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Beverly Buchanan
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Rachel Jones
Artist Rachel Jones's first publication, say cheeeeese, is published to accompany her new commission at Chisenhale Gallery, London, in spring 2022. For her first solo exhibition in an institution, she has developed her chosen materials of oil pastels and oil sticks to produce a new body of paintings on canvas and paper. The publication will feature reproductions of new works by Jones alongside her photo essay and newly commissioned texts by poet and artist Anaïs Duplan; Chisenhale Gallery Senior Curator, Ellen Greig; curator and researcher Aïcha Mehrez; poet, essayist, playwright, and MacArthur Fellow Claudia Rankine; and curator Yates Norton; with a foreword by Chisenhale Gallery Director, Zoé Whitley.
Support Structures
"Support structures is a manual for what bears, sustains, props and holds up. It is the culminations of many endeavours. The first is the collaborative project "Support Structures" by Céline Condorelli and Gavin Wade from 2003-2009. The second is a critical enquiry by Condorelli that exposes an almost complete absence of literature or theory of what constitutes "support". This book is itself articulated as a supporting structure, a manual for engagement in and with its subject, which attempts both functionally and structurally to operate much like it." -- Foreword.
The Company She Keeps
"This publication accompanies the exhibitions Céline Condorelli at Chisenhale Gallery, London, and Positions at Van Abbemuseum, Eindhoven, 2014..."-- page [118].
Paul Noble
Catalog of an exhibition held at Gagosian Gallery, London, Nov. 10-Dec. 17, 2011.
Milton Avery
Milton Avery chronicles the work of an artist who, although he did not become a serious, full-time painter until after he moved to New York at the age of 40, managed to carve out a unique position for himself in the art world over the next thirty-five years. A friend and colleague of the Abstract Expressionists who nevertheless maintained his commitment to representation, Avery was enormously important to several succeeding generations of artists and produced some of the most resonant and beloved images in American art history. Avery's work reflects the concerns he shared with the pioneer French modernists including Matisse, Dufy, and Picasso: saturated colour in distinctly new combinations ...
Manifesta 10
Published on the occasion of Manifesta 10, the European Biennial of Contemporary Art in St. Petersburg, Russia, this illustrated volume collects artworks, concepts, and essays that invite the reader to explore the possibilities of contemporary art in deeply historical settings. For the first time, Manifesta is hosted by a museum, uniting the State Heritage Museum's 250th anniversary and Manifesta's twentieth anniversary as a nomadic biennial. This book, which is structured like a classic catologue, reflects the intuitive and playful nature of Kasper Konig's exhibition. Contemporary art stands alongside the historical and cultural heritage of the Hermitage, and many projects create a unique homage to it and to the city of St. Petersburg. New works claim their place in ways that are often subtle and surprising, inviting viewers and readers to grapple with the endless ways in which contemporary art questions, complements, or even dovetails with tradition.
15 Lombard St
Tiré du site Internet de Book Works: "15 Lombard St. is a rigorously researched masterplan of how to rob a particular bank in the City of London. By observing the daily routine in and around the bank, Kerbel reveals the most detailed security measures such as: the exact route and time of money transportation; the location of CCTV cameras in and around the bank along with precise floor plans that mark the building's blind spots. Kerbel's meticulous plans include every possible detail required to commit the perfect crime. The ubiquitous fantasy of a bank robbery functions as a backdrop for Kerbel's "play of subversion". By surveying surveillance Kerbel shows how different systems are interrelated, forming a web of control. Kerbel's aim is not simply to subvert but to emphasise the fact that the idea of absolute control and the fantasy of robbing a bank are interconnected and mutually sustaining."
Bernard Frize
"This is the first full-length monograph on the paintings of Bernard Frize (b.1949), an artist whose work straddles movements and styles from Colour Field to Minimalism, Fluxus, and Conceptual Art. Frize's works utilise a carefully constructed range of tools, processes, choreography and collaboration to catalogue, in complex and unexpected abstract form and colour, the possibilities of his chosen materials. Emerging from the politicised 1970s onwards, Frize swam against the tide of opinion regarding painting's apparent obsolescence to develop a painting practice that could express political commitment and social concerns, while avoiding both overt statement and pure decoration. David Rhodes' text provides a detailed consideration of Frize's development, from the earliest works onwards. Placing his paintings in a broader art-historical and philosophical context, a wider conversation about painting itself is presented alongside Frize's significant place within the medium's history. Exhibition: Centre Pompidou, Paris, France (29.05.-26.08.2019)."--
