, originating from a desire to conquer life, a variety of influences come into play, ranging from Mexican mural painting, tramp art and the graffiti artists of the 1970s and 1980s to the poets of the beat generation, and also the transgressive and erotic culture of the comics.
McGee shared his interests and the sites for his works with other artists, such as Margaret Kilgallen and Chris Johanson, who carried out situationist operations involving the visual recycling of urban waste materials, and he soon became a leading figure in the alternative milieu of street art in San Francisco.
Recently he has collaborated with Stephen Powers/ESPO and Todd James/REAS on the realization of complex installations, the best known of which is Street Market (New York, 2000). Although he has maintained his own independent identity and has continued to work in the urban environment, he has now begun to exhibit his works in the official venues of the art world, such as galleries and museums: "I may choose to look at different things and paint in different settings, but I'm not trying to be 'underground' or any of those dumb trappings society tries to label people. Once it has been labelled, it can be marked as a 'trend'."* McGee studied painting and printmaking at the San Francisco Art Institute, graduating in 1991. In 1993 he had his first solo exhibition at the Museu Lasar Segall in São Paulo and in 1998 he exhibited his works at the Walker Art Center, Minneapolis.
In 1998 one of his installations was acquired by the San Francisco Museum of Modern Art and in 2001 he took part in the 49th Venice Biennale. McGee's project for the Fondazione Prada space consists of a huge installation that leads the public into a chaotic scene emanating a sense of unease, where dramatic presences - such as overturned trucks, as if they were in a road accident or abandoned in the wrecker's yard - contrast with lighter, fluctuating figures painted on huge metallic or monochrome walls.
Published on the occasion of the exhibition, this artist's book, comprising assemblages of photographs taken by McGee in the streets of the American cities where he realizes his works, is designed to create a dialogue between his own personal writing and the public dimension, consisting of urban landscapes with their vestiges of industry. In addition, the volume contains an interview with McGee by Germano Celant, a biography of the artist and a bibliography relating to his activity. Price: £45.00
Richter Verlag 2001
152 pages Colour reproductions. ISBN 3933807263
30 x 24.5 cm English text. Hardcover
Since the end of the 1960s, Hamish Fulton’s artistic activity has consisted primarily of walking through the landscape in many parts of the world. The physical action of walking enables Fulton to experience nature at first hand, for himself, and not, as is the case with most of us today, indirectly through one medium or another. Fulton has been photographing his ephemeral perceptions of nature and the landscape since the early 1970s, enabling the viewer to share these sensuous experiences with him. The thoughts, observations and feelings he writes down in his notebooks, and which have been a constituent part of his photographic work since the 1980s, reflect his experiences of the walks in a way which is at once documentary and poetical.
This publication is the first to provide an overview of Hamish Fulton's works of the last three decades. Price: £65.00
