The British artist Marc Quinn, born in 1964, came to the attention of the international art scene in 1991 with Self, a cast of his own head realized in eight pints of his own frozen blood, exhibited in a specially designed refrigeration unit. Since 1999, he has been creating sculptures in classic white marble of subjects who lack one or more limbs; the best known is his 2005 Trafalgar Square installation, Alison Lapper Pregnant. In addressing the purely physical aspects of life, Quinn confronts the viewer with the gaping chasm between the physical and the mental, beauty and ugliness, the eternal and the mortal. His work has been presented and acquired by leading galleries and museums around the world and was recently the subject of an exhibition at Mary Boone Gallery in New York. This overview of recent developments also includes a history of his career and documentation of all major works.

Through his use of such unorthodox materials as bread, blood, excrement, silicon, ice, and, more recently, plants and flowers, Marc Quinn works with the fundamental constituents of our existence. His analysis of the physical nature of the body and the mysteries associated with it are expanded in this novel kaleidoscope of a book. Containing images of classical sculptures, old paintings, scenes of war, disasters, car and plane crashes, portraits of disabled people, works by other contemporary artists, scientific photographs, and a selection of works and photographs by Quinn himself, this book constitutes a fascinating, associative approach to a body of work which concerns questions that often have no answers. Included are critical essays, an interview with the artist, and conversations between him and the people portrayed in his sculptures.

Quinn’s first publication explores sculptures that have extended the boundaries of ‘appropriate’ materials, starting with a self-portrait cast from his own frozen blood. With a short story by Will Self, an interview with Brian Eno and texts by Mark Gisbourne and David Thorp.

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.

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.

Our most infamous issue is a homage to the eerie, erotic beauty of the horror genre. At once gruesome and gorgeous, Big 28 puts an unexpected twist on otherwise impeccable fashion editorial. A must-have for collectors. Art Direction: Lee Swillingham & Stuart Spalding Fashion Director: Katie Grand Design: Martin Sebald Contributors: Jonas Akerlund, John Akehurst, Tim Burton & Lisa Marie, Liz Collins, Sean Ellis, Wim Hardeman, John Isaacs, Phil Pointer, Eileen Kastner-Delago, Malcolm Edwards, Katie England, James Jarvis, Serge Leblon, Matt & Marcus, Guido Mocafico, Arianne Phillips, Vincent Peters, Marc Quinn, Terry Richardson, Norbert Schoerner, Taryn Simon, John Spinks, Cornellie Tollens.

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.

In 1988 a new era of British art was born. Young artists started to produce exciting work that would soon take the international art world by storm. Charles Saatchi began supporting the work of this new generation of artists more than ten years ago and his gallery has played a pivotal role in letting their voices be heard. This work documents one of the largest collections of contemporary British art in the world. This volume provides a survey of this collection as well as an overview of developments in contemporary art. Arranged around a time-line that traces the social and political events of the past decade, the works are accompanied by selected examples of the vociferous and amusing media coverage that they have engendered. The book includes paintings, sculptures, photographs and installations by artists such as Damien Hirst, Rachel Whitehead, Gary Hume, Jenny Saville, Jake and Dinos Chapman, Marc Quinn, Chris Ofili and Sarah Lucas. It echoes the development of both the collection and the individual artists’ work through quality reproductions arranged chronologically alongside relevant essays, reviews, articles and cartoons from each period. A large proportion of the works illustrated have been neither published nor exhibited beyond student shows.

Dazed and Confused is one of the UK’s most respected style magazines and was formed in 1994 as a group voice for London’s exploding creative scene. The book is the essential collection of some of the most original and ground breaking imagery that has been created in the 90s, along with a vision of fashion and art photography of the future. It has grown into the defining insiders’ publication with a circulation of 60,000 and a worldwide readership. Covering music, fashion, art, film, photography and, writing. Contributors include Nick Knight, Chapman brothers, Paul McCarthy, Gillian Wearing, Rankin, Phil Poynter, Mat Collishaw, Sam Taylor Wood, Marc Quinn, Jack Webb and Nick Waplington. Designed by David James. “Dazed & Confused is a flashy train-wreck of fashion, art, movies, music, pictures, words, bodies and brains.” – Barbara Kruger

Edizione bilingue italiano / inglese – Bilingual Italian / English – Organizzata e prodotta dalla Galleria Civica di Modena, la mostra propone un’indagine sul tema dell’Io nella cultura contemporanea, partendo dalla riflessione su alcuni quesiti di natura universale: Chi sono? Come mi vedo? Chi mi vede? A queste domande, che coinvolgono la costruzione dell’identità ma anche le manie che la assediano e la degenerazione cui può portare l’ossessione di sé, offrono uno spunto di riflessione i quindici artisti invitati all’iniziativa, attraverso opere e installazioni di varia natura. Il catalogo/oggetto che accompagna l’evento, in sintonia con lo spirito variegato della collettiva, racchiude, all’interno di un contenitore rigido, quindici fascicoli di differente formato dedicati a ciascun artista e un fascicolo contenente i testi critici. Gli artisti sono: Katharina Fritsch (Germania), Mike Kelley (USA), Marc Quinn (Inghilterra), Ugo Rondinone (Svizzera), Hanne Darboven (Germania), Tim Hawkinson (USA), Roberto Cuoghi e Liliana Moro (Italia); Lee Dongwook e Naneun (Corea del Sud); Rory Macbeth (Inghilterra); Anneè Olofsson (Svezia); Bjørn Melhus (Germania); Markus Schinwald (Austria), Marc Camille Chaimowicz (Inghilterra).

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