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Surfaces, Depths is a representative selection of Thomas Ruff’s works, over a period that already spans about 25 years, with projects ranging from portraits and interiors to telescope and space probe pictures and “nightsight” photography. Ruff incorporates an extremely wide range of everyday subjects into his experiments–people, architecture, planets, the Internet–and subjects them to all forms of camera technology, so that his work often seems to embody the history of the art as it develops. Ruff has a particular fascination with photographic techniques that appear to erase or leave out the artist’s hand, techniques often designed for military or scientific purposes. In a recent series titled Zycles, for example, Ruff constructs his images with the help of mathematical formulas and computer technology, twisting two-dimensional surfaces into the three-dimensional space of vector graphics. Surfaces and Depths focuses on ten of Ruff’s total of 18 projects to address this particular ongoing preoccupation with artistic detachment, and the polarities of surface and depth vision in the construction of images. In doing so, it makes the broadest assessment to date of the oeuvre of this tireless innovator.

Few artists have contributed seminal works to as many genres as Bruce Conner (1933-2008). An assemblage artist famed for his use of nylon stockings, he also pioneered the use of found footage and the high-speed film editing now familiar to us from MTV, and was one of the earliest filmmakers to use pop and soul music on his soundtracks. In the 1960s, Conner collaborated with Toni Basil (of “Mickey” fame) on his dance film Breakaway, and in the 1970s with Devo, David Byrne and Brian Eno on music videos. This survey examines the formal parallels between Conner’s works as an artist and filmmaker, and looks at drawings, oil and acrylic paintings, lithographs, prints, photograms and photographs alongside three of Conner’s best-known films: Breakaway(1966), Crossroads(1976), and Marilyn Times Five(1968-1973).

This catalogue explores the early, vibrant, experimental years that shaped Haring’s work. Beginning with the years when, having first enrolled in the school of Visual Arts in New York City, he started a diligent and vigorous studio practice, and began making public and political art on the city streets, joining an art community outside the institutionalised art system. This catalogue includes drawings and sketchbooks, videos, flyers, posters, photographs and subway drawings, as well as word collages, texts, and diaries. It offers an impression of the artist’s manifold maturing process and shows Keith Haring as a philosopher and untiring initiator of artistic and political activities, reflecting his collaboration with other artists, his interest in interdisciplinary aesthetic strategies and the pulsating culture of the time.

Eva Hesse is best known for the ethereal sculptures she created out of latex and fiberglass, a body of work that shows affinities with the concerns of Minimalism but cannot be easily characterized under any particular art movement. The majority of publications about her too-brief oeuvre have focused almost exclusively on the sculptures she produced after 1965. This slipcased, two-volume edition offers the first pronounced consideration of the transformative time prior to that year. Volume I documents Hesse’s production from 1962 to 1966 through reproductions of drawings, collages, sculptures, and plastic reliefs. Volume II presents, for the first time ever, her notebooks from 1964 and 1965, a watershed year in her artistic practice. This primary material is reproduced in its original English (alongside German translations).

Catalog to a museum show in Vienna, Japanese Photography is probably the most successful work, bringing together portfolios of work by 12 contemporary photographers. The subtitle and theme of the show, juxtaposing the material and spiritual, is somewhat superfluous in the face of the individual talents exhibited, but it is a valid frame for the works. More important, those familiar with the currents of art photography will know most of the names and, especially because several works by each master are shown, will readily recognize influences across borders. Those merely browsing will be enthralled by the beauty and diversity of the works. The historical survey of a century of German photography is successful in drawing connections between the social milieu and the photographs, but its in-depth textual analysis will be of greatest interest to a scholarly community. Encompassing propaganda and photojournalism as well as art photography, the book investigates how the medium came of age in the German context. Students of the rapidly evolving Teutonic culture of this century will appreciate especially the essays on the Weimar-era images and comparisons of the uses of photography in the two Germanys after World War II. General readers will value the more than 120 large-format reproductions and dozens of other small images that were part of a show in Bonn earlier this year. Contemporary German Photography is the most disappointing. Collecting several works by about two dozen young and largely unknown German photographers, the book obsessively concentrates on diary-style artists operating under the influence of Nan Goldin and Wolfgang Tillmans. The rambling preface offers no compelling justification why photographers of diverse styles should not have been included, and the short paragraphs introducing each grouping (apparently written by the artists themselves) vacillate between dry and sophomoric. While individual images are compelling, the redundancy of vision makes even the best seem formulaic. The Taschen book is not recommended; Honnef’s work belongs in most all academic libraries where it will be appreciated by social historians as well as art researchers; and Japanese Photography will be a fine addition to contemporary art collections in both public and academic institutions.?Eric Bryant, “Library Journal”
Copyright 1997 Reed Business Information, Inc.

The title may say “please,” but the 19 artists featured here are anything but polite in their rejection of traditional notions of fashion, gender and beauty. The media strategies employed are manifold, from staged photographic images, projections and performances to body sculptures, video and film. From Jeff Bark’s painterly and perverse “Flesh Rainbow” to Sophia Wallace’s portraits of feminized male models, these daring and reckless experiments veer closer to the ceremonies and rituals of body art than to fashion, and reinvent the red-carpet question: “who are you wearing?” Participating artists include Chan-Hyo Bae, Tracey Baran, Jeff Bark, Leigh Bowery/Fergus Greer, Steven Cohen/Marianne Greber, Philip-Lorca diCorcia, Matthias Herrmann, Lea Golda Holterman, Izima Kaoru, Luigi & Luca, Sandra Mann, Martin & The evil eyes of Nur, Brigitte Niedermair, Erwin Olaf, Alex Prager, Hanna Putz, Viviane Sassen, Sophia Wallace and Bruce Weber.

Chen Zhen was born in Shanghai in 1955 and died in Paris in December 2000. Since his early passing, interest in his artistic production has anything but waned–he is increasingly visible as both an irreplaceable talent unto himself and a missing piece in the increasingly widely acclaimed Chinese avant-garde. His admirers have founded the Association of the Friends of Chen Zhen, whose roster now includes the late Harald Szeemann, Hans Ulrich Obrist, designer Agnes B. and many prominent artists from Asia, Europe and the United States. With the encouragement of the Association and other allies and fans, Chen Zhen’s work has been featured in international exhibitions including U.S. solo shows at the Institute of Contemporary Art in Boston and at P.S. 1, New York. This volume makes available for the first time the sketches and proposals for projects left unrealized at the time of his death, allowing viewers to trace the trajectory his work might have taken. These glimpses of his working process offer insight into the ideas that drove him, and “translate” the visual and physical strategies viewers have seen in finished work into his own French and English. A proposal for a labyrinth expresses the desire to reach the “sublime spontaneously, the nature and the human spirituality to reorganize the way of looking at the surrounding[s]” and “to raise the dream of tomorrow.” He succeeded without even leaving the drawing board.

Over the past intensely productive decade, Louise Bourgeois’s drawings have been dominated by diary-like work in which text and sign often mix. This extensive compendium of that work and its antecedents shares a series design with her recent book of sculpture, and the dialogue between mediums is lively in both titles, which also share a determination to put Bourgeois’s current work in the context of her oeuvre, not just her work in other mediums but her work of other eras. Long denied due recognition, Bourgeois became an avant-garde superstar late in life, and is today, at 94, considered “a great figure of the postmodern” (Peter Weiermair). Since the 1980s, her work has followed the prevalent notion of art that rejects universal style and formal understanding in favor of a personal approach. Her central concern lies in establishing an intense, open discussion on the dialectics of thoughts and feelings, on the internal conflict wrought by external relationships. Here, some 150 works are grouped thematically around motifs such as “rivers,” “spiders” and “proverbs/aper us.” A separate retrospective section of older works allows the rest of the book to shift toward the present, which is full of dark and dervish-like activity. Of her prominence, Bourgeois has said, “My luck was that I became famous so late that fame could not destroy me.” On the contrary, readers will agree that fame–or is it time?–has invigorated and animated Bourgeois to an exceptional degree.

Can art express questions about justice? Could art, perhaps, even create justice? In Aesthetic Justice, sociologist Pascal Gielen and curator Niels Van Tomme invite a variety of artists and critical thinkers-including Zoe Beloff, Arne De Boever, Mark Fisher, Matt Fraser, Tessa Overbeek, Kerry James Marshall, Viktor Misiano, Carlos Motta, Nat Muller, Julie Atlas Muz, Gerald Raunig, Dieter Roelstraete, Hito Steyerl, Julia Svetlichnaja, Hakan Topal, Samuel Vriezen and Christian Wolff-to reflect on new futures for the notion and practice of justice. The book offers thought-provoking views on the ways in which art may confront and potentially redirect social and political futures. Incorporating analyses of contemporary artworks that challenge the social, political or economic status quo, as well as interviews with artists and theoretical reflections, Aesthetic Justice considers the liberating potential of aesthetic frameworks and suggests alternatives for a more just future.

This insightful book is the first to present a comprehensive survey of the Modernist movement as it emerged in America between 1920 and 1960 in various graphic media. It identifies and examines great works in advertising, information design, identity, magazine design, print, dimensional design, and posters that by mid-century had defined American graphic design. R. Roger Remington begins by discussing the emergence of Modernism and its major historical influences, including European avant-garde art movements, technology, geopolitical issues, popular culture, educational innovations such as the Bauhaus, architecture, industrial design, and photography. The heart of the book brings together the key works of mid-century Modernism, presenting them chronologically from the 1930s to the 1950s. The final section shows the impact of and reactions to these Modernist influences as graphic design in America matured into the 1960s and beyond. Handsomely designed and illustrated, American Modernism is destined to become,a classic text in the study of design and visual culture. Contents Preface The Basis for the New: The Cradle of Modernism, 1850-1899 A New World Forming: The Impact of Modernism, 1900-1919 American Design in Transition: Traditional to Modernism, 1920-1929 Into the Design Scene: Modernism Arrives in America, 1930-1939 At War and After: The Creative Forties in America, 1940-1949 A New Style: American Design at Mid-Century, 1950-1959 Design Since Mid-Century: Diversity and Contradiction, 1960-1999 Notes Bibliography Picture credits Acknowledgements Contains work by Alvin Lustig, Alvar Aalto, Dr. Mehemed Fehmy Agha, Constantin Alajalov, Josef Albers, Alexander Archipenko, Merle Armitage, Frank Barr, Hans Barschel, Saul Bass, Bauhaus, Willy Baumeister, Herbert Bayer, Lester Beall, Max Beckmann, Norman Bel Geddes, Morris Benton, Henryk Berlewi, Lucian Bernhard, Joseph Binder, Ernst Bohm, Will Bradley, Georges Braque, Frances Brennan, Marcel Breuer, Alexey Brodovitch, Max Burchartz, Will Burtin, Jean Carlu, David Carson, Melbert Cary, A. M. Cassandre, Ernest Caulkins, Cherryburn Press, Arthur Cohen, Charles Coiner, Container Corporation of America, Cranbrook Academy of Art, Louis Danziger, Claude Debussy, Rudolph De Harak, Fortunato Depero, Donald Deskey, De Stijl, Deutscher Werkbund, Walter Dexel, Otto Dix, Cesar Domela, Henry Dreyfuss, William Addison (W. A.) Dwiggins, Charles Eames, Milton Feasley, Gene Federico, Max Fleischer, Fortune Magazine, Dan Friedman, Leon Friend, Robert Gage, Sigfried Giedion, George Giusti, Milton Glaser, William Golden, Morton Goldsholl, Frederick Goudy, April Greiman, Glenn Grohe, Walter Gropius, George Grosz, Edmund Guess, Jay Hambridge, Richard Edes Harrison, Baron Georges Eugene Hausmann, Raoul Hausmann, John Heartfield, Hannah Hoch, Hans Hofmann, Gerald Holton, Clarence Hornung, Johannes Itten, Egbert Jacobsen, S. A. Jacobs, Robert Jensen, Philip Johnson, Bobby Jones, L. B. Jones, Wassily Kandinsky, Susan Kare, Edward McKnight Kauffer, Rockwell Kent, Gyorgy Kepes, Frederick Kiesler, Paul Klee, Knoll Furniture Company, Rudolph Koch, Willi Kunz, Le Corbusier, Fernand Leger, Alexander Liberman, Leo Lionni, El Lisstsky, George Lois, William Longhauser, Herb Lubalin, Katherine McCoy, Douglas McMurtrie, James Mangan, Man Ray, John Massey, Herbert Matter, Rollo May, Ludwig Meidner, R. Hunter Middleton, Ludwig Mies Van Der Rohe, Laszlo Moholy-Nagy, Otto Mueller, Otto Neurath, Olivetti, Maxfield Parrish, Art Paul, Paul Theobald & Company, Sir Joseph Paxton, Max Pechstein, Charles Pegay, John Pemberton, Edward Penfield, Pablo Picasso, Cipe Pineles, Giovanni Pintori, PM Magazine, Ezra Pound, Push Pin Studios, Paul Rand, Paul Renner, Frank Robinson, Bruce Rogers, Gilbert Rohde, Lester Rondell, George Salter, L. Sandusky, Paula Scher, Kurt Schwitters, Joseph Sinel, Mino Somenzi, Edward Steichen, Alex Steinweiss, Otto Storch, Paul Strand, Ladislav Sutnar, Walter Dorwin Teague, Bradbury Thompson, Karl Tiege, A. Tolmer, Jan Tschichold, Massimo Vignelli, Vogue Magazine, James Watt, Wolfgang Weingart, Westvaco, Wes Wilson, Henry Wolf, Frank Lloyd Wright, Piet Zwart, and others.

“Public space” is a potent and contentious topic among artists, architects, and cultural producers. Public Space? Lost and Found considers the role of aesthetic practices within the construction, identification, and critique of shared territories, and how artists or architects — the “antennae of the race” — can heighten our awareness of rapidly changing formulations of public space in the age of digital media, vast ecological crises, and civic uprisings.

Public Space? Lost and Found combines significant recent projects in art and architecture with writings by historians and theorists. Contributors investigate strategies for responding to underrepresented communities and areas of conflict through the work of Marjetica Potrč in Johannesburg and Teddy Cruz on the Mexico-U.S. border, among others. They explore our collective stakes in ecological catastrophe through artistic research such as atelier d’architecture autogérée’s hubs for community action and recycling in Colombes, France, and Brian Holmes’s theoretical investigation of new forms of aesthetic perception in the age of the Anthropocene. Inspired by artist and MIT professor Antoni Muntadas’ early coining of the term “media landscape,” contributors also look ahead, casting a critical eye on the fraught impact of digital media and the internet on public space.

This book is the first in a new series of volumes produced by the MIT School of Architecture and Planning’s Program in Art, Culture and Technology.

Contributorsatelier d’architecture autogérée, Dennis Adams, Bik Van Der Pol, Adrian Blackwell, Ina Blom, Christoph Brunner with Gerald Raunig, Néstor García Canclini, Colby Chamberlain, Beatriz Colomina, Teddy Cruz with Fonna Forman, Jodi Dean, Juan Herreros, Brian Holmes, Andrés Jaque, Caroline Jones, Coryn Kempster with Julia Jamrozik, Gyürgy Kepes, Rikke Luther, Matthew Mazzotta, Metahaven, Timothy Morton, Antoni Muntadas, Otto Piene, Marjetica Potrč, Nader Tehrani, Troy Therrien, Gedminas and Nomeda Urbonas, Angela Vettese, Mariel Villeré, Mark Wigley, Krzysztof Wodiczko

With section openings fromAna María León, T. J. Demos, Doris Sommer, and Catherine D’Ignazio

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