Featuring Gerhard Merz, Damien Hirst, and Jeff Koons, “Re-Object” presents a number of current positions that are characterized by a strategy of expression for which the object is both starting-point and focus. Historically, this approach is rooted in the work of Marcel Duchamp, who will also be represented in the show with several pieces.D

Featuring Gerhard Merz, Damien Hirst, and Jeff Koons, “Re-Object” presents a number of current positions that are characterized by a strategy of expression for which the object is both starting-point and focus. Historically, this approach is rooted in the work of Marcel Duchamp, who will also be represented in the show with several pieces.

This volume offers a fascinating inside look at the controversial Skin Fruit exhibition, curated by Jeff Koons from the Dakis Joannou Collection in 2010. The photographs in this book, composed by Koons himself as he installed the show capture a sequence of startling encounters: disparate artworks in eloquent communication with one another, just as they live in the collection. Guiding the reader through the exhibition room by room, alongside a pensive and candid commentary by Koons, Skin Fruit: A View of a Collection offers a rare opportunity to delve inside the artist’s private thoughts on collecting, curating and the nature of art. “I enjoyed installing the exhibition, letting the works have the opportunity to interact with each other because that’s what happens in a collection,” says Koons. “It’s a salon-type experience. There is no hierarchy of worth or value. There is just interaction and communication.”

Published to accompany an exhibition at the Los Angeles County Museum of Art, this volume presents contemporary art from the private collections of Eli and Edythe Broad. The exhibition contains work by twenty-two artists designed to exemplify the major trends from the latter half of the 20th century, including American Neo-Dada and Pop, German Neo-Expressionism, painting and conceptual art from the 1980s, and current art from Los Angeles.

For his recent series of work entitled Easy Fun-Ethereal, Jeff Koons employs new computer technology to merge populist icons into desktop collages, which he then transforms into traditional oil paintings rendered with photorealist precision. Drawn from glossy magazines and advertisements, the imagery includes smiley-faced sandwiches, spiraling roller coasters, succulent lips and abstract juice splashes. These hybrids of fun and fantasy simultaneously celebrate childhood pleasures and adult sexual desire: in keeping with Koons’s stated intention to “communicate with the masses,” the cheerful works are accessible to all. Accompanying an exhibition of seven large-scale paintings commissioned for the Deutsche Guggenheim Berlin, this lively volume features 40 full-color reproductions. Art historian David Sylvester’s interview with Koons puts forth the artist’s perspective on his career to date, while Robert Rosenblum’s essay provides an in-depth analysis of the technique and imagery employed in EasyFun-Ethereal.

The man who enshrined a hoover vacuum and a basketball, who created a life-sized polychromed wood replica of Michael Jackson and his pet chimp Bubbles, who transfered his sex life with Italian porn star wife Ilona Staller into art, and who made a monumental topiary sculpture in the shape of a puppy, is back! After a seven-year hiatus from the public eye, bad boy Jeff Koons returns in this comprehensive and overdue survey of his work of the past five years. Three elaborate, highly-produced series are presented, including the joyously effusive “Celebration,” an ambitious body of 16 photo-realist paintings and 20 stainless steel sculptures that draw upon the symbols and objects associated with the observance of life’s festive rituals.

Everything that’s Interesting is New presents The Dakis Joannou Collection which includes over two hundred works by approximately one hundred artists. The collection provides a focused overview of contemporary art from 1985 to 1995 and its historical antecedents. It is especially known for its concentration on the artists who emerged in the mid to late 1980s to define a new conceptually based aesthetic. The collection also has a strong emphasis on the works of a younger group of artists who have come to prominence in the 1990s. Also included are works by early and mid twentieth century artists who have been especially influential for the current generation. Many of the most influential artists of the 1980s and 1990s such as Katharina Fritsch, Rober Gober, Mike Kelley, Jeff Koons, and Kiki Smith are represented by some of their most significant works. The collection provides extensive overviews of the careers of Gober and Koons from early works to ambitious recent pieces. The collection is international in its scope, including artists from numerous European countries, the Americas, and Japan. A range of media is represented from painting to elaborate installation works. The book documents every major work in the collection and includes texts and statements provided by the artists. The Dakis Joannou Collection has become well known for a series of innovative exhibitions built around works in the collection. These exhibitions, organized by the DESTE Foundation, include Cultural Geometry, Artificial Nature, and Post Human. The presentation of the entire collection builds on these earlier exhibitions to continue to explore the interplay between contemporary art and contemporary popular culture.

This catalogue accompanies the exhibition In the Name of the Artists – American Contemporary Art from the Astrup Fearnley Collection, held by the Bienal de São Paulo between September 30 and December 4, 2011, in the Ciccillo Matarazzo Pavilion. The presentation of the 51 artists in the book, structured in three separate parts, reflects, to a certain degree, the project of the exhibition itself, distributed on three floors of the building, as: the most consecrated contemporary. American artists, who have been developing their work since the 1980s and 1990s; the younger generation, which emerged onto the artistic scene at the beginning of the 21st Century; and the special guest, British artist Damien Hirst, who maintained ties with the older American artists and exerted a major influence on the younger generation. On request from the curator, many of the artists sent short texts of their own or from other authors able to say something about their oeuvre. These statements or excerpts from texts and interviews are reproduced in the catalogue as freer – and, for this very reason, more heterogeneous – presentations of the works on display. The text by the curator Gunnar B. Kvaran presents, and establishes relationships among, the various different artists, placing them within the context of the history of the art of the past several decades. The catalogue is supplemented by a selection of critical texts about the artists with the most substantive presence in the exhibition, with particular highlights being the essays by Arthur Danto on Jeff Koons, Cindy Sherman and Damien Hirst; by Julian Stallabrass on Tom Sachs; by Nancy Spector on Matthew Barney and the text by the writer Alan Pauls on Felix Gonzalez-Torres, none of which has been published in Portuguese before now.

Charles Ray (born 1953) is one of America’s most outstanding contemporary sculptors. Like Jeff Koons and Katharina Fritsch, he has developed a new kind of plastic figuration, as can be seen in his white-painted steel sculpture “Boy with Frog” (2009), whose recent installation on the Punta della Dogana in Venice drew a great deal of critical and popular attention. Despite its apparent naturalism, Ray’s oversized figure of a nude boy frolicking animatedly, even rabidly, with the animal world, verges upon the classical. “Horse and Rider,” a self-portrait of the artist on horseback (2014), likewise revives the traditional images of the horseback rider and the hero of the American West, but in a way that is decidedly anti-heroic. This volume offers a comprehensive monograph on Ray’s sculptural works of recent years.

In the 1960s, as installation and conceptual art opened up new possibilities for materials and media, artists began to use plants, vegetation, soil, and the actual landscape to develop their ideas. Dubbed “land art, ” this work, with its implicit environmentalism, did not seek, like topiary or traditional landscape architecture, to impose a decorative or functional order, but rather to find in organic material a way to renew art’s elemental relationship to nature. This book documents works by more than 60 artists — including Ian Hamilton Finlay, Jenny Holzer, Dan Graham, and Jeff Koons — for the Artist’s Gardens Project in Weimar, Germany.

Taking Freud’s idea of the Uncanny as a starting point, artist Mike Kelley plays Sunday curator and presents work by Jasper Johns, Paul McCarthy, Jeff Koons, Tony Oursler, and others (reprinted from a 1993 catalogue), plus photos of chewing gum wrappers, postcards, record covers, and toys, all connected to ideas of youth and the Uncanny.

Over the past three decades, Robert Storr has set the critical and curatorial standard for American art

As a museum curator, academic, editor and writer, Robert Storr has come into contact with the most important artists of our era. Over the years he has amassed a major body of interviews, collected here for the first time in a single volume. Interviews on Art includes over 60 fully illustrated discussions, conducted between 1981 and 2016, with some of the most renowned names in the art world.

Interviewees represented in this book include Gerhard Richter, Jeff Koons, Richard Serra, Gabriel Orozco, Elizabeth Murray, Harald Szeemann and Mike Kelley (among many others), and each text is accompanied by relevant works and previously unpublished photographs of the artists. A number of the interviews are unpublished or appear in full for the first time, including those with Louise Bourgeois, Robert Gober, Buckmister Fuller, Bruce Nauman, Yvonne Rainer and Kara Walker.

Refreshingly, Storr is as reflexive about his own work as a critic as he is about the artistic works up for discussion. The book is introduced with a conversation between Storr and curator and art historian Francesca Pietropaolo. The two carry on a wide-ranging discussion in which they dissect the interview as a medium: exploring the ethics involved, various techniques and approaches as well as the limitations and difficulties of the process.

Robert Storr (born 1949) is a renowned American art critic, curator and artist. Trained as a painter, he served as Curator and then Senior Curator in the Department of Painting and Sculpture at The Museum of Modern Art for more than a decade. Equally distinguished as an academic, Storr led the Yale University School of Art as Dean from 2006 to 2016.

  • Collects some of the most visually stunning and evocative album covers from the 20th Century
  • Features homages to numerous important designers and artists, such as Damien Hirst, Yoko Ono and Raymond Pettibon

Up until the 1940s, records were sold in plain, uniform jackets. In the post-war years, musicians and record companies discovered that graphically designed record covers had the potential to boost sales. Significantly, in the 1960s contemporary artists began to create record jackets that became an inspiration for others on account of their radical, groundbreaking designs. Many of them have become symbols recognized not only by fans but by the wider public, symbols of an era where artistic freedom, experimentation, and innovation were encouraged.This book is the first-ever comprehensive introduction to these resplendent album covers. They have been taken from the extensive archive of the Dutch designer Jan van Toorn, one of the most active collectors and a leading expert in the field. The book includes surrealist designs by Salvador Dalí; covers by famous pop artists such as Andy Warhol, Roy Lichtenstein, Robert Rauschenberg and Jean-Michel Basquiat; works by the Vienna-based group 'Wiener Aktionismus'; and contemporary designs by Jeff Koons, Damien Hirst, Banksy, and Ai Weiwei. Special importance is given to the designs from the circle of Fluxus artists, a radical sixties group who often produced music during their multimedia performances. The Fluxus artists frequently published their artwork on records, as did John Cage and Yoko Ono. Another focus of the book is Raymond Pettibon, who shot to fame when his legendary cover for the punk band Black Flag exploded into the record stores.Full of famous names and artists deserving of greater recognition, this book is the perfect gift for any vinyl-lover.

Handmade, hole punched, and hand spray-painted box made by the artist in 2011 enveloping the artist’s book / exhibition catalogue edited and designed by Josh Smith and Todd Amicon published in conjunction with show held May 7 – December 31, 2009. Book accompanied the exhibition and expanded the show by introducing a new interpretation of the collection in book form – another guest, another ghost. “Borrowing its title from one of Marcel Duchamp’s aphorisms, A GUEST + A HOST = A GHOST is constructed as a series of solo exhibitions, many of which have been conceived and installed by the participating artists themselves. A comprehensive presentation of some of the artists that Dakis Jouannou has been collecting in depth over the past few years, A GUEST + A HOST = A GHOST showcases ambitious works, signature pieces, and new productions by: Pawel Althamer, Maurizio Cattelan, Paul Chan, Nathalie Djurberg, Marcel Duchamp, Urs Fischer, Robert Gober, Jeff Koons, Paul McCarthy, Seth Price, Gregor Schneider, Kiki Smith, Kara Walker, Andro Wekua, and Franz West. In a series of symbiotic encounters and parasitic relationships, the solo presentations are often interrupted by incongruous presences or perturbed by unusual juxtapositions: drawings by Kara Walker surround a tomb by Urs Fischer; Maurizio Cattelan’s homeless man kneels down in front of Kiki Smith’s Bat Woman; Robert Gober’s haunted rooms incorporate Gregor Schneider’s architectural fragments; Seth Price’s vacuum figures face off a work by Jeff Koons. Each artwork turns into the ghostly reflection of its neighbor, making it impossible to distinguish hosts from guests, friendly creatures from menacing shadows. The exhibition is organized by the Deste Foundation with Massimiliano Gioni as curatorial advisor.” — from book’s forward. Text in English.

The final in a series of three collectable books rediscovering the archives of AnOther Magazine, one of the world’s most influential fashion magazines.

Another Art Book looks back on the ambitious artistic projects commissioned exclusively for the magazine’s pages since 2001, bringing together some of the most iconic names in modern art including Jake & Dinos Chapman, Yayoi Kusama, Hans Peter Feldmann, Yoshitomo Nara, Ernesto Caivano, Keith Tyson, Urs Fischer and Damien Hirst.

Opening an early copy of AnOther Magazine, readers were immediately confronted with ten pages filled with nothing but art – be it Jake and Dinos Chapman’s twisted vision of the Holy Land Experience, a hypnotic sea of dots penned by Yoyoi Kusama, or Damien Hirst’s bloody skulls and severed heads shot by David Bailey (deemed so shocking the pages were sealed with glue). AnOther Magazine thereby subverted the expectations of readers accustomed to finding a bank of advertising at the front of magazines.

Over the years the format has evolved, but AnOther Magazine’s unique connection with the art word continues. In 2007 Dress Art paired fifteen artists including Jeff Koons, Annie Morris and John Isaacs with fifteen designers from Stella McCartney to Dolce & Gabbana, and challenged them to create fifteen unique dresses. The results brought together the fields of fashion and art as never before – worlds which have since become inextricably linked.

Another Art Book follows Another Portrait Book and Another Fashion Book. The series is edited by Jefferson Hack and designed by David James Associates.

Over the course of his 20-year career, Martin Kippenberger (1953-1997) cast himself alternately as hard-drinking carouser and confrontational art-world jester, thrusting these personae to the forefront of his prodigious creativity. He was also very much a player in the international art world of the 1970s right up until his death in 1997, commissioning work from artists such as Jeff Koons and Mike Kelley, and acting as unofficial ringleader to a generation of German artists. Written by the artist’s sister, Susanne Kippenberger, this first English-language biography draws both from personal memories of their shared childhood and exhaustive interviews with Kippenberger’s extended family of friends and colleagues in the art world. Kippenberger gives insight into the psychology and drive behind this playful and provocative artist.

Contains artists’ projects by artists and musicians including: Barbara Ess, J.M. Sherry, Nick Antonopolus, Robert Appleton, Andy Baird, Barbarians for Socialism, S. Battista, Coetow Birnbaum, Carol Black, M. Bock, Eric Gogosian, Cara Brownell, Glenn Branca, ellen Bruno, Nina Canal, The Coachmen, Michele Confredo, Mitch Corber, Peter Cummings, Dan, Demi, Margaret Dewys, Marcel Duchamp, Barbara Ess, Louis Feitler, Benny Ferdman, Mr. and Mrs. Frank, Bobby G., Henry Garfunkel, Michael Glier, Kim Gordon, Dan Graham, Christine Hahn, Steven Harvey, Kristen Hawthorne, Jenny Holzer, Becky Howland, Glenda Hydler, Todd Jorgensen, Peggy Katz, Jeff Koons, Barbara Kruger, Rona Kuscher, Joe Lewis, Carla Liss, Jeff Lohn, N.Y. Lost, Mark Marek, Peter Marra, Lucinda Marshall, Ray Matthews, Aline Mayer, Paul McMahon, Ann Mesner, Dick Miller, peter Moenig, Alan Moore, Gary Morgan, Mr. Mental, Matt Mullican, Charlie Nash, Joseph Nechvatal, Tom Tooerness, Bart Plantenga, Brian Piersol, Michael Warren Powel, ‘R’, Nancy Radloff, Howard Rodman, Christy Rupp, Thaddeus Rutkowski, Sammy, John Savas, Janet Schwartz, R.L. Seltma, J.M. Sherry, Ingrid Sischy, William Skrips, Smegma, Jim Sutcliffe, Taro Suzuki, Wharton Tiers, Lynne Tillman, Diane Torr, Douglas Turnbough, Gail Vachon, Peter Velez, Sally White, Martha Wilson, Robin Winters, Stephen Wischerth.

The marvelous chambers of the Chateau de Versailles boast such overwhelming splendors of decor and craft that it might seem the height of folly to pit the works of any one artist against them. But in fact, such a collaboration turns out to be a formula for great success, when the right artist is given the reins. Jeff Koons managed it in 2008, and in 2010, Japanese Pop impresario Takashi Murakami rose to the challenge. In a grand hall sporting a vaulted ceiling thick with paint and gold stands a snowman like construction, stacked spheres of grinning Technicolor flowers that sprouted gleeful tentacles and antennae, while a blonde manga minx in a near-pornographic maid’s costume offers an exuberant gesture of welcome. This is “my Versailles, manga style,” Murakami declares, throwing down the gauntlet to those who would preserve Versailles from such glorious and fantastical encounters; “I am the Cheshire cat that welcomes Alice in Wonderland with its diabolic smile, and chatters away as she wanders around the Chateau.” Across 125 color plates, this magnificent volume documents the show’s22 works, which included seven new sculptures never before exhibited. Takashi Murakami was born in Tokyo in 1963. Having studied traditional arts such as Nihonga, he quickly found ways to update their imagery through Japan’s burgeoning “otaku” (geek) culture of manga and anime. Murakami’s “Superflat” style and emphasis on readily grasp able imagery with an edge has led to a Warhol-esque production plant generating t-shirts, key chains and plush dolls alongside painting and sculpture. He has also collaborated with Marc Jacobs, Louis Vuitton and Kanye West. In 2008 Murakami was named one of Time magazine’s”100 Most Influential People,” and was the only artist to make the list.

At the end of the 1960s in the USA a group of painters stepped out of the shadows of Abstract Expressionism and turned towards the tradition of painterly realism but, however, in doing so they also exaggerated the illusionism that had been handed down from the 1920s and 1930s. These painters often used the photographic image as a verbatim model but could ‘correct’ the photographs as Chuck Close did in his portraits by placing different photos next to each other in order to give each segment of the picture its own focal point and, in a complex work process, turning photography into painting. Starting from the MUMOK’s extensive collection of 40 works, this major exhibition places the museum’s own holdings in a context of realisms and investigates the concepts behind a painting genre that is determined by the subject matter of the city, streets, automobiles and the American way of life. Time and again the Photorealists emphasised the importance of Pop Art some of which is shown at the start of the exhibition before the presentation of the main protagonists. Artists represented in the exhibition include: Richard Artschwager, Peter Blake, Chuck Close, Thomas Demand, William Eggleston, Eric Fischl, Andreas Gursky, Richard Hamilton, Duane Hanson, David Hockney, Candida Höfer, Jasper Johns, Alex Katz, Jeff Koons, Louise Lawler, Roy Lichtenstein, Malcolm Morley, Tom Phillips, Sigmar Polke, Mel Ramos, Gerhard Richter, James Rosenquist, Thomas Ruff, Ed Ruscha, Markus Schinwald, Cindy Sherman, Thomas Struth, Jeff Wall, Andy Warhol, Tom Wesselmann.

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.

Visitors to the Autostadt automotive theme park in Wolfsburg, Germany, have recently been treated to a walk-through living greenhouse, a breezeway whose walls are made of rows of potted plants, open from April to September. The rack that holds the pots in place is openwork, and structurally speaking not unlike the one under Jeff Koons’s Puppy, but Eliasson goes one step further by inviting viewers to move through the inside of the piece, and by animating it to rotate around them, pouring out seasonal scents. Eliasson’s goal, realized here with great success and to great acclaim, is to bring viewers into a verdant, flourishing space. This petite, elegant hardcover documents the Scent Tunnel project and follows it through a full season, listing the flowering times of its plants and considering the work and its olfactory elements from both scientific and art-historical perspectives.

After David Robbins achieved art-world success with his photographic work Talent (1986)–in which he depicted Cindy Sherman, Jeff Koons, Jenny Holzer and 15 other contemporary artists as entertainers–he became progressively disenchanted with the art world, and in 1996 returned to his hometown of Milwaukee, Wisconsin to pursue what he termed “alternatives to art.” The first of these was The Ice Cream Social (1993-2008), which had premiered in a Manhattan Baskin-Robbins ice cream shop in 1993 and then, over the next 15 years, gradually expanded to include (in Ice Cream Socials in Chicago, Paris, Tokyo, London and Des Moines) performance, installation, poetry, painting, a 2002 TV pilot for the Sundance Channel, fridge magnets, ceramic bowls and a novella. In this witty novella, originally published in 1998 and here re-issued by JRP/Ringier, Robbins recounts the generative 1993 Manhattan event, embedding it within a larger fiction that also includes the blueprint for the TV pilot realized later. Updating the traditional small-town American social ritual for contemporary audiences, Robbins’ Ice Cream Social shared many of the strategies of those artists associated with Relational Aesthetics, while at the same time pioneering what curator Hans Ulrich Obrist lauded as “an expanded exhibition model.”

Richard Phillips makes fairly realistic oil paintings of imagery borrowed from pornographic magazines, fashion rags, contemporary artworks, newspapers, and other common visual media. Bold, heavy, and unabashedly lacking in subtlety, Phillips’s paintings splash nudie shots of spread-eagled women, head shots of fashion models in bizarre sunglasses and headgear, kitschy furballs of kitten cuteness, and details of art pieces like Jeff Koons’s Michael Jackson (sans Bubbles) sculpture across gargantuan canvases, inevitably stunning the viewer for the time it takes to absorb such a wide swath of appropriated appropriation. Exceptional works include a spurting crotch shot entitled Negation of the Universe as a riff on Courbet’s Origin of the World, and a horizontal portrait of President George Bush, bordered on either side by thick panels of hot pink, creating a brash new flag for the United States that is strangely reminiscent of Canada’s.

Along with Robert Gober and Jeff Koons, New York-based Haim Steinbach is one of the most renowned exponents of the late 70s art movement which endeavored to revamp the post-Duchamp tradition of ready-mades in the face of a rising wave of neo-expressionism. Steinbach has become known for his “thing altars,” carefully manufactured shelves containing borrowed or purchased objects that take on new meaning in the context of their surroundings, recalling Robert Smithson’s notions of “site” and “non-site.” This new book in the Cantz Series documents a Berlin-specific installation by the artist. Steinbach, born to German-Jewish parents in Israel, stayed in the former East Germany for the first time, visiting families all over Berlin and borrowing individual objects or arrangements which he then transferred to an art space. In doing so the artist became the curator of a sort of group exhibition of “collected collections” which interact in surprising ways in their new space.

This anthology presents over two decades of the most memorable issues and events of contemporary art as seen through the pages of Flash Art, the controversial, contradictory art magazine that has influenced both cultural taste and artistic development for twenty-one years. From Arte Povera, Process Art, Conceptual Art, Performance Art, and Post-Conceptualism to Pictures, the Transavantgarde, the East Village, and NeoConceptualism, Flash Art has functioned as both forum and catalyst for current art trends. The book includes such artists and theorists as Bernd and Hilla Becher, Rebecca Horn, Joseph Kosuth, John Baldessari, Gordon Matta-Clark, Sherrie Levine, Gilles Deleuze, Edward Ruscha, Mimmo Paladino, Jean-Francois Lyotard, Frank Stella, Julia Kristeva, Jean Baudrillard, Fredric Jameson, Jeff Koons, Donald Judd, Peter Halley, David Salle, Gerhard Richter, and Germano Celant. It documents the magazine’s policy and trajectory throughout the course of contemporary culture a policy that has been consistently concerned with capturing the new and the radical, transforming them inevitably, into the event.

ll volume colma una lacuna importante nella bibliografia su un artista che sta conoscendo oggi la consacrazione internazionale: nel 2012 Penone è esposto a New York da Marian Goodman, uno tra i galleristi più influenti del mondo, e alla Whitechapel Gallery di Londra; nel 2013, sarà l’ospite invitato da Versailles, dove prima di lui hanno esposto Murakami e Jeff Koons. Il libro, nel quale l’artista stesso è personalmente coinvolto, è organizzato intorno a sette temi rappresentativi della sua opera: il soffio, gli occhi, la pelle, il cuore, il sangue, la memoria, la parola. Vi figurano tutte le sue opere più significative tra sculture, installazioni, disegni, fotografie, oltre ai suoi scritti. Tra gli autori figure di spicco come Laurent Busine, direttore del Museo delle Arti Contemporanee di Grand-Hornu in Belgio, Didier Semin, titolare della cattedra di Arte contemporanea alla Scuola Nazionale delle Belle Arti di Parigi e Benjamin Buchloh, professore di Arte Moderna all’Università di Harvard. Oltre al contributo di grandi autori la monografia è completata da un apparato fotografico di tutto rispetto che cattura le opere dell’artista in splendide immagini.

Contains artists’ projects by artists and musicians including: Barbara Ess, J.M. Sherry, Nick Antonopolus, Robert Appleton, Andy Baird, Barbarians for Socialism, S. Battista, Coetow Birnbaum, Carol Black, M. Bock, Eric Gogosian, Cara Brownell, Glenn Branca, ellen Bruno, Nina Canal, The Coachmen, Michele Confredo, Mitch Corber, Peter Cummings, Dan, Demi, Margaret Dewys, Marcel Duchamp, Barbara Ess, Louis Feitler, Benny Ferdman, Mr. and Mrs. Frank, Bobby G., Henry Garfunkel, Michael Glier, Kim Gordon, Dan Graham, Christine Hahn, Steven Harvey, Kristen Hawthorne, Jenny Holzer, Becky Howland, Glenda Hydler, Todd Jorgensen, Peggy Katz, Jeff Koons, Barbara Kruger, Rona Kuscher, Joe Lewis, Carla Liss, Jeff Lohn, N.Y. Lost, Mark Marek, Peter Marra, Lucinda Marshall, Ray Matthews, Aline Mayer, Paul McMahon, Ann Mesner, Dick Miller, peter Moenig, Alan Moore, Gary Morgan, Mr. Mental, Matt Mullican, Charlie Nash, Joseph Nechvatal, Tom Tooerness, Bart Plantenga, Brian Piersol, Michael Warren Powel, ‘R’, Nancy Radloff, Howard Rodman, Christy Rupp, Thaddeus Rutkowski, Sammy, John Savas, Janet Schwartz, R.L. Seltma, J.M. Sherry, Ingrid Sischy, William Skrips, Smegma, Jim Sutcliffe, Taro Suzuki, Wharton Tiers, Lynne Tillman, Diane Torr, Douglas Turnbough, Gail Vachon, Peter Velez, Sally White, Martha Wilson, Robin Winters, Stephen Wischerth.

Explores the naked body in contemporary art and photography, presenting a powerful selection of works by many of the most highly acclaimed artists of our time, including Cindy Sherman, Nan Goldin, Jeff Koons, Gerhard Richter and Araki. Many of the works have never previously been published and the forceful and often erotic images are accompanied by insightful essays that elucidate the complex and ongoing relationship between the body, the artist and the voyeur. This stunning and highly original book will appeal to anyone interested in contemporary art and culture.

In 1986, on the occasion of the 100th birthday of the automobile, the DaimlerChrysler corporation commissioned pop icon Andy Warhol to do a series about cars. Of the 80 planned pictures, which were to document the history of the automobile using 20 models from 1886 to the present, only 35 pictures and 12 large-format paintings were executed–the last series made by the artist, who died in 1987. This large-format book presents the work in total and, along with other commissioned work, further explores the many-faceted subject of “Business Art.” Robert Longo’s partnership with DaimlerChrysler yielded a series of black-and-white portraits of Mercedes-Benz models; Simone Westwinter created watercolors of the corporation’s persons and products; Mathis Neidhart’s ongoing project takes a dialectical approach to conveying the brand-name philosophy of the company through art-specific questions. Interviews with John Armleder, Jeff Koons, Robert Longo, and Sarah Morris serve to expand on the subject matter.

Shopping–the word nowadays signifies more than the mere purchasing of goods. From the Paris arcades to the suburban mall, buying has been an essential part of urban life throughout the 20th century. As a ritual, shopping has both created and transformed our identities. For artists, consumer meccas and all their forms of presentation have long been a source of inspiration and criticism. If Walter Benjamin’s description of the flaneur in turn-of-the-century Paris was the turning point in our understanding of the complex interchanges between consumer society and art, the cultural productions that followed his theorizing hardly proved him wrong. Consider only Pop Art, a mode of art making created by a generation of artists who themselves were designers of advertising materials, and who used those same products as source material for work that now hangs in museums. Shopping is the first publication to be extensively devoted to this topic. It documents and analyzes the fascination and influence of the fine arts, architecture, film, and music on the aesthetics, structure, and environment of consumer culture. Numerous illustrations reveal the crossover work of artists like Eug ne Atget, Berenice Abbott, Walker Evans, Claes Oldenburg, Andy Warhol, Roy Lichtenstein, Christo, Duane Hanson, Barbara Kruger, Jeff Koons, Andreas Gursky, and others, as well as pieces conceived by fine artists, architects, and film makers. Complete with contributions by internationally renowned authors, Shopping serves as a diversified basis for the discussion of a topic more dear to us than most of us would admit. You simply must buy this book.

A unique and engaging board book which teaches children their shapes via pieces of contemporary art (with one exception) by acclaimed artists, with short accompanying text that describes each artwork for the adult reader.  For example, an elegant painting by Ellsworth Kelly represents the shape of square.  A square is extracted from the artwork and placed on the right along with the word “square.”  A few sentences are given for the adult reader that describes Kelly’s motivation for this and other artworks.   Twelve shapes and artworks are featured, as listed below. They represent pieces by the masters of contemporary art to emerging leaders; women and men; people of many ethnic backgrounds. Square – a powerful painting by Ellsworth Kelly Circle – an intriguing work by Jeff Koons Star – a fascinating mixed media work by Vito Acconci Rectangle – a moving painting by Jacob Lawrence Triangle – a stunning photograph by Barbara Kasten Diamond – an intriguing installation by Jenny Holzer Heart – a lovely painting by Jim Dine Oval – a beautiful work by Henri Matisse Cone – a fantastic sculpture by Claes Oldenburg Octagon – an engaging collage by Robert Rauschenberg Cylinder – a compelling work by Eva Hesse Spiral – an engaging neon sculpture by Bruce Nauman

A partire dai primi anni Ottanta molti artisti creano opere d’arte sulla base di opere già esistenti. Non si tratta più quindi di elaborare una forma sulla base di un materiale grezzo, ma di lavorare con oggetti che sono già in circolazione sul mercato culturale. I concetti di originalità e di creazione svaniscono in un panorama culturale dominato da nuove figure come il DJ e il programmatore, entrambi capaci di selezionare oggetti culturali e includerli in nuovi contesti. La supremazia della cultura dell’appropriazione tende ad abolire il diritto di proprietà delle forme e a favorire un’arte della postproduzione, attraverso la quale gli artisti inventano nuovi usi per le opere del passato e operano una sorta di editing delle narrative storiche e ideologiche. Analizzando i lavori di artisti quali Mike Kelley, Jeff Koons, John Armleder, Rirkrit Tiravanija, Maurizio Cattelan, Douglas Gordon, Pierre Huyghe, Liam Gillick, Jorge Pardo, Sarah Morris… l’autore traccia un’importante analisi degli ultimi vent’anni di arte contemporanea (con illuminanti incursioni negli anni Sessanta e Settanta). Per Nicolas Bourriaud l’arte della “postproduzione” è la pratica artistica più adatta per reagire al caos della cultura globale nell’era dell’informazione.

Dubuffet Typographe/r investigates the former wine-dealer’s professional acumen, demonstrated by Dubuffet’s creation of Art Brut and culminating in the management of an entire staff working to promote, document, and archive his activities. In the light of today’s obsession with self-promotion, Dubuffet can be understood as a forerunner of artists such as Jeff Koons or Damien Hirst. Once again, Leguillon’s approach follows seemingly marginal paths, which ultimately prove to be unexpectedly revelatory. Travelling to public and private archives such as la Fondation Dubuffet in Paris, the Bibliothèque Kandinsky at Centre Pompidou or to IMEC in Caen, Leguillon has photographed ephemera such as invitations, posters, catalogs, artist’s books, flyers, tickets, and record sleeves. These images were then used to execute a “recadrage“ (re-framing) of Jean Dubuffet and his activities. Like a meticulous “detective,“ Leguillon shows us how “for each project, Dubuffet invented a new way of writing and composing text—quite possibly by simply improvising. By this, he rejected the standardization as imposed by the printing process and typing, an education he himself went through. In books and lithographs, Dubuffet thoroughly sabotaged writing and typography (l’écriture) by fragmenting and distorting it, thus achieving, on a visual level, his plan to destroy language.”

These are the artists who put the load-bearing post in postmodern, making the visual politics of media, marketplace and patriarchy the crucial issues for the 1980s: Sarah Charlesworth, Eric Bogosian, Nancy Dwyer, Jeff Koons, Barbara Krueger, Robert Longo, Richard Prince, David Salle, Cindy Sherman. A Fatal Attraction brought these and other artists who share these concerns together at a seminal point in this movement. This exhibition catalogue is a valuable reference for scholarship of this period of contemporary art, not to mention a cultural relic from an important moment in recent art history. Tom Lawson’s essay links the artists within a set of shared concerns-deconstruction of institutionalized pleasure, demystification of representation-that follow from the discourse of 1960s and 70s conceptual art, but takes this critique of ideology from the insulated art world out into the streets and living rooms of America.

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.