Search results for ""gregory r. miller company""

The work of Jennie C. Jones (born 1968) spans multiple mediums, from paintings, sculptures and works on paper to audio collages and immersive sound installations. Jones employs the visual languages of abstraction and minimalism to draw out the parallels and disjunctions between the history of modernism and the history of African American music, particularly jazz. This volume documenting the artist’s midcareer survey at Contemporary Arts Museum Houston includes many of her best-known works alongside new paintings and a site-specific installation. The book, whose stunning design references the formal qualities of Jones’ work, includes an extensive plate selection alongside essays by Valerie Cassel Oliver, Hilton Als and George Lewis, and an interview between Jones and art historian Huey Copeland.

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The fifth volume in the acclaimed series by performance art historian RoseLee Goldberg, Performa 13 features projects from more than 120 of the leading artists working in performance today, in collaboration with more than 100 curators and arts institutions--works that broke down the boundaries between visual art, music, dance, poetry, fashion, architecture, graphic design and the culinary arts. Participating Performa 13 artists included Pawel Althamer, Malik Gaines, Martha Graham, Rashid Johnson, Joan Jonas, Christopher Knowles, Ryan McNamara, Alexandre Singh, C. Spencer Yeh and many others who premiered major new works. This catalogue presents documentation of the festival in photographs, scripts and storyboards, along with contributions from curators, writers and the artists themselves, elaborating on the themes of the festival. Performa 13 stands not only as a beautiful document of a remarkable biennial, but also an invaluable reference guide for the performance art of our time.

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A comprehensive compendium of artists and writers confronting questions of Black identity, activism and social responsibility in the age of Malcolm X and the Black Panthers, based on the landmark traveling exhibition A New York Magazine 2021 holiday gift guide pick What is “Black art”? This question was posed and answered time and time again between 1960 and 1980 by artists, curators and critics deeply affected by this turbulent period of radical social and political upheaval in America. Rather than answering in one way, they argued for radically different ideas of what “Black art” meant. Across newspapers and magazines, catalogs, pamphlets, interviews, public talks and panel discussions, a lively debate emerged between artists and others to address profound questions of how Black artists should or should not deal with politics, about what audiences they should address and inspire, where they should try to exhibit, how their work should be curated, and whether there was or was not such a category as “Black art” in the first place. Conceived as a reader connected to the landmark exhibition Soul of a Nation: Art in the Age of Black Power, which shone a light on the vital contributions made by Black artists over two decades, this anthology collects over 200 texts from the artists, critics, curators and others who sought to shape and define the art of their time. Exhaustively researched and edited by exhibition curator Mark Godfrey, who provides the substantial introduction, and Allie Biswas, included are rare and out-of-print texts from artists and writers, as well as texts published for the first time ever. Contributors include: Lawrence Alloway, Emma Amos, Benny Andrews, Tomie Arai, Ralph Arnold, Dore Ashton, Malcolm Bailey, Amiri Baraka, Romare Bearden, Fred Beauford, Cleveland Bellow, LeGrace G. Benson, Dawoud Bey, Camille Billops, Gloria Bohanon, Claude Booker, Frank Bowling, David Bradford, Peter Bradley, Gwendolyn Brooks, Kay Brown, Milton Brown, Vivian Browne, Linda Goode Bryant, Margaret G. Burroughs, Debbie Butterfield, Steve Cannon, Yvonne Parks Catchings, Elizabeth Catlett, Dana Chandler, Claudia Chapline, Charles Childs, Edward Clark, A.D. Coleman, Dan Concholar, John Coplans, Hugh M. Davies, Douglas Davis, Bing Davis, Alonzo Davis, Dale Davis, Melvin Dixon, Jeff Donaldson, Robert Doty, Emory Douglas, John Dowell, Louis Draper, David C. Driskell, Tony Eaton, Eugene Eda, Melvin Edwards, Ray Elkins, Ralph Ellison, Marion Epting, Elton Fax, Elsa Honig Fine, Frederick Fiske, Babatunde Folayemi, Clebert Ford, Edmund Barry Gaither, Addison Gayle, Henri Ghent, Ray Gibson, Sam Gilliam, Robert H. Glauber, Lynda Goode-Bryant, Allan M. Gordon, Earl G. Graves, Carroll Greene, Abdul Alkalimat, David Hammons, David Henderson, Napoleon Henderson, M.J. Hewitt, Richard Hunt, Sam Hunter, Josine Ianco-Starrels, Nigel Jackson, Jay Jacobs, Jae Jarrell, Wadsworth Jarrell, Daniel LaRue Johnson, Marie Johnson, Walter Jones, Lois Mailou Jones, Barbara Jones-Hogu, Cliff Joseph, Paul Keene, Martin Kilson, Wee Kim, April Kingsley, Hilton Kramer, Jacob Lawrence, Carolyn Lawrence, Don L. Lee, Hughie Lee-Smith, Samella Lewis, Tom Lloyd, Al Loving, Howard Mallory, Earl Roger Mandle, Jan van der Marck, Phillip Mason, James Mellow, Paul Mills, Evangeline J. Montgomery, Toni Morrison, Keith Morrison, Larry Neal, Cindy Nemser, Senga Nengudi, Robert Newman, Lorraine O'Grady, Ademola Olugebefola, John Outterbridge, Joe Overstreet, Marion Perkins, Marcy S. Philips, Howardena Pindell, Mimi Poser, Helaine Posner, Noah Purifoy, Ishmael Reed, Gary Rickson, Clayton Riley, Faith Ringgold, Mark Rogovin, Barbara Rose, Victoria Rosenwald, Joseph Ross, Bayard Rustin, Betye Saar, Raymond Saunders, Robert Sengstacke, Jeanne Siegel, Lowery Stokes Sims, Steve Smith, Beuford Smith, Frank Smith, Val Spaulding, Edward Spriggs, Nelson Stevens, James Stewart, Edward K. Taylor, Alma Thomas, Ruth Waddy, William Walker, Francis and Val Gray Ward, Timothy Washington, Burton Wasserman, Diane Weathers, John Weber, JoAnn Whatley, Charles White, Jack Whitten, Roy Wilkins, William T. Williams, Gerald Williams, Randy Williams, William Wilson, Hale Woodruff and Cherilyn C. Wright.

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An essential archive of a progressive public art program, spotlighting over 50 artworks commissioned for one of New York City's most iconic parksThis publication chronicles the vibrant history of public art in Madison Square Park, presenting two decades' worth of celebrated artworks that have reimagined the park for its more than 50,000 visitors each day.Sumptuously illustrated with photography of every major project since 2004, alongside statements from each artist, Public Art in Public Space contains significant new texts from curators and cultural leaders that address the intersections of community and public art in New York City and beyond. This book is a critical historical documentation of a vanguard art program that has spent 20 years advancing the way that artists engage with actual, conceptual and physical publicness.Artists include: Diana Al-Hadid, Leonardo Drew, Teresita Fernández, Antony Gormley, Hugh Hayden, Cristina Iglesia

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Larger-than-life biblical figures from a renowned American sculptorAmerican artist Charles Ray (born 1953) has devoted most of the past decade to creating sculptures of figures, animals and inanimate objects, often carved from blocks of metal in a state-of-the-art process that combines skilled handwork with industrial technology. This monograph reflects on the fabrication and installation of Adam and Eve (2023), a major sculpture by Ray that is currently on view at Manhattan West, Brookfield Properties' development adjacent to Moynihan Train Hall and Madison Square Garden. The sculpture, which depicts the biblical figures Adam and Eve in their old age, consists of two large-scale humans rendered in solid stainless steel at nearly 10 feet tall. A significant and highly personal text by art historian Darby English, exploring this work and Ray's illustrious career, is accompanied by extensive photography illustrating the installed sculptures and their cre

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Ellen Harvey’s inspiring guerilla art project feels fresher and more relevant than ever Between 1999 and 2001, small old-fashioned landscapes painstakingly executed in oil started to appear on graffiti sites across New York City. The paintings were the work of the well-known Brooklyn-based artist Ellen Harvey (born 1967). Documented in this reprint of the sold-out first edition are both the works themselves and Harvey's diaristic accounts of painting illegally throughout the city. The narrative of her “beautification project” is both provocative and hilarious. It touches on such issues as who is allowed to make art in our society, and what distinguishes art from graffiti, while never losing touch with the frequently comical reality of creating a contemporary art project on the streets of New York.

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A major publication about the revolutionary art collective that defined a new Black aesthetic in late 1960s Chicago and whose influence today is stronger than ever A Chicago Tribune 2020 holiday gift guide pick AfriCOBRA (African Commune of Bad Relevant Artists) was founded on the South Side of Chicago in 1968 by a group of five young Black artists. Today, it is one of the oldest continuously active American art collectives. The pronunciation—Af-FREE-co-bruh—emphasizes the second syllable, signaling the group’s central principle grounded in Black liberation: creative expression reflecting the Black experience and Black influences. AfriCOBRA’s founding artists—Jeff Donaldson, Jae Jarrell, Wadsworth Jarrell, Barbara Jones-Hogu and Gerald Williams—differed in disciplines and artistic vocabularies but were brought together by the common aspiration to create work that speaks directly to Black people utilizing an identifiably Black aesthetic. This publication celebrates the fifty-year anniversary of AfriCOBRA’s founding and marks the collective’s powerful relevance today. AfriCOBRA: Messages to the People documents two exhibitions curated by Jeffreen M. Hayes, PhD: one at the Museum of Contemporary Art, North Miami, and another as an official collateral event of the 58th Venice Biennale. It features more than 80 works by the original members as well as those by Sherman Beck, Napoleon Jones-Henderson, Omar Lama, Carolyn Mims Lawrence and Nelson Stevens. More than a historical overview of AfriCOBRA, this book is a response to the artists’ continuing contributions and influence, connecting their works to the contemporary moment through essays, archival photographs and ephemera, exhibition views, and contemporary photographs that celebrate the impact of this revolutionary art collective. As their name states, the artists and artworks of AfriCOBRA were as relevant in 1968 as they are today in the continued struggle for Black liberation.

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Over the past decade Los Angeles painter Lesley Vance's (born 1977) practice has evolved from her acclaimed early still-life works into colorful, gestural abstract compositions. Employing the same virtuosic command of paint, these captivating works subtly play with depth and space perception, creating hard-edged shapes that respond to light and shade to create an illusion of sculptural-seeming bodies via effects that are as precise as they are painterly.Vance's oil paintings and watercolors since 2013 are here collected in a beautifully illustrated monograph, with a lengthy new essay on the artist and her practice by Douglas Fogle, former chief curator of the Hammer Museum, as well as an artist interview with writer Amy Sherlock. Lesley Vance: Painting 2013 2019 presents a stunning body of radical new works by this masterful painter.

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“Brannon offers us a different perspective and, just maybe, a higher level of understanding when it comes to this great American disaster story.” –Clive Martin, CNN New York–based artist Matthew Brannon (born 1971) has spent the past five years exhaustively researching the Vietnam/American War, seeking his own understanding of one of the most pivotal confrontations of the 20th century and translating that research into intricate silkscreen works that collage military documents, maps, logos, memoranda and contemporaneous ephemera. Concerning Vietnam distills a picture of the war and its ongoing effects in vivid, densely packed images that employ the bold graphic design for which the artist is known. Alongside these works are Brannon’s notes on the objects and situations they depict, constructing a detailed chronology of the war and a complex overview of the consequences of US intervention in Southeast Asia. Designed by Studio LHOOQ in close collaboration with the artist, Concerning Vietnam collects the entire series of prints and texts, with a new essay on the work by curator Veronica Roberts and a conversation between the artist and Vietnam historian Mark Atwood Lawrence.

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The Domestic Plane documents the interlinked exhibition series of the same name at the Aldrich Contemporary Art Museum, a "meta-group exhibition in five chapters." Organized by five curators, and featuring the work of more than 70 artists, The Domestic Plane explores tabletop art objects from the 20th and 21st centuries: hundreds of intimately scaled works that shine new light on the relationship between objects and the domestic space, the human body and human behavior. Extensively illustrated, The Domestic Plane documents works from each of the five exhibitions, featuring art from Janine Antoni, Anthony Caro, Melvin Edwards, David Hammons, K8 Hardy, Tetsumi Kodo, Lynn Hershman Leeson, Ron Nagle, Alice Mackler, Tony Matelli, Mika Rottenberg, Lucas Samaras, Arlene Shechet, Nari Ward, Hanna Wilke and many others. . Major new texts introduce each interlinked exhibition and expound on the small-scale art object, from curators Amy Smith-Stewart and artist David Adamo, independent curator Elizabeth Essner, Noguchi Museum senior curator Dakin Hart and Aldrich exhibitions director Richard Klein. The catalog also includes a new eight-page project by graphic novelist Richard McGuire produced for the exhibition, sequential grids of 128 small line drawings that depict the interrelationship of small objects.

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Minter’s art skews glamour with consumerist critique Marilyn Minter is famed for her glossy, hyper-realistic paintings, photographs and video works—seductive images that borrow the language of fashion and advertising photography, exploring the boundaries of desire, sensuality and body anxiety in the age of consumption. Close-up imagery of mouths, feet, splashes and puddles, rendered in high-gloss enamel on sheets of metal, subversively questions the pathology of glamour. Produced in conjunction with the first major museum retrospective on her work, Pretty/Dirty examines every period of the artist's 40-year career, from her beginnings with the controversial porn paintings, initially rejected by the critical establishment, to her later large-scale photorealistic works. Essays from the exhibition's curators examine the trajectory of Minter's development and her engagement with debates over the representation of the female body. Texts from musicians, artists, writers and curators speak to Minter's wide-ranging influence: reflections from the likes of artist K8 Hardy, musician and author Richard Hell, and poet Eileen Myles, as well as an artist interview with writer Linda Yablonsky. Illustrated with hundreds of full-color reproductions, and with a complete biography and bibliography, Pretty/Dirty charts a new perspective on the career of this exciting and continually evolving artist. Marilyn Minter (born 1948) has been the subject of numerous solo exhibitions, at venues including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, in 2009 and the Museum of Contemporary Art, Cleveland, in 2010. Her video "Green Pink Caviar" was exhibited in the lobby of MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York.

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Curator and historian, gallerist and writer: Klaus Kertess has long been a decisive and forward-thinking presence in the art world. He founded the Bykert Gallery in 1966, where he represented artists including Chuck Close, Ralph Humphrey, Brice Marden and Dorothea Rockburne; three decades later, he curated the 1995 Whitney Biennial, the follow-up to the famously political 1993 iteration. "What is being proposed here," he wrote in a catalogue essay for the 1995 exhibition, "is not a return to formalism but an art in which meaning is embedded in formal value. An acknowledgment of sensuousness is indispensable--whether as play or sheer joy or the kind of subversity that has us reaching for a rose and grabbing a thorn." The art world has changed considerably from the relatively convivial world of the 60s to today's globalized milieu, but Kertess has been a constant throughout the years, curating shows of provocative new work and writing critical essays on artists whose work challenges and engages him, while also maintaining a vital literary sideline (his short stories are collected in 2000's South Brooklyn Casket Company). This volume collects Kertess' critical works from the past 30 years, including meditations on Agnes Martin, Joan Mitchell, John Chamberlain, Vija Celmins, Chris Ofili and Matthew Richie. With each essay accompanied by full-color reproductions of works discussed, Seen, Written provides a priceless opportunity to see art through the eyes of a lifelong viewer.

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Entertaining, lyrical and informative, Art Life is a selection of essays by well-known contemporary art curator Lawrence Rinder, all written since 1991. Rinder's work is distinguished by a concern for art's role in reflecting and shaping daily life. Informed by history, philosophy and popular culture, these essays provide keys to understanding a broad range of contemporary practices--from painting and drawing to net art and video installation. In each of these texts, Rinder muses on how the intersection of material, image and idea creates meaning in some of the most compelling artworks of the past few decades. Among the many artists discussed are Luc Tuymans, Sophie Calle, Martin Creed, Ara Peterson, Jim Drain, Louise Bourgeois, Mark Lombardi, Jack Smith and Irit Batsry. All of the essays in Art Life are unified by Rinder's clear writing style--seamlessly interspersed with a selection of images--and his consistent engagement with the experience of art and art's relevance to our daily lives. Ideal for scholars and students alike.

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Key works from the 50-year career of the great Dansaekhwa abstractionist One of the early members of the Dansaekhwa art movement, Suh Seung-Won (born 1941) set the foundations for modernism in Korea. For over 50 years, Seung-Won's delicate monochrome paintings have explored the concept of "simultaneity," using geometric patterns to delineate his aesthetic understanding of time and space. This lavishly illustrated monograph collects selected works from throughout the artist's career, presented here alongside historical photographs from the artist's life and earliest exhibitions. Major new texts from critic Barry Schwabsky and art historian Sohl Lee track the development of Suh's revolutionary aesthetic since the 1960s and its parallels in the development of the artworld and Korean culture during that time. Suh Seung-Won is an essential look at one of the most vital artists of Korea's modernist movement and the subtly powerful monochrome abstractions that have defined his legacy.

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From demands for racial justice to the discussions around monuments and memorials, On the Town provides a vivid account of current debates through the lens of performance This book builds on a series of acclaimed Performa drawing content and inspiration from the organization’s international biennials and programs. It features projects by more than 100 of the leading artists, choreographers, architects, theater and film directors working today. On the Town documents the 2017 and 2019 editions of the Performa biennial along with five years of public programs, films and exhibitions touring the globe. Illustrated with performance photos, essays and interviews with the artists, it captures a critical juncture in the evolution of performance.

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From the dot to the line to infinity: a whimsical children’s book about space and spatiality, with colorful illustrations and a large gatefold that illuminates the story. One very dark night, a long time ago, there was a big explosion. It was the “Big Bang.” From the “Big Bang,” a dot flew off by itself and began to explore. But all around it was empty space. The dot became lonely, so it split in two, which was fun at first. But then the two dots grew bored of each other, so they began to multiply until they formed something entirely new: a line. The line replicated until it became a surface, and the surface repeated until it became a 3-dimensional shape: the volume. A stray line then pulled off the volume and began to explore shape, color and pattern to create the magic of writing and art. This whimsical adventure—filled with imaginative text, mind-expanding illustrations and with an impressive double gatefold “to infinity”—takes readers of all ages on a journey through concepts that are the foundation of both art and life. Author Luis Camnitzer is a celebrated artist known for art that deconstructs accepted frameworks and exposes systems of power. In The Volume, he turns his powers of observation to familiar visual ideas and helps us to see them anew. Filled with beauty and humor, Camnitzer’s first children’s book will enlighten and delight readers of all ages. Luis Camnitzer (born 1937) is a German-born Uruguayan artist, curator, art critic and academic who was at the forefront of 1960s Conceptual art. He lives and works in Great Neck, New York, and taught at SUNY Old Westbury, where he is currently a professor emeritus.

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The metamorphoses of substance: the first monograph on Jay Heikes’ alchemical transmutations of matter, from gelatin to horse hair The first major catalog on Minneapolis-based artist Jay Heikes (born 1975), this book surveys 20 years of an expansive oeuvre that includes sculpture, painting and installation. His heterogeneous practice mixes and reinterprets a kaleidoscopic array of media, activating stories, puns and irony in a cyclical meditation. Heikes’ sculptures look at once like they emerged from the earth and dropped from the sky: branching metal limbs that twist along the floor, wax- and horsehair-wrapped twigs, silver gelatin mounds, scattered orbs of indeterminate composition and slag-coated detritus. Through his use of unexpected pairings of materials, his artistic approach reveals the precarious relationships that characterize the infinite matter of the universe. The son of a chemist and educator, he is particularly fascinated by the alchemy inherent in the never-ending transformation of one substance into another, revealing the histories and processes sometimes hidden below the surface of our natural and unnatural worlds.

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A new focus on the sublime landscapes in Lisa Yuskavage’s voluptuous figure paintings Though she is arguably best known for the voluptuous female nudes that populate her paintings, Lisa Yuskavage’s work is just as focused on the ethereal settings in which these subjects appear. Yuskavage creates finely detailed landscapes that blur the line between the fantastical and the familiar, melding abstraction with realism to depict self-contained worlds. These outdoor scenes defy conventions of landscape painting with surreal color palettes of lush greens and delicate pinks, cast in a gauzy light quality that highlights the almost magical nature of her paintings. Published in conjunction with a joint exhibition between the Aspen Art Museum in Colorado and the Baltimore Museum of Art in Maryland, this volume includes color reproductions of Yuskavage’s paintings and watercolors from the early 1990s to the present, as well as an interview between Yuskavage and fellow artist Mary Weatherford.Based in New York City, American artist Lisa Yuskavage (born 1962) received her MFA from the Yale School of Art in 1986. In the years since, her signature style of figure painting has developed something of a cult following for its attention to art historical tradition and a decidedly contemporary, pop culture-based approach to the representation of the female form. Her work has been in solo exhibitions around the world. Yuskavage is represented by David Zwirner.

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The FLAG Art Foundation, founded in 2008 by financier, philanthropist and collector Glenn Fuhrman, began with the mission of promoting the appreciation of contemporary art among a diverse audience. Since then, FLAG has presented 50 exhibitions featuring more than 500 artists. Guest curators have ranged from artists to athletes, from writers to historians, and from fashion designers to museum directors. Ambitious and entertaining solo and group exhibitions have included established figures such as Louise Bourgeois, Mark Bradford, Maurizio Cattelan, Robert Gober, Félix González-Torres, Jim Hodges, Ellsworth Kelly, Charles Ray, Gerhard Richter and Cindy Sherman, as well as the work of a large number of emerging artists. The FLAG Art Foundation: 2008–2018 documents the first decade of programming at this innovative and important nonprofit organization. FLAG has rapidly made a major contribution to contemporary art and to the careers of many artists. Fully illustrated with installation views of each exhibition, along with a diverse range of texts from people who have played key roles in FLAG’s history (including Jim Hodges, Chuck Close, James Frey, Shaquille O’Neal and Fuhrman himself), The FLAG Art Foundation: 2008–2018 is a beautifully designed tenth-anniversary testament to a singular institution.

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The artistic career of Christopher Knowles (born 1959) began at the age of 13, when his writings and recordings came to the notice of avant-garde theater director Robert Wilson. Still a teenager, Knowles went on to write the libretto for Wilson and Philip Glass’ opera Einstein on the Beach, and his collaborations with Wilson would continue for decades. His practice spans many mediums—text, sound, painting, sculpture and performance—and exhibits a fascination with the materiality of language. In a Word is the most comprehensive look at Knowles’ work to date, published for his exhibition of the same name, organized by Anthony Elms and Hilton Als. Containing an autobiographical text by the artist himself, new texts by Elms and curator Lauren Digiulio and a personal reflection by Als, this is an essential resource on an under-recognized artist.

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This volume offers a comprehensive look at the career of Mika Rottenberg (born 1976). Each chapter is devoted to one of the major videos/installations for which Rottenberg has become known, with an abundance of installation views, video stills, planning diagrams and source materials. Additional illumination is provided through texts by Rottenberg herself that accompany each project. The book also includes drawing and photography, significant bodies of work by Rottenberg not previously explored in book form. Also included is a major new text by award-winning poet, novelist, humorist and cultural critic Wayne Koestenbaum, as well as texts on the artist by Rose Art Museum director Christopher Bedford, and author and theorist Julia Bryan-Wilson. The book also contains a thorough biography and bibliography of the artist to date, making this a comprehensive resource on Rottenberg.

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The first monograph on a beloved American ceramicist who has been making joyful and original work for nearly 80 years Born in 1931, and living in New York, Alice Mackler today is still pushing forward not only her own art but also the boundaries of contemporary art across sculpture, painting, drawing and collage. While long beloved and admired by artists, Mackler over the last few years has finally found the wide and enthusiastic audience she deserves. With a focus on the female figure, Mackler’s work is, as Matthew Higgs writes in this book, “a visceral accumulation of her experiences translated into a material form.” Mackler’s vibrant, voluptuous ceramic sculptures evoke the Venus of Willendorf as well as versions of the female form by Willem de Kooning, Gaston Lachaise and Niki de Saint Phalle. At the same time, her work is in dialogue with contemporary ceramicists such as Ruby Neri, Magdalena Suarez Frimkess and Betty Woodman. The artist cites Paul Klee as an influence on her paintings, which feel rooted in modernism; her drawings call to mind Alexander Calder, Jean Dubuffet and Saul Steinberg. While these influences and references are telling, this comprehensive overview makes clear that her vision is genuinely her own. As Kelly Taxter writes in the book’s central essay, “Mackler’s visibility resists the seemingly inevitable invisibility that befalls ageing women.” Now approaching the beginning of her ninth decade, Alice Mackler and her art continue to be as vital, urgent and current as ever.

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You Should’ve Heard Just What I Seen explores how music shapes the experience of making and looking at art, with original contributions from over 50 leading contemporary artists, curators and gallerists. Invited to submit pieces that touch on the way music factors into both their lives and practice, the conversations, poems, essays, lists, show flyers, t-shirts, paintings and photographs they provided are collected in this supreme reader on contemporary art and sound. Featuring works and texts from an international group of artists, the publication is both a lively reader and a visually compelling document of the art of today. The contributors are Kelly Taxter, Maureen Brenner, Elizabeth Peyton, Charlemagne Palestine, Jay Sanders (Whitney Museum of American Art), Chris Ofili, Jeremy Deller, Steven Baker, Dave Muller, Jeff Poe (Blum & Poe), Anne Collier, Lesley Vance, Margaret Lee (47 Canal), Tyson Reeder, Alex Olson, Kelley Walker, Rashid Johnson, Martin Creed, Andrew Kuo, Macrae Semans, Jim Drain, Charles Long, Sarah Thompson, David Kordanksy / Stuart Krimko (David Kordansky Gallery), Roe Ethridge, Matt Anderson (DJ Matt), Spencer Sweeney, Yoshitomo Nara, Christoph Gerozissis (Anton Kern Gallery), Scott Reeder, Kai Althoff, Dan Aran / Uri Aran, Thomas Lax (Studio Museum of Harlem), Laura Owens, Amy Granat, Peter Doig, Trisha Donnelly, Edgar Arceneaux, Brian Degraw, James Fuentes (James Fuentes), Barry Johnston, Naima J. Keith (The Studio Museum in Harlem), Nicholas Party, Berry Van Boekel, Adam Putnam, Brendan Fowler, Mike Watt and Matthew Higgs (White Columns).

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Over the past 20 years, Ghada Amer's quest to forge an aesthetic language for the oppression of women has established her as one of the most important and widely exhibited contemporary artists. Born in Cairo in 1963, and moving to France at age 11, from early on in life Amer was witness to the cross-cultural subjugation of women, whether from increasing religious conservatism in Egypt, or via the subtler machinations of Western commodity culture. In Amer's hand-embroidered paintings, delicate abstract tracings of sewn thread are counterposed with often quiet but sometimes confrontational erotic imagery. Trawling all manner of materials from fashion magazines, children's fairy tales, pornography, dictionaries, the Koran and medieval Arabic manuscripts, Amer challenges their authority, highlighting their exclusions and countering with a powerfully asserted female subject. This handsome monograph is the first publication to document the full breadth of her art, with numerous images of and detailed commentary on her paintings, sculptures, drawings, prints, videos, performances and garden works. Art historian Maura Reilly contributes a substantial scholarly text that chronicles the trajectory of Amer's career, and art historian Laurie Farrell focuses on the artist's collaborative works with Reza Farkondeh. Also included is a conversation between the artist and scholar Martine Antle, plus a complete chronology, exhibition list and bibliography, all of which affirm this volume as the definitive resource on the artist.

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Jewels buried in a grave, cigarettes smoked in $100 bills, champagne poured into a bathtub--these perverse, irrational acts are also somehow thrilling. Profane Waste explores the workings of an unacknowledged taboo: the taboo against willful dissipation. Dana Hoey, an acclaimed photographer appearing here in her first book, presents a series of 30 haunting images that are at once ultra-real and uncanny. Bestselling biographer and social critic Gretchen Rubin uses lucid analysis and explosive examples--the actions of Rauschenberg, Jesus, Ivan Boesky, Thoreau and Goebbels, among others--to demonstrate the power of the title concept. Together, Hoey's photographs and Rubin's provocative arguments create a shock of recognition: they lay bare intentions that stand outside the conventional goals of acquisition and accumulation.

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A sweeping survey of hip hop’s resounding impact on contemporary art and culture across the past 20-plus years Accompanying a groundbreaking exhibition originating at the Baltimore Museum of Art, this book captures the extraordinary influence of hip hop, which has driven innovations in music, visual and performing arts, fashion, and technology and grown into a global phenomenon since its emergence in the 1970s. It features approximately 70 objects by both established and emerging artists, design houses, streetwear icons and musicians working in a wide range of mediums to demonstrate hip hop’s proliferation from the street to the runway, the studio to the museum gallery, and countless sites in between. The exhibition also explores how hip hop has and continues to challenge structures of power, dominant cultural narratives, and political and social systems of oppression. This fully illustrated monograph documents the exhibition and contains texts and interviews from more than 30 artists and scholars. Artists include: Nina Chanel Abney, Dionne Alexander, Maxwell Alexandre, Devin Allen, Alvaro Barrington, Jean-Michel Basquiat, Grace Wales Bonner, Mark Bradford, Jordan Casteel, Willy Chavarria, Caitlin Cherry, Troy Chew II, William Cordova, Carl Jones, Stan Douglas, John Edmonds, Gajin Fujita, Monica Ikegwu, Shabez Jamal, Kahlil Joseph, Nia June, LA II, Deana Lawson, Eric N. Mack, Emmanuel Massillon, Julie Mehretu, Murjoni Merriweather, Jayson Musson, Rashaad Newsome, Yvonne Osei, Zéh Palito, Gordon Parks, Adam Pendleton, Robert Pruitt, Rammellzee, Sheila Rashid, Rozeal, Joyce J. Scott, Tschabalala Self, Tariku Shiferaw, Devan Shimoyama, Hank Willis Thomas, Carrie Mae Weems, Vivienne Westwood and Malcolm McLaren, Abbey Williams, Pharrell Williams and Wilmer Wilson IV. Authors include: Ebony Haynes, Todd Boyd, Lester Spence, Jordana Moore Saggese, Greg Tate, Misa Hylton, Elena Romero, Ekow Eshun, Devin Allen, Michael Holman, Simone White, Salome Asega, Alphonse Pierre, David A.M. Goldberg and Tahir Hemphill, Jacolby Satterwhite, Wendel Patrick, Simon Reynolds, Seph Rodney, Jesse McCarthy, Danez Smith, Noriko Manabe, Lindsay Knight and Charity Marsh, Shaheem Sanchez, Jeffrey Q. McCune, Jr., Sekou Cooke, Jessica N. Pabón-Colón, Martha Cooper, Skeme, Alex de Mora and Lawrence Burney.

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Inspired by global masonry techniques and Hudson Valley history, Martin Puryear's installation for Storm King Art Center opens its oculi onto the museum groundsThis catalog documents the construction and unveiling of American artist Martin Puryear''s (born 1941) monumental site-specific installation, Lookout, at Storm King Art Center in New Windsor, New York. The 20-foot-tall sculpture is built of layers of red clay bricks laid using thin-shell masonry techniques. Rather than straight lines and vertical walls, however, the work curves inward and upward, opening to allow entry from one side while producing a swelling form on the opposite end. In Lookout, Puryear evokes brickmaking as a once-primary industry in the Hudson Valley and references the vernacular structures that dot the local landscape.Inside the structure, Puryear uses the work's form and setting to encourage a heightened sense of presence. The brick surface is punctuated by a con

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A witty, touching and delightful exploration of holes from the author of The Volume A handsomely designed picture-book for children and adults, The Hole Book explores the many meanings, associations and forms of holes in a delightful narrative of discovery. The book’s narrator is an explorer full of questions and curiosity: “Some holes I dug myself. I poked my finger into slices of bread, sheets of paper, and the sand of beaches all over the world.” When they grow up they become an explorer of holes, visiting caves, grottos, mineshafts, springs and cavities, making maps of their adventures. Failing to find any literature on the topic, they decided to write their own book celebrating holes. Author Luis Camnitzer is a celebrated artist known for art that deconstructs accepted frameworks and exposes systems of power. In his first children’s book, The Volume (2021), he created a beautiful book about space and spatiality. Here he continues to provoke wonder with appeal to people of all ages. Luis Camnitzer (born 1937) is a German-born Uruguayan artist, curator, art critic and academic who was at the forefront of 1960s Conceptual art. He lives and works in Great Neck, New York, and taught at SUNY Old Westbury, where he is currently a professor emeritus.

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A cornucopia of rarely seen drawings, full of delicacy and wit, from the acclaimed sculptor American artist Tony Feher (1956–2016) was best known for his sculptures and site-determined installations made of ubiquitous, everyday objects such as plastic bottles, glass jars, marbles, twine, cardboard boxes and other mass-produced items. It is less well known was that he was also a prolific draftsman who drew incessantly throughout his career. At the time of his death in 2016, Feher had assembled an archive of nearly 1,000 drawings—on napkins, discarded correspondence, restaurant menus, lined paper—which are now in the collection of the Hammer Museum in Los Angeles. In hasty arrays of image and text, these drawings reflect the same singular wit and aesthetic sensitivity that underpinned all his work. This monograph presents for the first time a selection of Feher's drawings: full of jokes, poems, schematic illustrations and the repeated images (such as a jug of water hung on cord) that would later populate his sculptural installations.

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From psychedelic abstraction to paintings of water droplets: essential insight into one of Korea’s most celebrated painters Internationally acclaimed painter Kim Tschang-Yeul (1929–2021) spent most of his career in Paris after having fled his North Korean home during wartime. There his painting throughout the 1960s spanned diverse modes of abstraction, minimalism and photorealism, before the artist ultimately settled on the single motif that he would pursue for the rest of his life: the drop of water. As Kim explained, “the act of painting water drops is to dissolve all things within [these], to return to a transparent state of ‘nothingness.’” This landmark monograph, produced with the artist’s close involvement, collects works from throughout Kim’s long career. Beginning with his early biomorphic, psychedelic abstractions of the 1960s, up through his masterful photorealistic “water droplet” paintings as recently as 2017, this is the definitive presentation of Kim’s work. A detailed chronology tracks developments in the artist’s life and practice, alongside historical photographs, notes and sketches, and studio views.

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Celebrating ten years since the founding of the historic Performa biennial in 2005, Performa 15 once again explored the most exciting innovations in contemporary visual arts, dance, film, radio, sound and architecture. This edition brought together a total of more than 30 artists from 12 countries around the world—premiering new works by artists Robin Rhode (South Africa), Pauline Curnier Jardin (France/The Netherlands), Edgar Arceneaux (United States) and Erika Vogt (United States), Performa alums Jérôme Bel (France) and Jesper Just (Denmark), and Francesco Vezzoli (Italy) in special collaboration with dancer David Hallberg (United States), among many others. Performa 15 documents all of Performa’s programming along with significant texts from leading art historians and curators. Fully illustrated with works and performance photos, and featuring interviews with the curators and artists, Performa 15 captures a critical juncture in the evolution of performance art and the world’s leading performance biennial.

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Gerhard Richter (born 1932) is predominantly known for his paintings and drawings, which strike a playful balance between photo-realism and abstraction, while at once delving into often controversial political commentary. His works have explored a multitude of media, from photo-based, monochrome and brightly colored paintings to ink-doused papers and thin, multicolored strips of pure pattern. Beyond his artistic works, and particularly in recent years, Richter has published extensively on his vision of art and artistic values: in letters, interviews, public statements, excerpts and articles, Richter has established himself as a brilliant advocate of contemporary painting. Richter has also increasingly explored the possibilities of the book as medium in a series of extraordinary artist's books. Gerhard Richter: Books takes an in-depth look at his work in this medium. It features a book-length interview with the artist by internationally renowned art critic and historian Hans Ulrich Obrist, who walks us through the Richter archive and discusses the work with the artist himself, affording the reader an entirely new perspective on his works. The book also includes a new text by Kunstmuseum Winterthur director Dieter Schwarz.

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From her earliest experiments with painting old-master landscapes as graffiti on the streets of New York, to her recent project The Alien's Guide to the Ruins of Washington, DC (2013) at the Corcoran in Washington, DC, Ellen Harvey (born 1967) has applied her unique and humorous perspective to unpacking the history of art and aesthetics. Taking its title from the ongoing project featured in the 2008 Whitney Biennial, a rear-illuminated wall of plexiglass mirrors in ornate frames, The Museum of Failure is the first major retrospective publication on the artist's work, looking at each of her major projects and bodies of work of the past 20 years. Harvey's practice incorporates painting, photography, video, installation and public participation to examine our expectations about art and cultural production, their proper contexts and what constitutes appropriate engagement, all with a disarming charm. The book includes a new text on the artist by curator Henriette Huldisch and an in-depth interview with the artist by curator Adam Budak.

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This book gathers for the first time an extensive selection of American artist—or “builder and demolisher,” as he describes himself—Mark Bradford's gorgeous, searing and heavily textured “merchant posters.” The original printed posters, collected by Bradford from around his Central Los Angeles neighborhood, are brightly colored local advertisements that target the area's vulnerable lower-income residents. For Bradford, they serve as both the formal and conceptual underpinnings of his works on paper, décollages/collages that engage with the pressures of the cityscape. “The sheer density of advertising creates a psychic mass, an overlay that can sometimes be very tense or aggressive,” he notes; “If there's a 20-foot wall with one advertisement for a movie about war, then you have the repetition of the same image over and over—war, violence, explosions, things being blown apart. As a citizen, you have to participate in that every day. You have to walk by until it's changed.” Eagerly anticipated, this is the first large-scale publication by a major publisher about the work of this important and increasingly influential artist. Artist and writer Malik Gaines considers Bradford's play with signs in relation to literary and performative theories of African-American forms; writer and cultural critic Ernest Hardy addresses social issues, in Los Angeles and more broadly, raised by Bradford's source material; Heidi Zuckerman Jacobson examines the language in the work as it relates to Concrete poetry; and Dia Art Foundation Director Philippe Vergne looks at the surface of the work and Bradford's processes of mining and excavation.

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Excessive Exposure documents all the chocolate-colored portraits that Bronx-born artist Lyle Ashton Harris made with a large-format Polaroid camera over the past ten years. This sequence of approximately 200 paired front and back portraits, for which Harris has become so well known, has now come to a close, making this volume the definitive publication on the series. The portraits' subjects include Harris' family and friends, art-world personalities, noted cultural figures, celebrities and politicians. These images are further distinguished by a strategic blurring of conventional gender roles, sexual identities and racial categories, and by a refined use of light and shade. Okwui Enwezor contributes an essay analyzing Harris' portraits, situating these works in the context of the artist's work of the past 20 years, as well as in the broader history of the genre. The book also includes a conversation between Harris and artist Chuck Close that took place in 1999, when Harris was beginning the series. With a penetrating foreword by Henry Louis Gates, Jr., Excessive Exposure offers a wealth of superb portraiture and is destined to become a touchstone volume among photo-books.

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David Diao's painterly tributes to Barnett Newman explore the contradictory legacies of ModernismDavid Diao (born 1943) has long turned to Barnett Newman's work as a spur and a foil to his own. This richly illustrated catalog surveys his sustained fascination with the Abstract Expressionist master. Diao worked as an art handler in his 20s and installed Newman's Stations of the Cross at the Guggenheim in 1966a signal event that he credits with setting his own course as a painter. On Barnett Newman, 19912023 documents a cycle of paintings that tabulate the elder artist's career through lushly painted charts, lists and diagrams that filter geometric abstraction through the lens of tribute. An original essay by Jeffrey Weiss details the complex blend of reverence and wry humor for which Diao has become known, citing this series as emblematic of his foundational critical ambivalence regarding modernismits role as a source of pleasure and skepticism in equal measure.

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Sixty years of material innovation from the acclaimed Dansaekwha abstractionist Predominantly known for his minimalist “Dansaekwha” paintings, South Korean artist Ha Chong-Hyun (born 1935) has spent six decades pioneering new forms in abstract painting. Initially working in oil, collage, and mixed media, since the 1970s Ha’s Conjunction series, colorful abstract works made by pushing thick oil paints through the back of coarse canvas to the front, have produced a wide array of textures and patterns that are entirely unique to his practice. This publication presents the work of the artist on the occasion of Ha’s landmark retrospective exhibition as part of the 59th Biennale di Venezia. A curated selection of more than 20 works produced from the 1960s through today shows the breadth of the artist’s creative experimentation in materials and methods, and is presented alongside images of the installation in Venice, essays, an illustrated historical timeline and artist biography.

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Artistic resilience in the face of increasing meteorological threats to the CaribbeanHurricanes and the devastation they bring have long been a part of life in the Caribbean, but with climate change these storms are getting more frequent and more violent. In the face of these life-threatening climate catastrophes, artists can show us how these climate changes relate to a lived, everyday reality, and how they intersect with our experience of family, community and home. Hurricane Season is a story about a home under threat, cycles of environmental and political violence, and repairing communities despite the potential for them to be destroyed again. It features contemporary art in a range of mediums by artists from across the archipelago and the diaspora, including works by Firelei Báez, Lionel Cruet, Teresita Fernández, Tamika Galanis and Deborah Jack. The fully illustrated catalog includes essays by Mia Laufer and Lisa Paravisini-Gebert and poetry by O

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A dialogue of sensibility and attention: artists from Forrest Bess to Amy Sillman juxtaposed with the delicate paintings of Raoul De Keyser Over the course of his nearly five-decade career, Belgian artist Raoul De Keyser (1930–2012) created paintings that bridge the mysteries of the everyday and the intangible world of abstraction. Friends in a Field: Conversations with Raoul De Keyser takes the artist’s radical painterly practice as the beginning of a conversation with a diverse group of artists—both living and dead—whose works share a sensibility and attentiveness to the fragile intangibility of the world. In their paintings, sculptures and works on paper, these artists join De Keyser in presenting the world back to us as a kind of abstract visual poetry. Friends in a Field presents works by Richard Aldrich, Forrest Bess, Matt Connors, René Daniëls, Raoul De Keyser, Vincent Fecteau, Maysha Mohamedi, Rebecca Morris, Betty Parsons, Amy Sillman, Ricky Swallow, Patricia Treib, Luc Tuymans and Lesley Vance.

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"Sibony’s meticulous engagement with the scavenged object, his reverence for the mundane, has … seemingly been an influence on a host of emerging artists worldwide." –Lauren O’Neill-Butler, Artforum For over 20 years, Brooklyn-based artist Gedi Sibony (born 1973) has transformed cast-offs and other found materials into spare, elusive works of art, forging an evocative new strain of Minimalism from the salvage of contemporary life. This richly illustrated monograph surveys a decade of his varied production. Featuring newly commissioned texts by art historian Rhea Anastas and artist/poet Renee Gladman, as well as an interview with Sibony by Robert Enright, All These Hands Are Made of Crumbs surfaces points of connection between distinct bodies of work: from the artist's acclaimed series of found paintings cut from the sides of decommissioned semi-trailers to the subtle sculptural objects that, for him, serve as "guideposts for reframing the experience of place."

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A celebration of groundbreaking works by generations of women artists from Joan Mitchell to Julie Mehretu and beyond This book explores the bold vision and vast range of achievements of women artists working predominantly across North America from the late 1960s into the present moment. The paintings, sculpture and mixed-media works featured are drawn from the Shah Garg Collection, which is dedicated to illuminating the critical role that women have played in shaping the development of abstraction and the narratives of art more broadly. Making Their Mark includes two sweeping essays by editors Mark Godfrey and Katy Siegel, writings by six scholars on topics relevant to the depth of the collection, such as the importance of craft traditions, artistic experimentation with new technologies and the impact of personal and communal identity on artmaking, as well as lively texts by 15 artists about the artists who inspire them. Richly illustrated with works by 136 artists, this volume offers new insights that make it a resource for students of art and general readers alike. Artists include: Pacita Abad, Candida Alvarez, Olga de Amaral, Emma Amos, Firelei Báez, Jennifer Bartlett, Barbara Chase-Riboud, Trude Guermonprez, Jacqueline Humphries, Suzanne Jackson, Maria Lassnig, Simone Leigh, Julie Mehretu, Joan Mitchell, Senga Nengudi, Toyin Ojih Odutula, Calida Rawles, Ilana Savdie, Tschabalala Self, Lorna Simpson, Jaune Quick-to-See Smith, Pat Steir, Lenore Tawney, Toshiko Takaezu, Charline von Heyl, Kay WalkingStick and Mary Weatherford.

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Sensual and psychedelic sculpture affirming the primacy of the handmade object, from a leading New York sculptor The vibrant, small-scale wooden sculptures of New York–based artist Matthew Ronay (born 1976) cull from the vocabularies of organic things—flora and fauna from land and sea, human anatomy, and water systems. Fantastical architectures find form, too—gateways and towers—in the artist’s technicolor array of soft-curved and intricately honed formations. Melding vocabularies of modernist abstraction and ritualistic objects, Ronay's sculptures and enigmatic installations express the primacy of the handmade object. His inspirations constitute a zigzagging thread of artists and scientists from the 18th century to the present whose works reflect natural phenomena consciously or unconsciously. Ronay also proposes the possibility that inherited memories of the genesis and evolution of life recapitulate themselves in abstract works of sculpture and painting. Produced in conjunction with the artist’s exhibition at the Nasher Sculpture Center, this monograph presents Ronay's sensual and psychedelic sculptures in extensive detail through photographs and installation views.

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An activist and a curator as well as a trailblazing artist, feminist and lesbian scholar, New Mexico based Harmony Hammond (born 1944) has enjoyed a career spanning nearly fifty years and many mediums, all of which are brought together for the first time in Material Witness, which accompanies the artist's museum survey of the same name at the Aldrich Contemporary Art Museum.Hammond's groundbreaking painting and installation practice unites minimalist and postminimalist concerns with feminist art strategies, employing marginalized craft traditions in the service of abstraction, and working through a wide cast of materials: fabric, rope, pine needles, hair, blood, bone and wood, mixed with traditional sculptural and painting materials.Harmony Hammond: Material Witness restages the most significant installations of Hammond's career and presents them alongside her major paintings, sculptures, works on paper and ephemera. Fully illustrated, and with an essay by exhibition curator Amy Smith-Stewart, this is the first and definitive monograph on Harmony Hammond and her revolutionary practice.

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The acclaimed overview of Black abstract art, now in an expanded edition with nearly 100 additional color plates The Joyner/Giuffrida Collection of Abstract Art is widely recognized as one of the most significant collections of modern and contemporary work by artists of the African diaspora and from the continent of Africa itself. Four Generations: The Joyner/Giuffrida Collection of Abstract Art draws upon the collection's unparalleled holdings to explore the critical contributions made by Black artists to the evolution of visual art in the 20th and 21st centuries. This revised and expanded edition updates Four Generations with several new texts and nearly 100 images of works that have been added to the collection since the initial publication of this influential and widely praised book. Lavishly illustrated and featuring important contributions by leading art historians, critics, and curators, Four Generations gives an essential overview of some of the most notable Black artists and movements of the past century, and their approaches to abstraction in its various forms. Filled with countless insights and visual treasures, Four Generations is a journey through the momentous legacy of postwar art of the African diaspora. Artists include: Firelei Báez, Romare Bearden, Kevin Beasley, Zander Blom, Mark Bradford, Leonardo Drew, Sam Gilliam, David Hammons, Isaac Julien, Jacob Lawrence, Norman Lewis, Glenn Ligon, Julie Mehretu, Oscar Murillo, Christina Quarles, Robin Rhode, Lorna Simpson, Shinique Smith, Alma Thomas, Kara Walker, Jack Whitten, Lynette Yiadom-Boakye and many others. Rarely is a monograph on a private collection as revelatory as this—what an extraordinary, rich body of work is packed into these pages. The achievements of the artists, as well as their conceptual and formal daring, leave no doubt that a new page on American art is about to be opened." –Okwui Enwezor

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Painter, novelist and wrestler, Drexler is the great polymath of Pop Rosalyn Drexler has always moved between worlds. In the late 1950s and early ’60s, she showed sculpture at New York’s Reuben Gallery, a gathering place for artists like Allan Kaprow and Claes Oldenburg who combined installation and performance with traditional media. Drexler took part in Happenings at Reuben Gallery and at Judson Church (years after her own quasi-performance as a female wrestler, memorialized by Andy Warhol in the 1962 series Album of a Mat Queen). Drexler’s collages and large-format paintings of the 1960s open the category of Pop art to technology and politics in a way that feels contemporary today, crossing hard-edge painting with depictions of sex, violence, race and gender role-playing in film and media. Her writing also crosses high and low genres, comprising novels both experimental and popular, avant-garde theater and writing for television (including an Emmy-winning Lily Tomlin special). In addition to a comprehensive selection of Drexler’s major paintings, Who Does She Think She Is? also recovers the artist’s early sculptures, recently rediscovered and not exhibited since 1960. Documentation of Drexler’s performances and theatrical work, photographs evoking her role in the downtown New York scene and a selection of her books and other archival materials present her work across multiple mediums, offering a comprehensive look at Drexler’s varied career. Rosalyn Drexler was born in 1926 in the Bronx, New York. In 1951 Drexler pursued a brief career as a professional wrestler under the name "Rosa Carlo, the Mexican Spitfire." In January 1964 her work was included in the First International Girlie Exhibit at Pace Gallery, New York. In 1968, Drexler signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War.

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Bottles aligned on shelves or suspended in the air, jars of marbles and dye-filled tubes: form, substance and structure emerge from deceptively humble means in the sculpture of Tony Feher. His work uses gravity, light and repetition to isolate and animate everyday objects, creating a sculptural territory that Feher can rightfully claim as entirely his own. Published in conjunction with a major retrospective exhibition organized by the Blaffer Art Museum, this is the first publication to explore work from throughout the artist’s significant and influential career. This comprehensive book reproduces his many sculptures, site-specific installations and two-dimensional works and includes major new texts on Feher’s practice from Blaffer Director Claudia Schmuckli and curator and writer Russell Ferguson. Superbly realized by renowned New York design studio Matsumoto Incorporated, this publication is the definitive book on the work of a vanguard American artist.

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