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The Transported Man
A foreword by museum director and exhibition curator Marc-Olivier Wahler discusses the contemporary art exhibition The Transported Man within the framework of a teleportation magic trick described in Christopher Priest's 1995 novel The Prestige. Included is an interview between Wahler and France-based curator Christophe Kihm addressing how the brain reacts when interpreting an artwork, the language with which to approach art, and how these impact the future of museums and art exhibitions. Pairing the exhibition objectives with methods of illusion, an original essay by Christopher Priest, and a text by Francis Ponge, the book provides insight into the importance of belief and the nature of visual perception.
Michigan Stories
Published on the occasion of the major exhibition of the same title, this catalogue is the first to place the practices of artists Mike Kelley (1954-2012) and Jim Shaw (b. 1952) alongside each other in historical context, approaching their work as parallel visual meditations on Midwestern culture in particular and on American culture more broadly. The catalogue begins with their meeting at the University of Michigan in Ann Arbor and early collaborations, branching out to present major bodies of work from each artist with a specific interest in tracing the lines of influence as rooted in the vernacular visual cultures of Michigan and the Midwest. Illustrations of the artists' source material, their individual works, and installation views from the exhibition feature prominently throughout the publication, and essays by exhibition co-curators Marc-Olivier Wahler, Carla Acevedo-Yates, and Steven L. Bridges also unpack the many narratives layered in the exhibition, including an interview with Jim Shaw.
András Szántó. The Future of the Museum
As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped potential of art museums. Each of the twenty-eight conversations in this book explores a particular topic of relevance to art institutions today and tomorrow. What emerges from the series of in-depth conversations is a composite portrait of a generation of museum leaders working to make institutions more open, democratic, inclus...
Arcangelo Sassolino
Edited by Jasper Sharp. Text by Christoph Doswald.
The Hidden World
Graphics and propaganda from secret societies, evangelical and fundamentalist movements, new-age spiritualists, Scientologists, Freemasons, ultraconservatives and all kinds of conspirators; encyclopedias for children and even Dr. Netter's famous medical illustrations--with The Hidden World, Los Angeles-based artist Jim Shaw (born 1952) exhibits the incredible collection of didactic graphic art that is the main source of inspiration for his diversely informed art. Renowned for his striking paintings, drawings, videos, installations and performances, Shaw is also a compulsive collector, constantly on the hunt for pop-culture arcana in thrift stores or on the Internet. The Hidden World gives the reader the chance to dive into an overflowing world of paintings, sculptures, brochures, t-shirts, books, vinyl and educational material that recycles the myriad myths and beliefs of America. A lengthy interview with Shaw elucidates his fascination with this visual world.
Jim Shaw
A long-overdue survey of an essential West Coast artist whose humorous works delve into America’s underbelly and evolving counterculture. Over the past thirty years, Jim Shaw has become one of America’s most visionary artists, moving between painting, sculpture, and drawings, while building connections between his own psyche and the larger political, social, and spiritual history of America. Shaw’s imagery is mined from comic books, record covers, conspiracy magazines, obscure religious pamphlets, and other cultural refuse to produce a portrait of the American subconscious out of his personal obsessions. Shaw, along with fellow Michigan native Mike Kelley, moved to California in the 1970s to attend Cal Arts and was one of a number of notable artists to emerge from the school in the early 1980s. Shaw’s work is distinguished by rigorous formal and structural analyses of neglected forms of vernacular culture. Accompanying a major exhibition, this is the first major monograph devoted to the entirety of the artist’s unique, multifaceted career.
Eye sucks world
"I think that art per se is actually always striving to develop new conventions for seeing the world," says the Austrian artist Werner Reiterer. Known for his ironic leaps of the imagination, Reiterer is a professional questioner who investigates stereotypical ways of seeing and undermines expectations.
The Third Mind
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Everything Is Connected
Since the mid-twentieth century, conspiracy has pervaded our collective worldview, shaped by events such as the assassination of John F. Kennedy, the Vietnam War, Watergate, the Iran-Contra affair, and 9/11. Everything Is Connected examines how artists from the 1960s to the present have explored both the covert operations of power and the mutual suspicion between governments and their citizens. Featured are works by some thirty artists—including Sarah Charlesworth, Emory Douglas, Hans Haacke, Rachel Harrison, Jenny Holzer, Mike Kelley, Mark Lombardi, Cady Noland, Trevor Paglen, Raymond Pettibon, Jim Shaw, and Sue Williams—in media ranging from painting, drawing, and photography to video and installation art. Whether they uncover webs of deceit hidden in the public record or dive headlong into paranoid fever dreams, these artists use their work to take a powerful and proactive stance against the political corruption, consumerism, bureaucracy, and media manipulation that are hallmarks of contemporary life. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
De la Restauration Comme Fabrique Des Origines
This publication aims to clarify the relationships between material restoration and politics in Italian Renaissance art by focusing on the question of origin as a foothold for political, patrimonial, and cultural identity. Rather than reinstating the objects' initial forms and meanings, restoration practices implied remodeling them according to new identity needs and thus transforming their material and aesthetic reality.
