Search results for ""art publishers""

The most comprehensive survey of the work of Maurice Sendak, the most celebrated picture book artist of all time—with previously unpublished archival materials Published in conjunction with the eponymous Sendak retrospective touring museums in the United States and Europe in 2022–24, Wild Things Are Happening emphasizes Maurice Sendak’s relationship to the history of art and the influences of his art collecting on his images. It features previously unpublished sketches, storyboards and paintings that emphasize Sendak’s creative processes. Bringing together a broad diversity of perspectives on the award-winning artist, the book includes an extended essay by the renowned art historian Thomas Crow that traces the genesis and cultural contexts of Sendak’s most famous book, Where the Wild Things Are. It also includes interviews and appreciations by many of Sendak’s key collaborators, including Carroll Ballard, Michael Di Capua, John Dugdale, Spike Jonze, Twyla Tharp and Arthur Yorinks. Maurice Sendak (1928–2012) was born in Brooklyn, New York, to Jewish immigrant parents from Poland. A largely self-taught artist, Sendak wrote and illustrated over 150 books during his 60-year career, including Kenny’s Window, Very Far Away, The Sign on Rosie’s Door, Nutshell Library (consisting of Chicken Soup with Rice, Alligators All Around, One Was Johnny and Pierre), Higglety Pigglety Pop!, Where the Wild Things Are, In the Night Kitchen and Outside Over There. He collaborated with such celebrated authors as Meindert DeJong, Tony Kushner, Randall Jarrell, Ruth Krauss, Else Holmelund Minarik and Isaac Bashevis Singer, and he illustrated classics by the Brothers Grimm, Melville and Tolstoy.

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Design Miami is the global forum for twentieth- and twenty-first-century collectible design, bringing together the most influential collectors, gallerists, designers, curators and critics from around the world in celebration of design culture and commerce. This catalogue presents the fair’s complete exhibition program, and includes profiles of the world’s top design galleries, interviews with emerging and established talents and a market index of designers.

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Andy Warhol’s The Chelsea Girls had its premiere at the Film-Maker’s Cinémathèque on 15 September 1966. It sold out a 200-seat theatre and went on to become the first film to move from the underground to commercial cinema. Since 1972, when Warhol pulled all of his films out of distribution, the public has had extremely limited access to The Chelsea Girls , outside of museum screenings. In honour of the 20th Anniversary of The Andy Warhol Museum and what would have been Warhol’s 85th birthday, hundreds of Warhol’s films – some never seen before – have been converted to a digital format with the partnership of The Andy Warhol Museum, The Museum of Modern Art, New York, and the Moving Picture Company (MPC), a Technicolor Company. This book is an in-depth look at Warhol’s most famous film. It includes all newly digitized film stills, never-before-published transcripts, unpublished archival materials, and expanded information about each of the individual films that comprise the three- plus hour film. As the film alternates sound between the left and right screens, the book reproduces the transcript in complete form as one hears it, with imagery from the corresponding reels. There is also a full transcription of the unheard reels in the back of the book. This is a substantial contribution to the scholarship on Warhol’s complex and most commercial film.

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The shipwreck narrative is used to explore globalization, colonization and climate change in the masterful works of contemporary American painter Alexis Rockman In Shipwrecks, Alexis Rockman (born 1962) looks at the world’s waterways as a network by which all of history has traveled. The transport of language, culture, art, architecture, cuisine, religion, disease and warfare can all be traced along the routes of seafaring vessels dating back to and in some cases predating the earliest recorded civilizations. Through depictions of historic and obscure shipwrecks and their lost cargoes, Rockman addresses the impact—both factual and extrapolated—the migration of goods, people, plants and animals has on the planet. This timely publication, which includes essays from leading scholars, is propelled by impending climate disaster and the current largest human migration in history, taking place in part by waterway.

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A definitive resource on California’s Light and Space and Finish Fetish movements of the 1960s and ’70s This volume explores the art of Light and Space and related “finish fetish” pieces with highly polished surfaces. In the 1960s and 1970s, various artists in Southern California began to create works that investigate perceptual phenomena: how we come to understand form, volume, presence and absence through light, whether seen directly through other materials, reflected, or refracted. Many artists used newly developed industrial materials—including sheet acrylic, fiberglass and polyester resin—in their work. Light, Space, Surface draws on the Los Angeles County Museum of Art’s deep holdings of this material, revealing the vibrancy and diversity of this slice of American art history. Artists include: Peter Alexander, Larry Bell, Billy Al Bengston, Judy Chicago, Gisela Colón, Ron Cooper, Mary Corse, Ronald Davis, Guy Dill, Laddie John Dill, Fred Eversley, Robert Irwin, Craig Kauffman, John McCracken, Bruce Nauman, Helen Pashgian, Roland Reiss, Roy Thurston, James Turrell, De Wain Valentine, Doug Wheeler and Norman Zammitt.

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Between art and activism, from climate change to immigration: the multimedia work of Andrea Bowers Based in Los Angeles, Andrea Bowers (born 1965) constructs her practice around the notions of collaboration, representation and engagement. Through her dedication to social and environmental justice, as well as her partnerships with activist organizations and various protest movements, Bowers has renegotiated her role as artist in society. Running throughout her drawings, paintings, videos and installations is a rigorous reevaluation of the concepts, structures and images that have guided our relentless search for meaning and justice. With work that is at once hyper-conceptual and socially engaged, Bowers creates spaces within which to share and evaluate the potential of art as a tool for social progress—while serving as witness and documentarian to the work of activists worldwide. This book is a comprehensive and definitive survey of Bowers’ work to date and investigates some of the key, longstanding interests that have guided her practice. Critical pieces from writers of various backgrounds and fields position Bowers’ practice in the context of the movements, histories and struggles that make up these broader concerns. Accompanying these illuminating texts are full-color illustrations of works, including a selection of Bowers’ well-known neon sculptures and large-scale installations, as well as numerous other drawings, paintings, photographs and video works.

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Sixteen international artists at the forefront of feminism This book focuses on a selection of midcareer international artists whose oeuvres are informed by the legacies of feminist thought. Each artist adds to the feminist discourse, whether by reclaiming women’s marginalized creative histories, using gender discrimination as a method of institutional critique or creating alternate research methodologies that confront patriarchal norms. The book includes sculpture, painting, video, installation and performance art, and features lesser-known projects or entirely new commissions that recast sociopolitical realities throughout the world. In addition to extensive illustrations, the book includes essays by Anne Ellegood and Connie Butler, curators and art historians whose practices have also been dedicated to a discussion of women’s rights. Artists include: Leonor Antunes, Yael Bartana, Pauline Boudry / Renate Lorenz, Candice Breitz, Shu Lea Cheang, Minerva Cuevas, Vaginal Davis, Every Ocean Hughes, Bouchra Khalili, Laura Lima, Teresa Margolles, Otobong Nkanga, Okwui Okpokwasili, Lara Schnitger and Beverly Semmes.

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Marclay fuses art and technology to draw on the sounds and images of life on Snapchat In Sound Stories, American artist and composer Christian Marclay (born 1955) fuses art and technology, using Snapchat videos as raw material. Featuring texts by Max Maxwell, this book documents the collaboration between the artist and Snapchat in an innovative project mixing the sounds and images of everyday life found on the multimedia messaging app, aggregating unattributed stories. Using algorithms created by a team of engineers at Snap Inc., Marclay experiments with millions of publicly posted Snapchat videos to create five immersive audiovisual installations, two of which are interactive. The Organ, a five-octave keyboard and its bench, allows the spectators to trigger video segments and their matched sounds onto the wall. Rooted in a sampling aesthetic fundamental to Marclay’s work, these installations respond to the storytelling available on Snapchat and visitors’ sounds and movements in the gallery space.

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A legendary Parisian collection of minimalist and conceptual art, and its evocative installation in the home of collector Ghislain Mollet-Viéville This book documents the scrupulous recreation, inside MAMCO Geneva, of a flat owned between 1975 and 1992 by Parisian collector and self-described agent d’art Ghislain Mollet-Viéville. Mollet-Viéville’s apartment on the rue Beauborg showcased his incredible collection of minimalist and conceptual art; the flat served flexibly as home, gallery and crossroads of international contemporary art. Featuring works by Victor Burgin, Dan Flavin, Donald Judd, Carl Andre, Claude Rutault, Art & Language, John McCracken and Lawrence Weiner, Mollet-Viéville’s collection, and its display in his apartment, defined a radical approach to collecting and played an important role in publicizing the work of these artists in France. MAMCO acquired Mollet-Viéville’s groundbreaking collection in 2017; The Apartment is the first publication to celebrate and study Mollet-Viéville’s collection and its faithful reinstallation at MAMCO Geneva as a “period room” of contemporary art history. The Apartment features an analysis of each work included in the installation, an interview with Mollet-Viéville conducted by Lionel Bovier and Thierry Davila, and an essay by Patricia Falguières.

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"This sorry episode has been illuminated in books and documentaries. But I've never felt its emotional texture—the unexpected mix of dereliction and upstanding hopefulness—so vividly as in this set of photographs taken by Ansel Adams and Dorothea Lange and five others, among them an artist incarcerated at Manzanar." –Pico Iyer In the weeks following the bombing of Pearl Harbor on December 7, 1941, American suspicion and distrust of its Japanese American population became widespread. The US government soon ordered all Japanese Americans (two thirds of them American citizens) living on the West Coast to report to assembly centers for eventual transfer to internment camps, openly referred to by the New York Times as "concentration camps." Within a few months of Pearl Harbor, President Franklin D. Roosevelt signed Executive Order 9066; soon after, the War Relocation Authority (WRA) was established and by the end of March, the first of 10,000 Japanese evacuees arrived in Manzanar, an internment camp in the Owens Valley desert at the foot of the Sierras. Families were given one to two weeks' notice and were allowed to pack only what they could carry. Businesses were shuttered and farms and equipment were sold at bargain prices. Upon arrival at Manzanar, each person was assigned to a barrack, given a cot, blankets and a canvas bag to be filled with straw in order to create their own mattresses. Dorothea Lange was hired by the WRA to photograph the mass evacuation; she worked into the first months of the internment until she was fired by WRA staff for her "sympathetic" approach. Many of her photographs were seized by the government and largely unseen by the public for a half century. More than a year later, Manzanar Project Director Ralph Merritt hired Ansel Adams to document life at the camp. Lange and Adams were also joined by WRA photographers Russell Lee, Clem Albers and Francis Stewart. Two Japanese internees, Toyo Miyatake and Jack Iwata, secretly photographed life within the camp with a smuggled camera. Gathered together in this volume, these images express the dignity and determination of the Japanese Americans in the face of injustice and humiliation. Today the tragic circumstances surrounding displaced and detained people around the world only strengthen the impact of these photos taken 75 years ago.

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These early letters from John Cage to Merce Cunningham will be revelatory for many. While the two are widely known as a dynamic, collaborative duo, the story of how and when they came together has never been fully told. In the 39 letters of this collection, spanning 1942 46, Cage shows himself to be a man falling deeply in love. When they first met at the Cornish School in Seattle in the 1930s, Cage was 26 to Cunningham's 19, their relationship was purely that of teacher and student, and Cage was also very much married.It was in Chicago that their romantic relationship would begin. Cage was teaching at Moholy-Nagy's School of Design when Cunningham passed through town as a dancer with the Martha Graham Company on March 14, 1942. The letters begin in January, but a week after Cunningham's performance, the essential correspondence begins. Cage's letters to Cunningham are passionate, distraught, romantic and confused, occasionally containing snippets of poetry and song. They are also more than love letters, with intimations that resonate with our experience of the later John Cage.Love, Icebox takes its shape from these letters transcribed, chronologically ordered and in some instances reproduced in facsimile. Laura Kuhn, Cage's assistant from 1986 to 1992 and now longtime director of the John Cage Trust, adds an introduction, postscript and running commentary. Photographic illustrations of their final 18th St loft, as well as personal and household objects left behind, remind us of the substance and rituals of a long-shared life.

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"Modesty and discretion characterize everything Christenberry touches.” –Richard B. Woodward, The New York Times William Christenberry is firmly established as a contemporary American master photographer, but no comprehensive overview of his diverse talents is currently in print. This 260-page volume--the largest Christenberry overview yet published--corrects this lacuna, offering a thematic survey of his half-century-long career. It is composed of 13 sections, each devoted to a particular series or theme: the wooden sculptures of Southern houses, cafes and shops; the early, black-and-white, Walker Evans-influenced photographs of Southern interiors, taken in Alabama and Mississippi in the early 60s; documentations of Ku Klux Klan meeting houses and rallies, from the mid-1960s; color photographs of tenant houses in Alabama, from 1961 to 1978; signs in landscapes, ranging from handwritten gas station signs to Klan and corporate signs; graves (which, through Christenberry's lens, emerge as a kind of folk art); churches in Alabama, Delaware and Mississippi, taken between the mid-1960s and the 80s; Alabama street scenes, in towns such as Demopolis, Marion and Greensboro; street scenes in Tennessee (mostly Memphis); Southern landscapes; gas stations, trucks and cars in Alabama; and a selection from Christenberry's famous series of buildings to which he returns annually, photographing them over several decades-the palmist building, the Underground Nite Club, Coleman's Cafe, the Bar-B-Q Inn, the Green Warehouse and the Christenberry family home, near Stewart, Alabama. William Christenberry (born 1936) has been a professor at the Corcoran College of Art and Design, Washington, D.C., since 1968. His work has been the subject of numerous solo exhibitions over the last 40 years, and can be found in numerous permanent collections, including those of the Smithsonian American Art Museum, Washington, D.C.; The Museum of Modern Art and Whitney Museum of American Art, New York; San Francisco Museum of Modern Art; and the Center for Creative Photography, Tucson. His work was the subject of a major year-long solo exhibition at the Smithsonian American Art Museum in 2006.

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Aura Rosenberg is concerned with the visible expression of sexual desire. Capturing the moment of orgasm on camera is usually reserved for the voyeur, the hidden witness. What Rosenberg has done is present herself as the public's witness via the camera, inviting a number of men into her studio to reenact the ecstasy of release, the moment when potency and vulnerability coexist. The result is a collection of extraordinary photographs that run the gamut of psychosexual expression. Whether her subjects were really giving their best shot or simply indulging in sublime fakery is just one of the very pertinent questions these pictures throw out. In acting out their most abandoned sexual and emotional moment before her lens, Rosenberg's subjects invite us to step beyond the traditional limits of voyeurism. These beautiful, curious and erotic images reserve the traditional male-on-female gaze and relieve it of some of its associations with misogyny and perversity. Writers Lynn Tillman and Gary Indiana reflect together on the experience of witnessing these photographs.

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Medalla''s first major retrospective draws from his archive of kinetic art designs and works on paper to outline his transformative impact on the 20th-century avant-gardeThis comprehensive survey of drawings and works on paper by the late Filipino artist David Medalla (19422020) explores his prolific career from the mid-1950s to the late 2010s. The book tracks and contextualizes Medalla's pioneering involvement in artistic movementsfrom kinetic art to performance and participatory artwhile providing insight into more intimate forms of exchange between contemporaries and friends to underscore the interpersonal narratives that often tend to evade art history. In anticipation of a major retrospective exhibition of Medalla's art at the Hammer Museum, this volume charts the artist's persistent presence that has sometimes been omitted from the histories of art movements in which he played a significant role. This publication showcases Medalla as an influential figu

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Drawings, videos and murals center the experience of the Deaf community in an auditory worldIn this monograph, the groundbreaking work of the American-born, Berlin-based artist Christine Sun Kim (born 1980) is explored through essays, short texts and reflections, an interview and abundant large-scale images of Kim''s work. An artist who foregrounds the visual, physical and political dimension of sound, Kim challenges the notion that sound is solely an auditory experience. Kim, whose first language is American Sign Language (ASL), uses elements from various information systems, such as musical notation, infographics and ASL, to develop a dryly humorous visual vocabulary in a variety of mediums, including performance, drawing, video, lectures and more. She aims to draw attention to the power imbalances between the hearing world and the Deaf community, as well as to celebrate the generative possibilities and creative energy that can arise from interactions betwe

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Klein’s madcap romp of a photo-novel brilliantly translates his cult ’60s film into book form Based on the original images and dialogue of William Klein’s 1966 film Who Are You, Polly Maggoo?, this fantastic photo-novel tells the adventures of Polly Maggoo, a star model played by Dorothy McGowan (model for Vogue in the 1960s). The plot unfolds across the fashion world of Polly Maggoo; the world of television (based around the character of director Jean Rochefort); and a magical kingdom of operetta whose crown prince (played by Sami Frey) is in love with the young model. Also featuring in this star-studded cast are Alice Sapritch, Delphine Seyrig, Philippe Noiret, Roland Topor and Jacques Seiler. The publication ingeniously translates into book form the zany universe of the film. Klein’s masterful framing gives exquisite rhythm to its page composition and flow as we follow the crazy adventures of the extraordinary heroine in a madcap race through the streets and rooftops of Paris, all the way up to a distant palace lost in the snow. Born in New York, William Klein (1926–2022) was a multidisciplinary artist whose practice revolutionized photography, particularly fashion and street photography. His fashion work was the subject of several iconic photobooks, including Life Is Good and Good for You in New York (1957) and Tokyo (1964). In the 1980s, he turned to film projects. His works are held in the collections of the Museum of Modern Art in New York, the National Gallery of Art in Washington, DC, and the Art Institute of Chicago, among others.

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A survey for a long-term champion of abstraction Acclaimed American painter Rebecca Morris (born 1969) has long been celebrated for her juxtapositions of thin, matte washes of color with shimmering, metallic impasto. Her first major monograph coincides with a new survey exhibition traveling from the Institute of Contemporary Art, Los Angeles to the Museum of Contemporary Art, Chicago. Teeming with opulently illustrated plates, the volume provides insight into Morris’ practice through various vantage points, including texts from longtime collaborators of the artist and new voices alike. Topics include the historiography of color in Morris’ paintings as well as art historical contexts for her work. An additional section of the book traces Morris' own photo documentation of her studios over the 21-year period. Today, Morris remains steadfast to an ethos of constant evolution and a rigorous commitment to experimentation in painting. As she wrote in a widely circulated manifesto from 2005: “Abstraction never left, motherfuckers.”

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The first in-depth survey of Whitney's endless experimentation with colorThe esteemed American painter Stanley Whitney has, for 50 years, created joyful, immersive abstractions characterized by a bold, experimental palette and unique rhythm. Over the last 20 years, he has structured his paintings as loose grids: a consistent framework that frees him to work through seemingly infinite painterly variations and allows viewers to focus not on each painting's subject, but rather on our own response to color. These large-scale paintings are joined by improvisatory small paintings; drawings and prints, which constitute their own practice for Whitney; and the artist's sketchbooks, which offer a view into Whitney's engagement with the written word and politics.This traveling North American exhibition is Whitney's first museum survey, presenting 170 paintings and works on paper spanning from the 1970s to the present day. The catalog includes an introduction by exhi

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The first retrospective on a fascinating protagonist of the 1970s Pattern & Decoration movement, who defied Minimalist orthodoxy with humorous multimedia explorations of domesticity and ornament This is the first comprehensive volume on Cynthia Carlson (born 1942), a key artist of the Pattern & Decoration group who responded to Minimalism’s dominance in the 1970s. The work of this group has recently been revisited and reappraised in exhibitions and by art scholarship. A Chicagoan under the influence of the Chicago Imagists, Carlson landed in New York City in 1965 and has exhibited widely (she was included in Lucy Lippard’s seminal 1971 exhibition 26 Contemporary Women Artists at the Aldrich Museum of Contemporary Art). Her interest in the domestic—as a source of shapes and as a realm of familial experiences, chores and memories—intersects with the works of contemporaries ranging from Jennifer Bartlett to Joel Shapiro and Elizabeth Murray. Carlson's utilization of architectural motifs might align at one moment with the vernacular embraced in the buildings of Venturi & Scott Brown and, at another, with the postmodern rehabilitation of Beaux-Arts ornament. Her hand-painted "wallpaper" is considered a significant contribution and influence on contemporary installation art. Carlson’s artistic identity continues to morph: from room-size wallpaper and a life-size gingerbread house to unexpected shaped canvasses, architectural constructions and pet portraits. Whatever she creates, however eccentric, is high-spirited, genial and insightful.

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Klos unravels American histories of Black labor in brilliantly executed print-based collages and sculptures that mark new creative terrain for the artist This book features a recent body of work by New York–based artist Yashua Klos (born 1977) and builds upon the artist’s explorations into the intersections between the human form, the natural world and the built environment. Foregrounding a series of print-based and sculptural works, Yashua Klos: Our Labour considers how familial, geographic and narrative histories inform notions of identity. Klos employs a process of collaging woodblock prints to engage ideas about Blackness and maleness as identities that are both fragmented and constructed. In this volume, Klos introduces works conceived around an examination of creative and industrial labor through both deeply personal and historic lenses.

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