From January 2005, the Saatchi Gallery will hold a landmark exhibition in three parts, lasting the whole year, devoted entirely to painting. The title refers to the primacy of painting at the root of artistic expression.
The exhibition will open with the work of five of the greatest modern European painters: Peter Doig, Marlene Dumas, Luc Tuymans, Jörg Immendorff and the late Martin Kippenberger. The Belgian painter, Tuymans, has been the subject of a major exhibition at Tate Modern in 2004.These painters are regarded as the most influential figures at this time. Their work will fill the entire gallery. They will be followed by a show of a new generation of painters including a number of Brtish artists such as Cecily Brown and Dexter Dalwood. The final part of the show will be held in the latter part of 2005 and will consist entirely of the work of new young painters.

Following the success of 100, which was published for the opening of the Saatchi Gallery in 2003, The Triumph of Painting, which comes in a much larger format, should stand as the definitive book of current art with resonance beyond the walls of the gallery itself. This project will mark the return of the Saatchi Gallery into focus following the tragic loss of key works in the Saatchi collection in the fire of last year.

Essays by Alison Gingeras and Barry Schwabsky.

Born in Vancouver and based in New York, Jessica Stockholder explodes the boundaries between painting, sculpture and architecture to construct a new perceptual space. Found objects, ranging from oranges to neon tubes, discarded household fabrics and decontextualized building materials are massed and lyrically intertwined with profusions of vivid colour. Her architectonic installations engulf the viewer, recalling Schwitters’ Dadaist collages, spliced with the formal concerns of 1950s abstract painting and redefined through a postmodern sensibility. Her work explores the body in social and cultural space to generate a complex formal and conceptual experience.

The Survey, by art critic and poet Barry Schwabsky, examines the evolution of Stockholder’s work since the 1980s. New York novelist Lynne Tillman and the artist take the reader on a guided tour through pictorial space. Lynne Tillman, Curator of the Dia Center for the Arts in New York, looks in depth at a single installation, Sweet for Three Oranges (1995). Further insight into Stockholder’s practice is revealed through her selection of texts by psychologist Julian Jaynes and philosopher Cornelius Castoriadis for the Artist’s Choice. The Artist’s Writings include early interviews and chronicle works in progress.

This first monograph introduces one of the most promising Italian artists of the post-Cattelan generation. Roccasalva mixes conceptual rigor with hallucinatory extravaganza–always ending in a complex installation where the different elements act like characters performing an erratic script that probes art historical, philosophical, musical and literary references.

The collaborative strength of Parkett unfolds with artists and writers, with retrospective and future views — one last time. Parkett’s closing print issue is a double one — one volume is a traditional issue, this time with ten new artist collaborations, while the other consists of recollections and tributes. Going forward, Parkett volumes and editions will remain fully documented on the website and available via the Zurich and New York offices. Furthermore, all volumes including 1500 texts are currently being digitized and will become accessible online. New, expanded Parkett exhibitions in various museums are in preparation as well, which will further explore the publication’s singular approach as a thirty-three-year time capsule and archive. The double issue features collaborations with Nairy Baghramian, Maurizio Cattelan, Marlene Dumas, Katharina Fritsch, Katharina Grosse, Marilyn Minter, Jean-Luc Mylayne, Nicolas Party, Pipilotti Rist, and Jordan Wolfson. Each artist has created as usual a special limited edition Collaboration texts are by Caoimhín Mac Giolla Léith (on Nairy Baghramian), Massimiliano Gioni (on Maurizio Cattelan), Tamar Garb (on Marlene Dumas), Jacqueline Burckhardt (on Katharina Fritsch), Barry Schwabsky (on Katharina Gorsse), Nancy Spector (on Marilyn Minter), Matthew S. Witkovsky (on Jean-Luc Mylayne), Ali Subotnick (on Nicolas Party), Juliana Engberg (on Pipilotti Rist), and Andrew Russeth (on Jordan Wolfson). Previous collaboration artists have sent in some one hundred image and short text contributions. >Explore here The second half of the issue opens with two roundtables on the future of art publishing. The first discussion, moderated by editor Mark Welzel, took place in Berlin and featured Diedrich Diederichsen (writer on music, art, cinema, theatre, and politics), Jörg Heiser (director of the Institut für Kunst im Kontext at the Universität der Künste, Berlin), Olaf Nicolai (artist), Susanne Pfeffer (director of the Museum für Moderne Kunst in Frankfurt), and Steffen Zillig (artist and writer), in addition to Parkett’s founding editors, Bice Curiger and Jacqueline Burckhardt. A New York conversation, moderated by executive editor Nikki Columbus, included Hal Foster (Professor at Princeton University, art critic, art historian, and co-editor, October), Michelle Kuo (former editor-in-chief, Artforum), and Hrag Vartanian (critic, curator, editor-in-chief and co-founder, Hyperallergic), as well as Curiger. Statements from Parkett’s past editors, curators, translators, and designers highlight what made the magazine special, while a wide and diverse range of artists write in to heap accolades in the form of images and texts.

Architecture has always been a central subject matter for photographers. For most of the 20th century, however, the practice of architectural photography has been a professional endeavor; anonymous photographs taken for clients for specific, commercial reasons. This book concerns itself with another, rarer, topic: the photography of architecture as an art practice. It considers the work of seven contemporary photographers who use buildings in their work in a new way. In these photographs, they respond to the work of prominent architects by creating their own interpretations. Here are Andreas Gursky’s photos of the Stockhom Library by Gunnar Asplund, Tomas Ruff’s photos of several works by Herzog & de Meuron, Hiroshi Sugimoto’s photos of Le Corbusier’s Villa Savoye, as well as works by Candida Hofer, Jeff Wall, Gunther Forg, and Balthasar Burkhard. A beautiful and valuable book on one of the prominent movements in contemporary photography. Featuring: Andreas Gursky, Candida Hofer, Thomas Ruff, Jeff Wall, Gunther Forg, Hiroshi Sugimoto, Balthasar Burkhard Edited by Gloria Moure. Essays by Abalos & Enguita, Joerg Bader, Catherine Hurzeler, Hans Irrek, Gloria Moure, Barry Schwabsky, Jeff Wall and Martin Tschanz. Introduction by Terence Riley.

The first volume of Vitamin P, published in 2002, inaugurated a vibrant period for painting. Since its publication, a whole new generation of painters has emerged, some inspired by the artists who appeared in that book, others taking cues from new sources. Vitamin P2 introduces this new wave of painters to the world. The vast medium of painting continues to be a central pillar of artistic practice, and Vitamin P2 presents the outstanding artists who are currently engaging with and pushing the boundaries of the medium. Over 80 international critics, artists and curators have nominated the 115 artists who have made a fresh, unique or innovative contribution to recent painting. All of the artists in Vitamin P2 have recently emerged onto the international scene, and none appeared in the first Vitamin P. An introduction by Barry Schwabsky, who also wrote the introduction for Vitamin P, provides a broad overview of recent developments in the medium while also looking towards its future. Artists featured in Vitamin P2: Nina Chanel Abney, Richard Aldrich, Ellen Altfest, Hurvin Anderson, Juan Araujo, Tauba Auerbach, Karin Mamma Andersson, Jules de Balincourt, Antonio Ballester Moreno, Tilo Baumgartel, Hernan Bas, Michael Borremans, Mark Bradford, Kerstin Brätsch, Lisa Brice, Rafal Bujnowski, Stephen Bush, Varda Caivano, Brian Calvin, Gillian Carnegie, Sarah Crowner, William Daniels, Noah Davis, Philippe Decrauzat, Benjamin Degen, Kaye Donachie, Pierre Dorion, Milena Dragicevic, Thomas Eggerer, Nicole Eisenman, Ida Ekblad, Zhang Enli, Michael Fullerton, Wayne Gonzales, Adrian Ghenie, Mark Grotjahn, Wade Guyton, Josephine Halvorson, N. S. Harsha, Richard Hawkins, Carmen Herrera, Charline Von Heyl, Alex Hubbard, Jacqueline Humphries, Nathan Hylden, Merlin James, Xylor Jane, Jia Ailli, Magdalena Jitrik, Chantal Joffe, Chris Johanson, Jitish Kallat, Maki Na Kamura, Jacob Kassay, Khalif Kelly, Martin Kobe, Jutta Koether, Tomasz Kowalski, Makiko Kudo, Stefan Kürten, Li Dafang, Li Shurui, Li Songsong, Liang Yuanwei, Liu Xiaodong, Marcin Maciejowski, Tala Madani, Nalini Malani, Victor Man, I Nyoman Masriadi, Birgit Megerle, Dianna Molzan, Katy Moran, Kristine Moran, Justin Mortimer, Farhad Moshiri, Surendran Nair, Odili Donald Odita, Paulina Olowska, Silke Otto-Knapp, Christopher Orr, Alessandro Pessoli, Jon Pestoni, Vitaly Pushnitsky, R. H. Quaytman, Blake Rayne, Clare E. Rojas, Sterling Ruby, Christoph Ruckhäberle, Serban Savu, Maaike Schoorel, Dana Schutz, Raqib Shaw, Amy Sillman, Anj Smith, Josh Smith, Glenn Sorensen, Neal Tait, Mickalene Thomas, Padraig Timoney, Alexander Tinei, Phoebe Unwin, Lesley Vance, Pieter Vermeersch, Kelley Walker, Wang Xingwei, Corinne Wasmuht, Matthias Weischer, Andro Wekua, Wendy White, Katharina Wulff, Lynette Yiadom-Boakye, Luiz Zerbini, Jakub Julian Ziolkowski

Andy Warhol’s silk screens, Gerhard Richter’s blurred images, Vija Celmins’ hyperrealism: some of the most influential developments in the history of contemporary art hinge on the use of photographs as source material. Beginning in the early 60s, with seminal works by the aforementioned artists, The Painting of Modern Life charts the 45-year evolution of the translation of photographic images to paint–revealing an extraordinary breadth of stylistic and thematic diversity. This volume features 22 painters whose sources range from snapshots to commercial media, among them Richard Artschwager, Robert Bechtle, Celmins, Peter Doig, Marlene Dumas, Thomas Eggerer, Judith Eisler, Franz Gertsch, Richard Hamilton, Eberhard Havekost, David Hockney, Johannes Kahrs, Johanna Kandl, Martin Kippenberger, Liu Xiaodong, Malcolm Morley, Elizabeth Peyton, Michelangelo Pistoletto, Richter, Wilhelm Sasnal, Luc Tuymans and Warhol. Essays by curator Carolyn Christov-Bakargiev, writer and critic Martin Herbert, Hayward Director Ralph Rugoff and poet and critic, Barry Schwabsky lend insight to issues of translation, context and content.