Search results for ""Gregory R. Miller Company""

Celebrated photographer Catherine Opie (born 1961) has long documented the faces and landscapes of American communities, both inside and outside the mainstream. The subjects of her highly regarded portraits have ranged from California surfers, friends and fixtures in LGBT communities, high school football players and the artist herself. In this series of photographs documenting the inauguration of President Barack Obama, Opie broadens her focus to an expanded community of Americans: on January 20, 2009, over one million people gathered on the national mall to see the swearing in of America's first black president, united by their pride at what had been accomplished and a collective hope for the future. In the tradition of Robert Frank's photographs of the 1956 Democratic National Convention in Chicago and William Eggleston's 1976 Election Eve series, Opie's Inauguration, a series of 100 photographs, offers an intimate political and personal view of one of the most public days of a nation. Accompanying texts by author, curator and photo-historian Deborah Willis and writer Eileen Myles address the significance of Opie's achievement with this body of work and further explore the wonder, elation and the self-conscious anticipations of this historic moment.

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One of the most continuously influential figures of the past half century, Joan Jonas was among the first artists to embrace the forms of video, performance and installation. From her beginnings as a sculptor, and her emergence in the New York art and performance scenes of the 1960s and 70s (including the seminal "Vertical Roll" video piece of 1972, in which the titular television malfunction enacted a memorably fractured female identity), up through her six appearances at Documenta and her performance at the Performa 13 biennial, her work has always been surprising, groundbreaking and necessary. This extensively illustrated volume, containing hundreds of full-color photographs, drawings, scripts and diagrams, presents the definitive collection of Jonas' work. The first and authoritative career-spanning monograph of the multimedia pioneer, it covers more than 40 years of performances, films, videos, installations, texts and video sculptures. Art writer Joan Simon has painstakingly researched every one of Jonas' works and includes notes on each piece, along with new and never-before-published writings by the artist that provide extensive background. In the Shadow a Shadow also contains essays by Douglas Crimp, Barbara Clausen and Johanna Burton, and unpublished photographs and drawings from Jonas' archives. With a detailed production and exhibition history of the video and performance works, as well as the first comprehensive bibliography and biography of the artist, this intensively researched and authoritative book documents the range, breadth and depth of one of the most prolifically original artists of the twentieth and twenty-first centuries. New York–born and based, Joan Jonas (born 1936) has taught at UCLA School of the Arts, in Stuttgart, Germany and at the Massachusetts Institute of Technology, where she is a professor emerita. She has lived and worked in Greece, Morocco, India, Germany, Holland, Iceland, Poland, Japan, Italy, Hungary and Ireland.

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A maverick figure in New York’s downtown scene, Humphries has revitalized the language of abstract painting over a career that has covered four decades and multiple transformations in style Published on the occasion of Jacqueline Humphries’ exhibition at the Wexner Center for the Arts, this major catalog surveys the artist’s work from the past seven years, including dozens of new paintings and her largest multipanel installations to date. The exhibition and its accompanying catalog highlight the importance of digital communications and online culture in Humphries's ever-changing practice. Incorporating the QWERTY keyboard as a means of generating abstract forms, the artist's recent paintings integrate emoticons, emojis, CAPTCHAs and ASCII text as layers of mark-making in dense and vivid works. Other featured works explore the visual language of corporate logos; black light paintings presented in darkened spaces; a group of protest paintings that subtly channel political dissent; and thickly painted renderings of white noise, in which digital content receives viscerally material application. Across each body of work, Humphries reaffirms her ongoing commitment to abstract painting, while bringing a seemingly traditional form into dialogue with the issues and interfaces that shape contemporary life. The book features essays by exhibition curator Mark Godfrey, Courtney J. Martin, Jenny Nachtigall and former Wexner Center Director Johanna Burton. Designed by Studio Markus Weisbeck, this extensively illustrated monograph offers an in-depth view of Humphries's continued evolution in painting.

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The Washington Post's Jessica Dawson recently wrote of New York-based artist Lyle Ashton Harris, "Two decades into his career, Harris still concerns himself with the game of appearances and perception: how we present ourselves in public, how our bodies--and the meanings they carry--are received by others, how gender and race are constructed... He also reveals a poetic sensibility: a desire, shared by writers and poets, to make visible our complicated inner worlds. He acknowledges the ambivalences we carry." Blow Up, Harris' first retrospective monograph, published on the occasion of his 2008 traveling exhibition, which originated at the Scottsdale Museum of Contemporary Art, features full-color reproductions from throughout his career: His "white face" self-portraits of the late 1980s, his collage-based work of the mid-1990s and his more recent Polaroid self-portraits, large-scale Blow Up collages and Ghana-based photographs. Designed by award-winning COMA, the volume includes several important new essays as well as a revealing conversation between Harris and artist Senam Okudzeto. Published in collaboration with the Scottsdale Museum of Contemporary Art.

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Both personal and universal, Harris' multimedia works weave together legacies of family dynamics, racial discrimination and queer historiesGathering photographs and installations from both his celebrated and lesser-known series, Our First and Last Love charts new connections across the artistic practice of New Yorkbased artist Lyle Ashton Harris (born 1965). Inspired by his adolescence divided between New York City and Dar es Salaam, Harris explores the complexities of African and African American collective identity while forging his own personal narrative as a queer Black man. The retrospective exhibition chronicles Harris' approach to representation and self-portraiture while tracing central themes and formal techniques in his work over the last 35 years. Central to this collection are Harris' most recently completed pieces. Titled Shadow Works, these multimedia assemblages set photographic prints amid Ghanaian funerary textiles, shells, pott

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An expansive artistic practice that tests our perception of everyday objectsThis volume is Mexico Citybased artist Tania Pérez Córdova's (born 1979) most comprehensive monograph to date, featuring a selection of the artist's oeuvre spanning the last 10 years. Conceiving of her artworks as events, she creates sculptures, installations and performances that consider the contextual relationships of everyday objects and create a vivid sense of time and space outside the gallery. Her quiet, contemplative works forgo the autonomy of things in favor of their integral role within a nexus. This bilingual (English/Spanish) publication presents different global perspectives on the artist's work from distinguished curators, as well as comprehensive image documentation from institutional surveys in Mexico City, Chicago and Basel, individual work plates, an artist text, a commissioned interview and an index of works in the form of a glossary.

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The first monograph on Raven Halfmoon’s dramatic, monumental sculptures exploring Caddo Nation heritage and feminism Born and raised in Norman, Oklahoma, Raven Halfmoon (born 1991) learned traditional ceramic techniques as a teenager from a Caddo elder. Her celebrated practice spans torso-scaled to colossal stoneware sculptures, with some soaring up to nine feet and weighing over 1,000 pounds. These dramatic totemic works reference stories of the Caddo, the feminist lineage of indigenous artmaking and the complexities of her lived experience. Produced in conjunction with the exhibition of the same name, co-organized by The Aldrich Contemporary Art Museum and Bemis Center for Contemporary Arts, Flags of Our Mothers presents work made over the last five years, including some of the artist’s largest sculptures to date. Fully illustrated with texts by the co-curators and a new commissioned poem by Kinsale Drake, this publication marks Halfmoon’s first museum catalog.

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A half-century of the acclaimed sculptor's materially seductive explorations of language and history For nearly five decades, New York–based artist Rob Wynne (born 1948) has incorporated fragments of language drawn from conversation, literature and popular culture to create visually and materially seductive works that employ text as object or image. Across sculpture, installation, collage and relief, Wynne’s work appropriates words and images from a broad array of historical figures and personal remembrances. Embroidered photographs of 18th-century Meissen figurines are overlaid with incongruous words; fragments of phrases are spelled out in syrupy hand-poured letters of mirrored glass. Featuring new texts by noted American novelist A.M. Homes and independent curator Michael Duncan alongside an interview with NYC living treasure Linda Yablonsky, this fully illustrated monograph is the first comprehensive publication on the artist’s work, spanning the 1970s to the current day and tracking his development from early paintings and collages to a recent exhibition at the Brooklyn Museum of Art.

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The definitive account of Lucy Lippard’s pioneering 1971 feminist art exhibition, with work from a new generation of artists alongside the original participants This volume celebrates the 51st anniversary of the historic 1971 exhibition Twenty Six Contemporary Women Artists, curated by Lucy R. Lippard and presented at the Aldrich Contemporary Art Museum. It showcases work by the artists included in the original 1971 exhibition, alongside a new roster of 26 female-identifying or nonbinary emerging artists, tracking the evolution of feminist art practices over the past five decades. This significant volume includes new essays by Lippard, Amy Smith-Stewart and Alexandra Schwartz, as well as rare historical documentation of the original exhibition, images, installation views and checklists from both the 1971 and 2022 shows. Among the artists whose work was presented in the original 1971 exhibition are Cecile Abish, Alice Aycock, Cynthia Carlson, Susan Hall, Mary Heilmann, Audrey Hemenway, Laurace James, Mablen Jones, Carol Kinne, Christine Kozlov, Brenda Miller, Mary Miss, Dona Nelson, Shirley Pettibone, Howardena Pindell, Adrian Piper, Sylvia Plimack Mangold, Reeva Potoff, Paula Tavins, Merrill Wagner, Grace Bakst Wapner, Jackie Winsor and Barbara Zucker. (All but three of the original 26 artists are included in 52 Artists.) The new generation of artists included are Leilah Babirye, Phoebe Berglund, LaKela Brown, Lea Cetera, Susan Chen, Pamela Council, Lizania Cruz, Amaryllis DeJesus Moleski, Florencia Escudero, Alanna Fields, Emilie L. Gossiaux, Ilana Harris-Babou, Loie Hollowell, Maryam Hoseini, Hannah Levy, Catalina Ouyang, Anna Park, Erin M. Riley, LJ Roberts, Aya Rodriguez-Izumi, Aliza Shvarts, Astrid Terrazas, Tourmaline, Rachel Eulena Williams, Kiyan Williams and Stella Zhong.

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Seven decades of incredibly dynamic sculpture in bronze and steel from the Chicago virtuoso—with full-color plates, archival materials and much more Sculptor Richard Hunt was only 35 years old at the time of his 1971 retrospective exhibition at MoMA—the first for an African American sculptor at the museum—and his continued work over the course of his nearly seven-decade-long career, ranging from small bronze and steel sculptures to large-scale public commissions, has cemented his place as one of the foremost artists of the 20th century. This book is the definitive look at Hunt’s work and career. Fully illustrated with more than 350 images, including historical photographs, installation images, images of Hunt in his studio, newspaper clippings and a plate section of significant works from throughout the artist’s career, this book also includes a section on his major public commissions, a recent interview with art historian Adrienne L. Childs and an illustrated biography and chronology by Hunt's biographer Jon Ott. Essays discuss Hunt’s attentiveness to antiquity, the ways in which his critical reception aligned with his practice and the relevance of his unique studio—a decommissioned electrical substation in Chicago’s Lincoln Park neighborhood—to the ethos of his artmaking. This volume is a testament to the monumental works and stature of one of our greatest living artists. Chicago artist Richard Hunt (born 1935) is one of the most important sculptors of the 20th century. Hunt has had over 150 solo exhibitions and is represented in more than 100 public museums. In 2022 the Obama Presidential Center in Chicago commissioned him to make a work for its collection.

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"Whitten's objects in carved wood and found materials revisit and reclaim the forms, rituals and spirituality of African sculpture." –Roberta Smith, New York Times Jack Whitten was one of the most important artists of his generation. His paintings range from figurative work addressing civil rights in the 1960s to groundbreaking experimentation with abstraction in the '70s, '80s and '90s to recent work memorializing black historical figures such as James Baldwin and W.E.B. Du Bois. Whitten began carving wood in the 1960s in order to understand African sculpture, both aesthetically and in terms of his own identity as an African American, and continued developing this practice throughout his life. For the first time ever, these revelatory works are collected in Odyssey, accompanying a landmark exhibition coorganized by the Baltimore Museum of Art and the Metropolitan Museum of Art. Odyssey features the sculptures made by Whitten over the past 50 years, as well as the Black Monolith series of paintings, and Whitten's own archival photographs documenting his life and process. The catalog includes major new texts from exhibition curators Katy Siegel and Kelly Baum, as well as contributions from philosopher Kwame Anthony Appiah, art historians Richard Shiff and Kellie Jones, a lengthy biographical interview with Whitten by art historian Courtney J. Martin and the essay "Why Do I Carve Wood?" by the artist himself. Gorgeously illustrated with hundreds of illustrations and never-before-published photographs, Odyssey is a landmark exploration of one of the most significant artists of the 20th century, and a monument to a life and career that, as described by the Washington Post, "enriched the abstract tradition in Western art with fresh political and spiritual content."

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Stars as minimalist and maximalist motif in the art of Frank Stella, from his earliest paintings to his most recent sculptures As a painter, sculptor and printmaker, Frank Stella (born 1936) has always paid great attention to geometric lines and patterns in his work, creating pieces that are arrestingly kaleidoscopic in both their form and content with bold lines and shaped canvases. This catalog, published for his 2020 exhibition at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, focuses in particular on the enduring use of star shapes in Stella’s oeuvre. Stella’s depictions of stars range from the minimalism of his early career, with lithograph prints of brightly colored polygonal patterns, to the maximalism of his more recent work seen in his towering angular sculptures made from stainless steel. Although he is well aware that his last name is the Latin word for star, Stella maintains that his fixation on the shape is inspired by its form and the endless possibilities that accompany the star, rather than its etymology. Both instantly recognizable and infinitely abstract, stars seem like an obvious choice for an artist who has dedicated his life to experimenting with form. In addition to a plates section of the 60 pieces included in the Aldrich show, this book presents installation shots throughout the museum’s interiors and outdoor gardens, and photographs of the artist’s studio. The curators of the exhibition, Richard Klein and Amy Smith-Stewart, worked closely with Stella on the exhibition installation and contribute major essays that add new dimensions to our understanding of a widely celebrated and influential artist.

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