The definitive user’s guide and then some to Matthew Barney’s epic five-part epic film series, The Cremaster Cycle is filled with hundreds of Barney’s fantastical images and surveys the project, which uses the biological model of sexual difference as its conceptual departure point. Three essays by Barney experts articulate the series’ diverse themes and explore the artist’s innovative aesthetic vocabulary; interviews with key collaborators, a composer, costume designer, make-up artist, technicians and actors reveal his working process. A trailblazing essay by Curator of Contemporary Art Nancy Spector charts Barney’s work from the 1990s to the present and provides critical insights into the aesthetic vocabulary of his five Cremaster films, while Neville Wakefield’s “Cremaster Glossary” illuminates the films’ most far-flung references with citations from sources as diverse as Freud’s psychoanalytic studies, Mormon law and lore, and hardcore music fanzines. In addition to stills from the five films–including the final episode, Cremaster 3–the book features related sculptures, photographs, drawings and storyboards. For anyone intrigued by the Wagner of contemporary art, this is an atlas to his enticingly hypnotic worlds. Barney himself collaborated on all aspects of this extraordinary publication, including the selection of over 700 images, most of them never before published.

This accompanying catalogue to largest exhibition of Matthew Barney’s extraordinary drawings to date explores this central aspect of the artist’s important body of work.
 
Drawing has always been an incredibly important part of Matthew Barney’s practice: his first major work—completed while still at Yale Art School—involved him creating a wall drawing while harnessed to the ceiling of his studio. In this exhibition and accompanying catalogue, one hundred of the artist’s most important drawings are presented from his major series of works—including “The Cremaster Cycle,” “The Drawing Restraint” series, and most notably “Ancient Evenings,” the body of work that has occupied the artist in the last few years (and is based on Norman Mailer’s ancient Egyptian-inspired novel of the same name).
 
This exhibition and catalogue also represent a unique collaboration between the artist and the august Morgan Library, in which he was invited by the institution to mine their extensive holdings in order to include objects (drawings, manuscripts, etc.) in the installation of his work, to create an interesting framework around the many ideas the artist is exploring.
 
In addition to a major essay by curator Klaus Kertess, who considers the many themes the artist draws from, the book includes a poetic contribution by artist Roni Horn and an insightful text by Adam Phillips, noted psychoanalyst.

CREMASTER 3, first presented in February 2002, concludes Matthew Barney’s CREMASTER cycle that consists of five films. He began working on the cycle in 1994. The individual parts, however, were not produced in chronological order. Each of the five films is accompanied by a publication; the present volume was uniquely designed as an artist’s book by Matthew Barney and contains a multitude of photographs and film stills from CREMASTER 3. Just like the other parts of the cycle, the film manipulates narrative genres, in this case zombie films and classical gangster movies. The action is staged in the thirties’ New York, Saragota Springs and Giant’s Causeway in Northern Ireland. It revolves around a variety of topics such as the “Irish Mob,” Irish-American organized crime, Freemasonry and Celtic legends–symbolizing forces that have an impact on Barney’s mythological system. The film was made in the Chrysler Building and in the Solomon R. Guggenheim Museum in New York, which both create a type of sculptural back-drop for the dramatic plot.

Matthew Barney’s Drawing Restraint series imagines mythic interactions and subtle energy currents that meld legend and technology in dark, non-allegorical fairytales. In the film Drawing Restraint 9, the tension is strung between creative discipline (restraint, orderliness, pattern) and protean creativity (oceanic chaos)–a theme that is symbolically enacted in the construction and transformation of a vast sculpture of liquid Vaseline called “The Field.” Over the course of the film, “The Field” is molded, poured, bisected and re-formed on the deck of a whaling ship. These shifts in the sculpture’s state are then echoed in the tale of The Guests, two visitors to the ship (played by Barney and Björk) who, locked in a lover’s embrace and breathing through blowhole orifices in the back of their necks, cut away each other’s feet and thighs with flensing knives to reveal nascent whale tails. In conjunction with the Serpentine Gallery’s 2007 exhibition, this catalogue for Drawing Restraint 9 and the Drawing Restraint series to date features autonomous sketches, drawings, sculptures and photographs. It offers an assessment of the project’s fusion of sculpture, architecture, music, computer-generated effects and prosthetics that draws from mythology, history, sports and biology to explore the interplay between polymorphous desire and applied order.

Named after the muscle that raises or lowers a man’s testicles in response to temperature, the Cremaster series has featured Barney as a satyr, a magician, a ram, Harry Houdini, and even famous murderer Gary Gilmore, props made from tapioca, petroleum jelly, ice, and self-healing plastic, and settings as fantastic and desolate as the Isle of Man, an empty football stadium in Idaho, and a nearly empty opera house in Hungary. The films are slow-moving and weirdly hynotic, full of elaborate sexual and biological allusions, references to sports and fashion, and a bizarre mix of autobiography, history, and private symbolism that have earned him comparisons to Wagner. This book is one of the five companion volumes published to coincide with the release of each of the Cremaster films. Each was designed in an original manner by the artist and features photographs and stills from the film it accompanies.

Slittamenti della performance è un progetto editoriale, sviluppato in due volumi, che ha l’intento di narrare analiticamente la nascita, lo sviluppo e le varie articolazioni della performance art internazionale dagli anni Sessanta ai giorni nostri. Slittamenti della performance, Volume I. Anni 1960 – 2000 tratta l’avventura performatica dalla sua nascita alla fine del millennio, seguendone le vicissitudini, le significazioni e gli sconfinamenti che ha sviluppato negli anni. Il saggio è un excursus critico e non edulcorato che si insinua nelle esasperazioni fisiche di Gina Pane, Ulay e Marina Abramovic, Vito Acconci, Chris Burden, Guerilla Art Action Group e gli Azionisti viennesi, nel femminismo radicale di Judy Chicago, Carolee Schneemann, Yayoi Kusama, Valie Export ed altre, passando per artisti apolidi come i Coum Transmission, Leigh Bowery, Joan Jonas, Luigi Ontani, Urs Lüthi, Rebecca Horn, James Lee Byars, Hélio Oiticica, Rebecca Horn, Jannis Kounellis e molti altri e fino alla ridiscussione corporea della Black Identity di David Hammons, Adrian Piper, Senga Nengudi e Lorraine O’Grady. Negli anni Novanta, il corpo è slittato dalla sua fissità organica alla mutevolezza folgorante dell’epoca postumana dove Matthew Barney, Jana Sterbak, Janine Antoni, Paul McCarthy, Mike Kelley, Bruce Nauman, Félix González-Torres e altri esplorano le geometrie corporee per caricarle di nuovi significati. Con il corpo postorganico l’incessante ricerca biotecnologica e neuroscientifica cambiano prospettiva alla funzionalità corporea sublimando il suo desiderio di mutazione.

Midnight: The Tempest Essays, the second book in Molly Nesbit’s Pre-Occupations series, returns the question of pragmatism to the everyday critical practice of the art historian working in the late 20th century. These essays take their cues from the work of specific artists and writers, beginning in the late 1960s, a time when critical commentary found itself in a political and philosophical crisis. Illustrated case studies on Eugène Atget, Marcel Duchamp, Jean-Luc Godard, Cindy Sherman, Louise Lawler, Rachel Whiteread, Gabriel Orozco, Rirkrit Tiravanija, Lawrence Weiner, Nancy Spero, Rem Koolhaas, Martha Rosler, Gerhard Richter, Matthew Barney and Richard Serra, among others, continue the legacy of a pragmatism that has endured while debates over postmodernism and French philosophy raged.

Interviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, the Dream Syndicate’s Karl Precoda, Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Tony Oursler, Lou Reed, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer, and Yo La Tengo’s Georgia Hubley and Ira Kaplan. Introduction by Jay Sanders. For the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York’s art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine the Wire while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht’s groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public and private exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed. Alan Licht is a writer, musician, and curator based in New York City. He is equally known for his guitar work in the underground rock bands Run On and Love Child and in the experimental groups the Blue Humans and Text of Light. He has released eight solo guitar albums and more than a dozen duo and trio records of improvised music. Licht is a contributing music editor at BOMB magazine and his essays and reviews have appeared in Artforum, Parkett, the Wire, the Believer, Sight & Sound, and many other publications. He is the author of An Emotional Memoir of Martha Quinn, an extended personal essay about coming of age as a rock fan and musician; Sound Art: Beyond Music, Between Categories, the first full-length study of sound installations and sound sculpture to appear in English; and Sound Art Revisited, an updated version of the latter, published last year; and he is a co-author of Will Oldham on Bonnie ‘Prince’ Billy, a collection of interviews with Will Oldham, and Title TK 2010–2014, a compilation of concert transcriptions, with Cory Arcangel and Howie Chen.

Paul Thek occupied a place between high art and low art, between the epic and the everyday. During his brief life (1933-1988), he went against the grain of art world trends, humanizing the institutional spaces of art with the force of his humor, spirituality, and character. Twenty years after Thek’s death from AIDS, we can now recognize his influence on contemporary artists ranging from Vito Acconci and Bruce Nauman to Matthew Barney, Mike Kelley, and Paul McCarthy, as well as Kai Althoff, Jonathan Meese, and Thomas Hirschhorn. This book brings together more than 300 of Thek’s works–many of which are published here for the first time–to offer the most comprehensive display of his work yet seen. The book, which accompanies an exhibition at ZKM ? Museum of Contemporary Art presenting Thek’s work in dialogue with contemporary art by young artists, includes painting, sculpture, drawing, and installation work, as well as photographs documenting the room-size environments into which Thek incorporated elements from art, literature, theater, and religion. These works chart Thek’s journey from legendary outsider to foundational figure in contemporary art. In their antiheroic diversity, Thek’s works embody the art revolution of the 1960s; indeed, Susan Sontag dedicated her classic Against Interpretation to him. Thek’s treatment of the body in such works as “Technological Reliquaries,” with their castings and replicas of human body parts, tissue, and bones, both evoke the aura of Christian relics and anticipate the work of Damien Hirst. The book, with more than 500 images (300 in color) and nineteen essays by art historians, curators, collectors, and artists, investigates Thek’s work on its own terms, and as a starting point for understanding the work of the many younger artists Thek has influenced.Essays byJean-Christophe Ammann, Margrit Brehm, Bazon Brock, Suzanne Delehanty, Harald Falckenberg, Marietta Franke, Stefan Germer, Kim Gordon, Roland Groenenboom, Axel Heil, Gregor Jansen, Mike Kelley, John Miller, Susanne Neubauer, Kenny Schachter, Harald Szeemann, Annette Tietenberg, Peter Weibel, Ann Wilson

An Intriguing and Diverse Survey of Some of the Most ImportantArtists of the Century; New Affordable Format.As part of its critically-acclaimed “Themes and Movements” series, PhaidonPress is pleased to announce the new edition of THE ARTIST’S BODY, acompelling look at the artists’ use of self and body as object and subjectin their work, a movement that represents the state of contemporary art andmakes a wider comment on the human condition.Bound or beaten naked orpainted, still or spasmodic: the artist lives his or her art publicly inperformance or privately in video and photography.Amelia Jones’ surveyexamines the most significant works in the context of social history andTracey Warr’s selection of documents combines writings by artists, criticsand philosophers.Beginning with such key artists as Marcel Duchamp and Jackson Pollock, thisbook examines a selection of the most significant players who have usedtheir bodies to create their art – among them, in the 1960s CaroleeSchneemann, Rudolf Schwarzkogler, Yoko Ono; in the 1970s, Chris Burden, AnaMendieta, Vito Acconci, Marina Abramovic; up to the turn of the millennium,Matthew Barney, Mac Quinn, Tracey Emin and Mona Hatoum.In the survey, Amelia Jones, among the world experts in the field,discusses performance and body art against the background of socialhistory.She examines the breakdown of barriers between art and life,visual and sensual experience – how artists have expanded and renewed theage-old tradition of self-portraiture, moving art out of the gallery intounexpected spaces and media. Each image is accompanied by an extendedcaption. The works are organized thematically.* Painting Bodies, concerns work that shows the trace, stain or imprintof the artist’s body in response to the paint-on-canvas tradition. * Gesturing Bodies, examines artists who transform the body – its acts,its gesture – into art, gesture, behavior and situations are used in placeof art objects.* Ritualistic and Transgressive Bodies, looks at work which uses thebody to enact challenges to the social expectations of the body, often inrituals that perform a cathartic function.Mutilation and sacrifice areused to rupture personal and social homogeneity. * Body Boundaries, examines boundaries between the individual body andthe social environment and between the inside and outside of the bodyitself. * Performing Identity, looks at issues of representation and identity. * Absent Bodies, explores absence and the mortality of the body throughphotography, casting, imprints or remnants of the body.* In Extended and Prosthetic Bodies, the body is extended throughprosthetics or technology, to explore cyberspace and alternative states ofconsciousness.Parallel to the illustrated works of art, this section combines texts bycritics who shaped the movement, from Lucy R. Lippard to Thomas McEvilley. Alongside these writings by philosophers and thinkers such as GeorgeBataille and Gilles Deleuze who have contributed on a theoretical level tothe discussion around the body – a prevalent theme in twentieth-centurycultural theory.THE ARTIST’S BODY is a powerful and poignant look at an increasinglysignificant movement and art form.This book is an essential referencethat examines some of the most cutting edge and innovative artists of ourtime.This new affordable edition is perfect for students of theater andart as well as anyone with an interest in contemporary art.

Updated and Revised In a lively panorama of stimulating juxtapositions, sequences, and cross references, this new edition of Modern Contemporary provides a cornucopia of 590 works of key contemporary art (37 more than in the original edition). Thought-provoking page spreads juxtapose Jia Zhang Ke, Matthew Barney and Kara Walker; Gabriel Orozco, Chris Ofili, and Jeanne Dunning; Philippe Starck and Rineke Dijkstra; Jenny Holzer and Robert Gober; Mona Hatoum and Teiji Furuhashi; Philip-Lorca diCorcia, Juan Snchez, Raymond Pettibon, and Rosemarie Trockel; Gary Hill, General Idea and Lari Pittman; and David Wojnarowicz and Bruce Nauman, to name a few. Addressing the extensive holdings of contemporary art in the collection of The Museum of Modern Art, New York, Modern Contemporary covers an international spectrum of art in a variety of mediums, all made in the last two decades of the 20th century and the first few years of the 21st. Organized chronologically and encompassing a prime selection of painting, sculpture, architecture, design, photography, drawings, prints, film, and video, this rich and varied array of art from 1980 until now offers a virtual compendium of the visual culture of our own time.

The Masculine Masquerade explores often-ignored issues of masculinity in the visual arts as well as models and concepts of masculinity in literature, film, and the mass media. Drawing on the work of feminist and gay studies and the work being done in areas of psychology, sociology, and gender studies, the essays analyze the conventional and limited definition of masculinity as a social and cultural construct. They seek to expand that definition to include multiple masculinities and factors such as race, class, ethnicity, and object choice. Helaine Posner, Curator, MIT List Visual Arts Center, examines masculinity in the contemporary visual arts, including the works of Matthew Barney, Mary Kelly, Lyle Ashton Harris, Clegg & Guttmann, Keith Piper, and Donald Moffett. Andrew Perchuk, independent curator and critic, focuses on the art of the immediate postwar period to investigate T. J. Clark’s notion that the terminology surrounding the New York School was expressed in the language of sexual difference, with severe consequences for artists whose work could not be inserted into this narrative. Steven Cohan, Associate Professor of English, Syracuse University, looks at postwar film in The Spy in the Gray Flannel Suit:Gender Performance and the Representation of Masculinity in North by Northwest. Harry Brod, Department of Philosophy, University of Delaware, traces the history of masculinity as masquerade, from classic conceptions of masquerade as distinctly feminine to contemporary theories of gender as performative. bell hooks, Professor of English, City College, investigates the historical definition of black male sex roles and the commodification of blackness through close readings of the films of Eddie Murphy and Spike Lee, among others. Simon Watney, writer, activist, and critic, considers the current and changing impact of AIDS on the gay male community in “Lifelike”: Imagining the Bodies of People with AIDS. Finally, Glenn Ligon employs stereotypic images of black men constructed for white pleasure, drawn from 1970s pornographic magazines, and explores the possibility of recovering and transforming these images into non-racist expressions of pleasure and desire.

Des historiens d’art, des conservateurs, des artistes et des chorégraphes explorent le dialogue entre art et danse de 1900 à nos jours, d’Henri Matisse à Tino Sehgal, de Vaslav Nijinski à Matthew Barney, de Loïe Fuller à Merce Cunningham. Illustré par de nombreuses oeuvres et documents exceptionnels, “Danser sa vie” est un parcours inédit et ambitieux au croisement de toutes les disciplines.

Oceanomania investigates the evolution of our fascination with the sea, in time and space, design, literature and art, revealing how the uncanny and marvelous have inspired artistic research. Continuing his investigations as a naturalist, archaeologist and traveler, the American artist Mark Dion explored the collections of the Oceanographic Museum of Monaco to create a monumental curiosity cabinet and dived into the collections of the Nouveau Musée National de Monaco (NMNM) to present a major intervention at Villa Paloma, one of the NMNM’s exhibition spaces. The accompanying publication, Oceanomania: Souvenirs of Mysterious Seas published by MACK and NMNM combines installation images from the exhibition, original artist imagery and essays from various writers exploring the different facets of the exploration of the seas and the challenges in exhibiting a marine world above sea level. Two significant and contrasting recent maritime events form the conceptual framework of Dion’s project. These are the recently completed Census of Marine Life (2010) and the Deepwater Horizon oilrig explosion. The first brought together 2,700 scientists from 80 nations over a 10-year period to assess and explain the diversity, distribution and abundance of life in the oceans. The second, the Deepwater Horizon oilrig explosion led to 4.9 million barrels of crude oil being spilled into the seas of the Gulf of Mexico, producing an 80 square mile kill zone and causing extensive damage to marine life. Its consequences are expected to be felt for decades to come. Dion’s work examines our perception of the oceans and engages our sense of wonder at its diversity and our melancholy at its depletion. The project brings together works by 20 visual artists and 13 writers who show different aspects relating to our understanding of the sea and the ocean. They focus on the ocean not only as a site for exploration and discovery but also as a site where there is often unregulated and invisible human labor and exchange and where the marvelous aquatic life and mineral resources are often neglectfully exploited. The exhibition and catalogue includes the monumental series Twenty Thousand Leagues under the Sea by Bernard Buffet (1928-1999) and works by Matthew Barney, Ashley Bickerton, David Brooks, Michel Camia, David Casini, Peter Coffin, Katharina Fritsch, Klara Hobza, Isola and Norzi, Pam Longobardi, Jean Painlevé, James Prosek, Man Ray, Alexis Rockman, Allan Sekula, Xaviera Simmons, Laurent Tixador and Abraham Poincheval and Rosemarie Trockel.

Born Ehrich Weiss in Budapest, Hungary, Harry Houdini (1874-1926) was a rabbiís son who became one of the 20th centuryís most famous performers. His gripping theatrical presentations and heart-stopping outdoor spectacles attracted unprecedented crowds, and his talent for self-promotion and provocation captured headlines on both sides of the Atlantic. Though Houdiniís work has earned him a place in the cultural pantheon, the details of his personal life and public persona are subjects of equal fascination. His success was both cause for celebration in the Jewish community and testament to his powers of self-reinvention. In “Houdini: Art and Magic” essays on the artistís life and work are accompanied by interviews with novelist E. L. Doctorow, magician Teller (of Penn and Teller), and contemporary artists including Raymond Pettibon and Matthew Barney, documenting Houdiniís evolution and influence from the late 19th century to the present. Beautifully illustrated with a range of visual material, including Houdiniís own diaries, iconic handcuffs, and straitjacket, alongside rare period posters, prints, and photographs, this book brings Houdini – both the myth and the man – back to life.

Co-organized by Hans Ulrich Obrist and Philippe Parreno as a group exhibition that would occupy time rather than space, “Il Tempo del Postino” usurped the durational dimension of theater by presenting time-based art on the stage of the Manchester Opera House (July 12 – 14, 2007). The book Live Recorded Delay constitutes the only documentation of this legendary project. Entirely conceived by the graphic design team M/M (Paris), it is both a personal archive and an open-ended score for future restagings of the event. With some 140 photographs of the rehearsals, eleven drawn portraits of the participating artists as well as contributions by Nancy Spector, Hans Ulrich Obrist, and Philippe Parreno, the book traces the making of the show and renders a distinctive portrait of a heterogenous but loosely affiliated group. Among the artists featured are Doug Aitken, Matthew Barney and Jonathan Bepler, Tacita Dean, Trisha Donnelly, Olafur Eliasson, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Koo Jeong-A, Philippe Parreno, Anri Sala, Tino Sehgal, and Rirkrit Tiravanija.

One of the premier institutions of contemporary art in the country, the Walker Art Center also holds an important collection of over 11,000 objects from the early 20th century to the present. These holdings reflect the Center’s renowned multidisciplinary program, and include paintings, sculpture, prints, photography, film, video, installations, and digital arts that range in date from classic early modernist to cutting edge contemporary. While aiming to represent the immense diversity in art-making around the world, the collection also is known for several areas of specialty including Minimalism, Arte Povera, Fluxus, and contemporary printmaking. In-depth representations of work by individual artists, including Matthew Barney, Joseph Beuys, Merce Cunningham, Jasper Johns, William Klein, Robert Motherwell, and Kara Walker reflect the Center’s long and close relationships with many of the century’s most creative minds. Showcased in this stunning, expansive, well-designed volume are more than 650 beautifully reproduced works of art. Co-authored by the Walker’s curators and staff, and more than 30 Walker alumni, this book draws heavily on Walker archival material to serve as both a history of the institution and a primer on modern and contemporary art. Adding further dimension to the polyvocal, multifaceted rendition of this dynamic public art center are contributions from a select group of acclaimed writers including, A.S. Byatt, Joshua Clover, Arthur Danto, Dave Eggers, Darby English, Annie Proulx, David Shapiro, and others. The catalogue is published in conjunction with the Spring 2005 re-opening of the newly expanded Walker Art Center. Artists include Matthew Barney, Chuck Close, Bruce Conner, Joseph Cornell, Merce Cummingham, Dan Flavin, Robert Gober, Dan Graham, David Hockney, Donald Judd, Ellsworth Kelly, William Klein, Sherrie Levine, Sol Lewitt, Roy Lichtenstein, Sharon Lockhart, Kerry James Marshall, Bruce Nauman, Isamu Noguchi, Claes Oldenburg, Raymond Pettibon, Richard Prince, Charles Ray, Edward Ruscha, Cindy Sherman, Lorna Simpson, Kiki Smith, Frank Stella, Kara Walker, Andy Warhol, and many others. Edited by Joan Rothfuss and Elizabeth Carpenter. Essays by Elizabeth Alexander, A.S. Byatt, Dave Eggers, Arthur C. Danto, Wayne Koestenbaum, James Lingwood, Linda Nochlin, Annie Proulx, David Shapiro, Charles Simic, Howard Singerman, Hamza Walker et al.

In chess, when a pawn reaches the eighth square on the far side of the board, the player can swap it for a piece from his opponent’s set. So the pawn–a lowly foot soldier–can transform into a queen, the least powerful figure can transform into the epitome of power, and a man can become a woman–just like that. Issues of sexuality are playing out around us all the time, quaking and transmuting under the surface of every family exchange and embedded in all of our popular media images. This scholarly and yet still erotic compendium examines, through works by more than 70 artists, historical and social developments in human sexuality, taking on all facets of drag, gender, queerness and transsexuality. Artists include Diane Arbus, Francis Bacon, Matthew Barney, Louise Bourgeois, Nan Goldin, Felix Gonzalez-Torres, David Hockney, Jasper Johns, Robert Mapplethorpe, Tracey Moffatt, Bruce Nauman, Robert Rauschenberg and Cindy Sherman.

The arts have changed since 1885, and Les Grands Spectacles sets out to document this evolution in three phases. Starting with the invention of film and the standardisation of the bourgeois theatre-house in the late 19th century, the book then focuses on the modernisation and dissemination of the mass media after World War Two, and finally arrives at the situation of art at the beginning of the new millennium, where events cultivate a theatrical quality, and the individual’s every intimate impulse can become entertainment for the masses. Les Grands Spectacles also shows what effects these changes have had on art or have been spurred by art, and how the social significance of the sensational, the tragic or the deceptive has been understood in art and the material of the spectacle explored, extended, hijacked, altered or destroyed in artworks. Artists in the exhibition include Vito Acconci, John Baldessari, Matthew Barney, Vanessa Beecroft, Maurizio Cattelan, Jake & Dinos Chapman, Marcel Duchamp, Marlene Dumas, Sylvie Fleury, Nan Goldin, Dan Graham, Richard Hamilton, Damien Hirst, Candida Höfer, Martin Kippenberger, Yves Klein, Gustav Kluge, Jeff Koons, Yayoi Kusama, El Lissitzky, Robert Longo, Paul McCarthy + Jason Rhoades, Jonathan Meese, Laszlo Moholy-Nagy, Otto Mühl, Takashi Murakami, Dennis Oppenheim, Raymond Pettibon, Pablo Picasso, Richard Prince, Mimmo Rotella, Dieter Roth, Ed Ruscha, Jean Tinguely, Cindy Sherman, Joel Sternfeld, Hiroshi Sugimoto, Nicola Tyson, Dziga Vertov, Catherine Wagner, Andy Warhol, Franz West, and many, many others. Essays by Magrit Brehm, Roberto Ohrt and Klaus Theweleit.

Image Stream brings together eight gallery-based film and video works, each of which explore the limits of this new medium, returning to narrative and changing conventional modes of viewing. Curator Helen Molesworth in this her first exhibition for the Wexner Art Center has selected works by Kutlug Ataman, Matthew Barney, Tacita Dean, Andrea Fraser, Pierre Huyghe, Neil Jordan, Donald Moffett, and Lorna Simpson, each of which is accompanied by an individual short analytical essay. As Molesworth writes in her introduction, “The hygenic isolation of the white cube has slowly, but steadily, been overtaken by an increasingly promiscuous black box. As any turn-of-the-century member of the art public knows, darkened rooms and heavy black curtains signal the omnipresent film and/or video installation.” If an earlier generation of film and video artists were concerned with the formal properties of film, she argues, today’s contemporary artists “willingly explore visual forms borrowed from both Hollywood and auteur film, as well as television, MTV, CNN, and the theater. This profligate borrowing of mass-media forms has been accompanied by a strong impulse towards narrative.” It is what Molesworth calls this “reciprocity” between art wold and mass culture that is a “defining characteristic of contemporary projected images.” Essays by George Baker, Gregg Bordowitz, Aruna D’Souza, Bill Horrigan, Bruce Jenkins, Helen Molesworth and Hamza Walker. ~Introduction by Sherri Geldin.

At this point in art time, new media work needs no longer be prefixed by “new.” With a firm place in institutional and private collections, with an ever-burgeoning range of practitioners, media art can safely be considered a part of the contemporary canon. And hence Fast Forward, a hefty, thorough reference guide, a virtual catalogue raisonné of the medium, from works found in the Goetz Collection. Over 180 film and video works by almost 80 international artists are represented, including: Eija-Liisa Ahtila, Doug Aitken, Chantal Akerman, Francis Alÿs, Emmanuelle Antille, Kutlug Ataman, Matthew Barney, Andrea Bowers, Janet Cardiff / George Bures Miller, Tacita Dean, Rineke Dijkstra, Stan Douglas, Tracey Emin, Peter Fischli / David Weiss, Douglas Gordon, Rodney Graham, Mona Hatoum, Teresa Hubbard / Alexander Birchler, Pierre Huyghe, Annika Larsson, Sharon Lockhart, Steve McQueen, Bjørn Melhus, Arnout Mik, Tracey Moffatt, Sarah Morris, Gabriel Orozco, Tony Oursler, Paul Pfeiffer, Jeroen de Rijke / Willem de Rooij, Pipilotti Rist, Santiago Sierra, Beat Streuli, Sam Taylor-Wood, Diana Thater, Wolfgang Tillmans, Rosemarie Trockel, and Gilian Wearing. The book is rounded off with introductory essays by Peter Weibel, Stephan Urbaschek, Mark Nash, and Sabine Himmelsbach, plus short essays on individual artists, and bibliographic and technical information.

Just Love Me–with its title taken directly from a late 90s neon sign by Tracey Emin–reveals how complex and differentiated female identity constructions have become today. Classically assigned roles have broken down. Radical feminist positions of the 70s and 80s no longer make sense. But if much has changed since the late 60s, when feminist artists began to make their most prominent moves, many social and structural problems remain. The strategies and perspectives of women artists today–and, presumably, of women today–are here considered through a selection of works by an important group of contemporary (mostly) women artists: Matthew Barney, Rineke Dijkstra, Tracey Emin, Mona Hatoum, Jonathan Horowitz, Sarah Jones, Mike Kelley, Karen Kilimnik, Sarah Lucas, Tracey Moffat, Cady Noland, Catherine Opie, Pipilotti Rist, Daniela Rossell, Cindy Sherman, Ann-Sofi Sidan, Sam Taylor-Wood, Gillian Wearing, Sue Williams, and Andrea Zittel.

With its title taken from a signature work by Bruce Nauman, Life, Death, Love, Hate ,Pleasure, Pain presents a selection of approximately 190 works from the collection of the Museum of Contemporary Art, Chicago. A wide-ranging, insightful survey, arranged in roughly chronological order, it features work by such artists as Vito Acconci, Magdalena Abakanowicz, Francis Bacon, Matthew Barney, Joseph, Beuys, Christo, Iñigo Manglano-Ovalle, KerryJames Marshall, Mariko Mori, Martin Puryear, Richard Serra, Yinka Shonibare, and H. C. Westermann. In an introductory essay, chief curator Elizabeth Smith discusses key trends in art from World War II to the present and provides a brief history of the MCA and its collection. Additional, accessible short texts by the curatorial staff of the MCA focus on individual works. Artists Include: Ann Hamilton, Felix Gonzalez-Torres, Jenny Holzer, Max Ernst, Cady Noland, Jeanne Dunning, Jean Dubuffet, Chuck Close, Christo , Alexander Calder, Joseph Beuys, Bernd & Hilla Becher, Matthew Barney, Francis Bacon, Dan Flavin, Adrian Piper and Vito Acconci, amongst many others. Essays by Lynne Warren, Elizabeth A. T. Smith, Alison Pearlman, Julie Rodrigues, Francesco Bonami, Staci Boris, Sylvia Chivaratanond, Monika Gehlawat, Lela Hersh, Dominic Molon, Heather Ring, Michael Rooks, Jenni Sorkin, and Tricia Van Eck. Foreword by Robert Fitzpatrick.

Making Contemporary Art is the ideal launchpad for anyone wanting to understand all the essential, but sometimes elusive, aspects of art-making today. In her inimitable voice – accessible, straightforward and jargon-free – Linda Weintraub explores the conceptual and practical concerns that go into making contemporary art. Six clearly defined thematic sections – Scoping an Audience, Sourcing Inspiration, Crafting and Artistic ‘Self’, Expressing an Artistic Attitude, Choosing a Mission and Measuring Success – draw on the work of forty contemporary artists, including Matthew Barney, Chris Ofili, Isaac Julien, Nan Goldin and Mariko Mori, to create a complex understanding of how to make and look at contemporary art. A series of interviews with various artists sheds light on every aspect of their work, from how they conceive and create their pieces to their more prosaic, practical concerns. In addition to being a fine read for anyone who simply wants to understand how to look at contemporary art, Making Contemporary Art is also an exceptional teaching tool, and one that plugs a huge gap in the art education market.

Edward de Bono invented the term lateral thinking and defined it as such: “1.You cannot dig a hole in a different place by digging the same hole deeper. 2.Lateral Thinking is for changing concepts and perceptions instead of trying harder with the same concepts and perceptions. 3.In self-organizing information systems, asymmetric patterns are formed; Lateral Thinking is a method for cutting across from one pattern to another.” As the title of this book, Lateral Thinking refers to the non-traditional approach that the Museum of Contemporary Art, San Diego, has applied to building its collection. Curatorially independent, striking a balance between the regional and the global, the emerging artist and the established figure, the MCA has always worked to represent important developments in mainstream art while also identifying significant developments that fall outside of conventional categories. The museum’s efforts to illuminate a new axis mapping the contemporary art world — one running north and south through North, Central, and South America instead of east and west through the United States and Europe. Featuring the work, in virtually all media, of more than 65 artists including Matthew Barney, Jose Bedia, Vanessa Beecroft, John Currin, David Hammons, Gary Hill, Gabriel Orozco, Edward Ruscha, Cindy Sherman, and Lisa Yuskavage.

Performance art is now at the forefront of contemporary art world-wide and the desire for direct engagement with today’s most prominent artists explains its wide appeal to the expanding audience for new art. Artists such as Mariko Mori, Paul McCarthy, Matthew Barney and Forced Entertainment can now be seen in the context of previous innovators, from the Dadaists to Laurie Anderson.

First published in 1979, now extensively updated and expanded, this pioneering book has been supplemented by the definitive account of the current technological, political and aesthetic shifts in performance art. 186 black-and-white illustrations

A photographic journey across London, taking in a selection of contemporary art and a curry along the way. Based in London, nvisible Museum is the product of twelve years’ worth of acquisitions by a collector who prefers to remain anonymous. Works are often seminal pieces by young artists early in their careers. Uniquely, the contents of collection are dispersed and nomadic, lent to friends and artists in the collection, and from time to time loaned to art institutions in thematic exhibitions, including the Yerba Buena Center for the Arts, San Francisco; Migros Museum, Zurich; Kiasma Museo, Helsinki; and Sir John Soane’s Museum, London in 2002. <I>Invisible London</I> is a photographic journey from Heathrow to Brick Lane, taking in some of the city’s public places and moving inside the flats, houses and studios where the collection of nvisible Museum is locatedin subtle and compelling opposition to the gigantism and monumentalism of contemporary art collecting. Combines art and voyeurism with glimpses of an extraordinary art collection. 90 color photographs. Artists represented: Nobuyoshi Araki; Matthew Barney; Richard Billingham; Kate Blacker; Louise Bourgeois; Jake and Dinos Chapman; Tacita Dean; Tracey Emin; Katharina Fritsch; Paul Graham; Douglas Gordon; Richard Hamilton; Tim Head; Damien Hirst; Gary Hume; Callum Innes; Emma Kay; Simon Linke; Adam Lowe; Steve McQueen; Paul Miller aka DJ Spooky; Tatsuo Miyajima; Paul Morrison; Cady Noland; Gabriel Orozco; Simon Patterson; Mark Pimlott; Marc Quinn; Liisa Roberts; Tim Rollins + K.O.S.; Gregor Schneider; Simon Starling; Georgina Starr; Thomas Struth; Sam Taylor-Wood; Mark Wallinger; Rachel Whiteread; Gerard Williams; Yves Klein.

Rather than merely document the Lambert collection?one of the most important in contemporary photography?Janus took advantage of a show of the collection presented earlier this year in Germany to construct a first-rate scholarly examination of photography’s role as art. The innovative writers in this ongoing debate?Roland Barthe, John Berger, Douglas Crimp, et al.?as well as influential artists are cited in the main essays by 13 prominent American and European curators and critics. Interspersed throughout in extremely fine reproductions are images by Paul McCarthy, Matthew Barney, Cindy Sherman, Louise Lawler, Nan Goldin, Gerhard Richter, Wolfgang Tillmans, Robert Frank, Annette Messager, and dozens of others. Central to the book’s success, the essays are not limited to a simple description of these works but offer a parallel discussion.

Films with cross-dressed protagonists and advertisements featuring androgynous adolescents are just some of the evidence of our contemporary fascination with gender and sexuality. Rrose is a Rrose is a Rrose provides an art-historical perspective on photography that explores and plays with this controversial, sexy subject. The title of this book combines Gertrude Stein’s famous line, “Rose is a rose is a rose is a rose”, with the name of Surrealist artist Marcel Duchamp’s feminine alter ego, Rrose Selavy, pronounced “Eros, c’est la vie”, or “Eros, that’s life”. The reproductions include photographically based artworks made between 1920 and 1940 by Cecil Beaton, Brassai, Duchamp, Hannah Hoch, George Platt Lynes, and Man Ray, among others. Also featured are photographs from the past 25 years by such artists as Janine Antoni, Matthew Barney, Nan Goldin, Jurgen Klauke, Robert Mapplethorpe, Annette Messager, Lucas Samaras, Cindy Sherman, and Andy Warhol.

Photographer Ari Marcopoulos’ newest publication takes an in-depth look into the studio process of American artist and filmmaker Matthew Barney. Shot over four years, ‘Fumes’ depicts the activity within Barney’s Long Island City studio from 2011 to 2014. Marcopoulos documented the day-to-day activity in the workspace, from the digging of an Egyptian death chamber to the flooding during Hurricane Irene, to the ongoing preparation for Barney’s 2014 film epic ‘River of Fundament’: “I got sucked into taking photographs of the people working on the various projects, more and more it felt almost like a performance.” The publication is comprised of black-and-white and full-color spreads showing workers transporting, molding and fusing toxic materials, interwoven with an array of intricate pictorial montages, mirroring those of a negative. Marcopoulos captures the human figure at work, in motion, pursuing life in its most ordinary moments in order to create something extraordinary.

This book contains four different views of an artists’ books collection. We just sorted in chronological order and took a picture of what was inside. Vincenzo Agnetti, Carl Andre, Nobuyoshi Araki, Stefano Arienti, Enrico Baj, John Baldessari, Fiona Banner, Matthew Barney, Robert Barry, Carlo Bertè, Alighiero Boetti, Christian Boltanski, Agostino Bonalumi, Brad Brace, Stanley Brouwn, James Lee Byars, Vincenzo Cabiati, Antonio Calderara, Enrico Castellani, Mariana Castillo Deball, Eduardo Chillida, Jean Cocteau, Gianni Colombo, Pietro Consagra, Gino De Dominicis, Sonia Delaunay, Herman De Vries, Giulia Di Lenarda, Gillo Dorfles, Peter Downsbrough, Marcel Duchamp, Olafur Eliasson, Peter Fischli & David Weiss, Lucio Fontana, Tom Friedman, Natalia Gončarova, Douglas Gordon, Roni Horn, Emilio Isgrò, Alex Katz, Anselm Kiefer, Terence Koh, Jannis Kounellis, Melissa Kretschmer, Frank Kupka, Maria Lai, Sol LeWitt, Ugo Locatelli, Claudia Losi, Françoise Mairey, Man Ray, Ari Marcopoulos, Brice Marden, Amedeo Martegani, Fausto Melotti, Jonathan Monk, Mariko Mori, Bruno Munari, Mario Nigro, Mimmo Paladino, Luca Pancrazzi, Giulio Paolini, Jes Petersen, Pablo Picasso, Sigmar Polke, Arnaldo Pomodoro, Markus Raetz, Angelo Savelli, Salvatore Scarpitta, Jim Shaw, Roman Signer, Kiki Smith, Dash Snow, Ettore Spalletti, Hiroshi Sugimoto, Wolfgang Tillmans, Richard Tuttle, Erik Van Der Weijde, Bram Van Velde, Luigi Veronesi, Jan Voss, Andy Warhol, Christopher Wool, Erwin Wurm, Yasuhiro Yoshioka

This first volume in the new Concept: Photography series–a loosely-knit collection of books, produced by Germany’s international DZ Bank in cooperation with leading European museums–kicks off an exploration of key themes in the contemporary photography discourse. Dialogues & Attitudes concentrates on subjects like Reflection in Media, Cinematography, and the Staging of the Self. With works by Matthew Barney, Christian Boltanski, Hanne Darboven, Tacita Dean, Robert Rauschenberg, Klaus Rinke, Cindy Sherman, Taryn Simon, William Wegman, and many others, as well as essays by Luminita Sabau, Wulf Herzogenrath, Hubert Beck, Veronika Baksa-Soos and Josef Tillmann, it presents a representative spectrum of the top current positions in photography and art. An appendix with biographies and bibliographies of the artists, as well as a complete checklist of the artworks, round out this first volume in an enlightening new series.

Among the many lessons we have learned from photography since its inception are a few about the nature of reality and its representation. Long considered a mirror image of the real world, a direct and objective record of what exists in the visual stratosphere, the photograph has come to be understood as something much more complicated and variable, something easily manipulated and modified. Subjective Realities is thus a most apt title for this publication, which presents a stellar selection of contemporary photography from the Refco Collection. Included are works by Vito Acconci, Janine Antoni, Matthew Barney, Chris Burden, Jean-Marc Bustamante, Sophie Calle, Gregory Crewdson, Rineke Dijkstra, Olafur Eliasson, Barbara Ess, Walker Evans, Adam Fuss, Ann Hamilton, Eva Hesse, Axel Hutte, Seydou Keita, Inigo Manglano-Ovalle, Ana Mendieta, Gordon Matta-Clark, Mariko Mori, Catherine Opie, Richard Prince, and many, many more artists. An essay by Dave Hickey introduces the book, and short texts on individual artists have been contributed by Lynne Cooke, Kathryn Hixson, A.M. Homes, Glenn O’Brien, Saul Ostrow, Luc Sante, Katy Siegel, and others. Edited by Adam Brooks.~Essays by Lynne Cooke, Dave Hickey, A.M. Homes, David Rimanelli and Katy Siegel. ~Introduction by Judith Russi Kirshner.

A book that charts a journey across cinematic boundaries. Across filmed and imagined digital spaces, between the layers of fact and fiction from moving imagemakers redefining the rules of film. THE END OF CELLULOID is a book that will change the way you see film. Arguing that filmmaking is being superseded by a spectrum of moving image, it extends the range of what we think of as filmmaking. It explores the latest in digital film and new forms of ‘advanced moving image’, highlighting the most exciting and innovative examples of this entertainment. It includes commentary on highly regarded filmmakers and those starting to make an impact who are influencing this next generation of filmmaking. The book presents an insight into these new styles infiltrating the mainstream, taking in film, animation, FMV and machinima (computer gaming animations), digital tv, pop promos, websites, PDA and PVP devices. Moving imagemakers from all disciplines are redefining the rules of film. The End of Celluloid features works by artists including: Jonas Åkerlund (Spun), Roger Avary (Rules of Attraction), Matthew Barney (The Cremaster Cycle), Danny Boyle (28 Days Later), Chris Cunningham (Flex, Windowlicker), Mike Figgis (Hotel, Timecode), Grant Gee (Meeting People is Easy), Lars von Trier (Idioterne), Peter Greenaway (The Tulse Luper Suitcases), Hideo Kojima (Metal Gear Solid series), David Lynch (Rabbits, The Third Place), Koji Morimoto (Noiseman Sound Insect), Hideo Nakata (Ringu), Marc Evans (My Little Eye), Mark Neale (No Maps for these Territories), Mamoru Oshii (Avalon), Bill Viola (The Greeting, The Passions), Kieron Evans (Finisterre), Kinematic (9-11 Survivor), Shynola (Radiohead blips & music videos), Andy & Larry Wachowski (Animatrix, The Matrix trilogy).

Il libro raccoglie una serie di interviste, realizzate dai primi anni Novanta ad oggi, da Hans Ulrich Obrist, curatore-mito trasversalmente globale, ad architetti, artisti, registi, filosofi, musicisti, sociologi, urbanisti. Il progetto ne comprende più di 400 ai più interessanti protagonisti della cultura contemporanea, condotte secondo una metodologia filosofico-enciclopedica che si basa sulla convinzione che l’intervista è un proficuo scambio di idee che avviene tra persone che entrano in perfetta sintonia. Questa prima selezione di 66 interviste, molto più di una semplice raccolta, tesse una rete di traiettorie biografiche, relazioni, idee, progetti, fatti e storie, delineando un’i-nedita storia dell’arte e della cultura del XX e XXI secolo. Tra gli intervistati Marina Abramovic, Vito Acconci, Matthew Barney, Brian Eno, Zaha Hadid, Rem Koolhaas, Michelangelo Pistoletto, Ettore Sottsass, Agnés Varda.

Ein grundlegendes Handbuch zur zeitgenössischen Videokunst – zu einem äußerst attraktiven Preis. Videokunst ist der Kanal, mit dem die Bilderflut der Gegenwart reißend und gewalttätig die Zitadellen und Trutzburgen der alten Kulturproduktion flutet. Nicht nur das Fernsehen und die Kunst haben vor dem Rausch der bunten Bilder kapituliert, sondern mittlerweile auch der Film, das Theater, die Fotografie: So hat sich die Videoästhetik in den wichtigsten Museen und Ausstellungen einen Premiumplatz erobert. Die Documenta11 war ein Video-Festival. Eine Wahrnehmungsavantgarde studiert MTV und VIVA wie ein Arte-Programm und blickt auf der Volksbühne bei einer Castorf-Inszenierung lieber auf die Live-Videobilder als auf die Bühne vor dem Screen. Die Bilder können laufen, jetzt rasen – tanzen können bisher nur wenige. Wir stellen diese vor. Die Publikation blickt in die Werkstätten der Video-Avantgarde und präsentiert die wichtigsten Tendenzen – quer durch alle Genres und Kultursparten wie Kunst, Werbung, Film oder Musik. Dabei sind neben den beiden Virtuosen der Videokunst, Chris Cunningham und Matthew Barney, sowie den Ikonen der Bilderstürmer, Andy Warhol, Tony Kaye, Jean-Luc Godard und Nam June Paik, alle stilbildenden Ansätze zeitgenössischer Videokunst vertreten.

Cremaster 3, the last in Matthew Barney’s epic five-part film project, is part zombie, part gangster film. Set in 1930s New York and Saratoga Springs as well as Giant’s Causeway in Northern Ireland, the plot explores the Irish mob system, freemasonry, and Celtic lore as further symbols for the forces at play in Barney’s mythological system. Named after the muscle that raises or lowers a man’s testicles in response to temperature, the Cremaster series has featured Barney as a satyr, a magician, a ram, Harry Houdini, and even famous murderer Gary Gilmore, props made from tapioca, petroleum jelly, ice, and self-healing plastic, and settings as fantastic and desolate as the Isle of Man, an empty football stadium in Idaho, and a nearly empty opera house in Hungary. The films are slow-moving and weirdly hynotic, full of elaborate sexual and biological allusions, references to sports and fashion, and a bizarre mix of autobiography, history, and private symbolism that have earned him comparisons to Wagner. This book is the final of the five companion volumes published to coincide with the release of each of the Cremaster films. Each was designed in an original manner by the artist and features photographs and stills from the film it accompanies.

Swiss artist Olaf Breuning’s videos revel hilariously in adolescent antics and pop culture. In a recent work, Wayne’s World types don masks, eat dog food, and throw m&m’s at pets, and in another segment, a gang invades Amish country, strips a passerby, pulls a mask over his head, and chases him into the woods. Like Mike Kelley before him, Breuning seeks not just to erase the line between our media-saturated world of film and television and high art, but to blow it to smithereens. That doesn’t mean he isn’t thoughtful and thought provoking: Inventive composition and technical mastery inform all his pieces, whether videos or large-format photographs. Inspired by Doug Aitken, Matthew Barney’s early work, and filmmakers such as John Carpenter and John Waters, Breuning has learned both how to get a laugh (and a scream) and to plumb the deeper human comedy (and horror).

Greek collector Dakis Joannou is one of the preeminent collectors of contemporary art in the world, with a collection that stands as a virtual who’s who of artists from the 1980s through today. 85 of those artists are represented in Monument to Now–the most utterly relevant to today, of course. Leading curators from New York, Milan and Paris have contributed essays and selected the included artists. Designed by acclaimed graphic artist Stefan Sagmeister, the hardcover edition features a three-dimensional monument affixed to the front cover; the paperback retains some trace of the monument, perhaps a footprint of the monument on the front cover, a pop-up monument inside, or some other invention. The follow-up to Everything That’s Interesting Is New, an earlier book on the Joannou collection, Monument to Now strictly includes work dating from 1985 and later, with a focus on the artists who are most relevant now. Among many new acquisitions featured are works by Vanessa Beecroft, Maurizio Cattelan, Gregory Crewdson, Anna Gaskell, Mariko Mori, Chris Ofili, Tom Sachs, Fred Tomaselli and Kara Walker. Other included artists are Janine Antoni, Matthew Barney, Ashley Bickerton, Rineke Dijkstra, Olafur Eliasson, Robert Gober, Andreas Gursky, Peter Halley, Mike Kelley, Toba Khedoori, Jeff Koons, Paul McCarthy, Takashi Murakami, Shirin Neshat, Tim Noble & Sue Webster, Cady Noland, Gabriel Orozco, Charles Ray, Cindy Sherman, Kiki Smith, Wolfgang Tillmans, Gillian Wearing, Christopher Wool and Chen Zhen.