Uri Aran (born 1977) humorously explores the manipulation of commonplace objects in his videos, drawings, assemblages, texts and sculptures. This first monograph tours the artist’s production through a detailed selection of his works, numerous installation views, texts and interviews.
This extensive, large-format catalogue comprehensively tracks the career of one of the leading figures in an outstanding generation of British artists. Lucas, who first came to attention as a YBA (Young British Artist) in the 1990s, is here granted her first major exhibition survey. Included in this accompanying publication is documentation of key works, plus new work made especially for the Tate Liverpool. It is the most comprehensive publication on the artist to date.
Shirana Shahbazi frequented the Conference and Education Center of a Swiss Re Insurance building over a period of 12 months. The resulting montage of photography and classical painting genres cultivates an associative trip through portrait, landscape, still life and history painting. What emerges depends partly on your eye’s liability.
John Baldessari (born 1931) is a luminary in the realms of Conceptual art and book art, and one of the most important figures in contemporary art of the last 40 years. Since his sensational Cremation Project of 1970, for which he incinerated every single painting he had made between 1953 and 1966, Baldessari’s work has mined the tensions between language, image and sign-making. Baldessari unpicks the very mechanisms of media representation, and even the idea of artistic subject matter itself, using painting, photography, film/video, collage and reliefs, integrating images and text from advertising and movies into his works. Since 1980, Baldessari has worked mostly without text in serial photographs and pictures, and strategies such as overpainting, visual omissions and withheld information have increasingly taken on the earlier function of language. For this superbly designed book, Baldessari has designed a sequence of enigmatically fragmentary and geometrically emphatic images, arranged rhythmically across the volume’s landscape format, that slowly accrete narrative as the reader-viewer moves through the book. These fragments, derived largely from B-movie stills, lead into a second chapter that reproduces the complete pictures. Juggling these themes of composition, information, omission and rhythm, Parse consolidates Baldessari’s signature concerns into a great work of book art.
Over the period of more than two decades, Wolfgang Tillmans has explored the medium of photo-imaging with greater range than any other artist of his generation. From snapshots of his friends to abstract images made in a darkroom without a camera or works made with a photocopier, he has pushed the photographic process to its outer limits in myriad ways. For this collection of photos, his fourth book with TASCHEN, Tillmans turned away from the self-reflexive exploration of the photography medium that had occupied him for several years by focusing his lens on the outside world—from London and Nottingham to Tierra del Fuego, Tasmania, Saudi Arabia, and Papua New Guinea. He describes this new phase simply as “trying out what the camera can do for me, what I can do for it.” The result is a powerful and singular view of life today in diverse parts of the world, seen from many angles. Says Tillmans, “My travels are aimless as such, not looking for predetermined results, but hoping to find subject matter that in some way or other speaks about the time I’m in.”
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