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Edited by Klaus Kertess. Artists include Acconci Studio, Kai Althoff, John Baldessari, Miroslaw Balka, Matthew Barney, John Bock, Louise Bourgeois, Cecily Brown, Vija Celmins, Francesco Clemente, Michael Craig-Martin, John Currin, Roy Dowell, Marlene Dumas, Carroll Dunham.
Matthew Barney
A generously illustrated look at the intricate narrative threads of three of the artist's earliest works, and their continued resonance today Celebrated for works blending performance, video, and sculpture, Matthew Barney has created complex narratives that emerge across series since his earliest exhibitions. Matthew Barney: OTTO Trilogy is the first book to trace the progression of three significant early projects--Facility of INCLINE, Facility of DECLINE, and OTTOshaft-- and to reveal the narrative system that links them. Titled after former football player Jim Otto, the series explores the training, discipline, and physical limits of the body alongside questions of sexual difference and d...
Victor Man
Victor Man, born in 1974, won international renown when his work was presented in the Romanian pavilion at the 2007 Venice Biennale. This first monograph documents a large portion of his artistic output, which ranges from painting to sculpture, installation, wall painting and printing.
Janice Guy
Introduction by Justine KurlandEssay by Thomas StruthJanice Guy weaves together thirty photographs from two distinct moments of Janice Guy¿s output as an artist: it re-presents a group of works that were produced and exhibited between 1975 and 1980, interspersing them with newly printed pictures selected from her archive during our research for the book.
Spacehawk
The complete collection of Wolverton's legendary costumed crusader. Basil Wolverton is one of the greatest, most idiosyncratic talents in comic book history. Though he is best known for his humorous grotesqueries in MAD magazine, it is his science-fiction character Spacehawk that Wolverton fans have most often demanded be collected. The wait is over, as The Complete Spacehawk features every story from Spacehawk’s intergalactic debut in 1940 to his final, Nazi-crushing adventure in 1942. Spacehawk is the closest thing to a colorfully-costumed, conventional action hero Wolverton ever created, yet the strip is infused with Wolverton’s quintessential weirdness: controlled, organic artwork of strangely repulsive aliens and monsters and bizarre planets, and stories of gruesome retribution that bring to mind Wolverton’s peer, Fletcher Hanks. Spacehawk had no secret identity, no fixed base of operations beyond his spaceship, and no sidekicks or love interests. He had but one mission in life: to protect the innocent throughout the Solar System, and to punish the guilty. He was a dark ― yet much more visually playful ― counterpart to Buck Rogers and Flash Gordon.
The Infinite Mix
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Wait to Wait
An "unequal" pair from the ranks of philosophy and contemporary art were brought to the table for debate. The celebrated Russian philosopher Boris Groys, and the young international artist from Georgia Andro Wekua, discussed their shared experiences in the Soviet system, the conditions governing production in contemporary art today, and the sensitivities of a generation of artists born in the 1970s, taking Wekua's two large installations "Wait to Wait" and "Get Out of My Room" as examples. Phenomena such as loneliness, doubles, repetitions, mirror images, and waiting are the central themes of this conversation, illustrated by pictures of the two installations and several collages by Wekua.
Andro Wekua: Dreaming Dreaming
Working in a diverse array of media, Andro Wekua has developed a visual language grounded in the exploration of human experience through the subtle intersections of individual and pooled memory, personal identity and history.
Pine Flat
In the film and photographic series "Pine Flat" constructed over a three year period, Sharon Lockhart addresses the experience of an American childhood, using the stunning landscape of America's Sierra Nevada Mountains to bring home the close relationships of children with their natural surroundings. Lockhart began by constructing a portrait studio in a small rural community, and extending an open invitation to local children, and then by immersing herself in their environment and noting the complexity of their interactions. Her highly descriptive, almost painterly portraits, taken over the course of several years, abjure narration for the pleasure of the gaze and the notion of temporality. The studio remains a constant, its black backdrop, cement floor and natural lighting; a theatrical setting that allows the children to develop a different kind of relationship to the camera. Those stills stand in stark contrast to the pictorialism of a series showing the community's majestic natural surroundings, and to the portraits on 16mm film that accompany them, which are both literally and figuratively moving.
