artecontemporanea.com You searched for tillman lynne

Stephen Shore was 17 years old when he began hanging out at The Factory – Andy Warhol’s legendary studio in Manhattan. Between 1965 and 1967, Shore spent nearly every day there, taking pictures of its diverse cast of characters, from musicians to actors, artists to writers, and including Edie Sedgwick, Lou Reed, and Nico – not to mention Warhol himself. This book presents a personal selection of photographs from Shore’s collection, providing an insider’s view of this extraordinary moment and place, as seen through the eyes of one of photography’s most beloved practitioners.

Philip-Lorca diCorcia is among the most innovative and influential photographers working today. For nearly 30 years he has explored the intersection of documentary style with cinematic production, making contemporary work that perches uncannily between the fictional and the real. This survey of diCorcia’s career, from the late-1970s to the present, draws from the artist’s most acclaimed series, including Hustlers, Streetworks, Heads, A Storybook Life, and Lucky 13. In work from the 1980s, diCorcia shows friends and family in domestic tableaux tinged with an air of mystery, working from the subject matter of his life but eschewing romantic intimacy for studied detachment and pitch-perfect detail. In the 1990s, he turns to the great American tradition of street photography. That swiftly-changing environment might have seemed unlikely for diCorcia’s meticulous style, but it provided some of his best-known images, including those of male prostitutes and anonymous crowds of urban pedestrians. In more recent work, he has photographed erotic pole dancers, their bodies caught in contorted and seductive free-fall. The accompanying texts here include a piece by the New York writer and critic, Lynne Tillman, author of the acclaimed 2006 novel, American Genius, A Comedy.

Andy Warhol is arguably the most important American artist of this century. The six portraits of Marilyn Monroe, the documentary images, electric chairs and consumer goods, are all synonymous with 20th-century popular culture and all were created within the anarchic, communal, creative atmosphere of the Factory. Adventurous and curious, Stephen Shore hung out at the Factory nearly every day from 1965 to 1967. An insider, he photographed Warhol, as well as the Velvet Underground, Nico, Donovan, Edie Sedgewick and other Factory notables and celebrity visitors. Like Shore, everyone was drawn to the scene around Warhol. This is a comprehensive collection of Stephen Shores photographs from this time.

Stephen Shore’s Uncommon Places is indisputably a canonic body of work―a touchstone for those interested in photography and the American landscape. Remarkably, despite having been the focus of numerous shows and books, including the eponymous 1982 Aperture classic (expanded and reissued several times), this series of photographs has yet to be explored in its entirety. Over the past five years, Shore has scanned hundreds of negatives shot between 1973 and 1981. In this volume, Aperture has invited an international group of fifteen photographers, curators, authors, and cultural figures to select ten images apiece from this rarely seen cache of images. Each portfolio offers an idiosyncratic and revealing commentary on why this body of work continues to astound; how it has impacted the work of new generations of photography and the medium at large; and proposes new insight on Shore’s unique vision of America as transmuted in this totemic series.
Texts and image selections by Wes Anderson, Quentin Bajac, David Campany, Paul Graham, Guido Guidi, Takashi Homma, An-My Leê, Michael Lesy, Hans Ulrich Obrist, Francine Prose, Ed Ruscha, Britt Salvesen, Taryn Simon, Thomas Struth, and Lynne Tillman

Always There offers a comprehensive survey of American artist Julia Scher’s work. The artist’s installations and performances have always featured a complex relation to techno-social control, demonstrating our complicity in the proliferating technologies used to surveil both our physical and virtual identities. As Brian Wallis writes in his introduction, “Scher’s work breaks linguistic codes of security, analyzing the rhetorics of surveillance discourse to allow the savvy user to manipulate and reconstitute those ‘bits’. This approach is … akin to that of hackers, who, like Scher, invert the notion of usability, turning the practical on its head. On one level, this radical reversibility undoubtedly stems from some fundamental technoskepticism, but it also shows the artist’s more complicated skepticism about the visual and geographical determinants of contemporary space and how they impact the practices of everyday life.” The texts discuss how in the aftermath of 9-11, issues of surveillance, data harvesting and scoptophilia have acquired a new meaning. According to author Andrew Ross, “Scher is a wholly political artist with a keen eye and ear for the iconography and poetry of power, especially when it crystallizes into the operational jargon of aggressive intelligence systems.”

This is the most comprehensive publication ever produced on the work of American artist Barbara Kruger. Kruger, one of the most influential artists of the last three decades, uses pictures and words through a wide variety of media and sites to raise issues of power, sexuality, and representation. Her works include photographic prints on paper and vinyl, etched metal plates, sculpture, video, installations, billboards, posters, magazine and book covers, T-shirts, shopping bags, postcards, and newspaper op-ed pieces. This book serves as the catalog for the first major one-person exhibition of Kruger’s work to be mounted in the United States. The book, designed by Lorraine Wild in collaboration with the artist, contains texts by Rosalyn Deutsche, Katherine Dieckmann, Ann Goldstein, Steven Heller, Gary Indiana, Carol Squiers, and Lynne Tillman on subjects associated with Kruger’s work, including photography, graphic design, public space, power, and representation, as well as an extensive exhibition history, bibliography, and checklist of the exhibition. The cover features a new piece by Kruger, entitled Thinking of You,created especially for the catalog.

Stephen Shore (b. 1947) is a true artistic innovator whose work has opened up new frontiers for contemporary photography. His photographs of American scenes unveil the exceptional beauty to be found in the everyday. As one of the first art photographers to work in color, Shore pioneered such contemporary genres as the diaristic snapshot (later taken up by Nan Goldin and Wolfgang Tillmans) and the monumentalized landscape (as later practiced by Becher-school photographers Thomas Struth and Andreas Gursky). This monograph offers the first complete examination of Shore’s long and storied career, from his residency at Warhol’s Factory to his experiments in conceptual photography; from his landmark series AMERICAN SURFACES to his continued exploration of emerging techniques. Shore’s high-key portraits of America’s chromatic landscape can be found in the permanent collections of major museums all over the world.

In Flowers, Welling continues to work with photograms of flowers, a project he began in 2004. The most recent Flowers are larger in scale and have a greater range of colors than those in past works. To produce these works, Welling placed small, irregularly-shaped color filters behind the negative as he printed the images. In an interview with the artist, novelist/critic Lynne Tillman notes that these flowers argue for a present-ness of the photograph. Rather than pointing to a specific moment in the past, these nearly-abstract images encourage the viewer to discover new meanings while in the presence of the work.

Anthologies played a major part in defining the various attitudes of downtown work. Barbara Ess’s magazine, Just Another Asshole #6 is often cited as one of these seminal compilations. Edited with Glenn Branca, the sixth issue of this downtown magazine outlines the variety of styles and aesthetics that were developing in the early 1980s. Included in the issue are works by Kathy Acker, Eric Bogosian, Mitch Corber, Brian Buczak, Jenny Holzer, Cookie Mueller, Richard Prince, Joseph Nechvatal, David Rattray, Kiki Smith, Lynne Tillman, Anne Turyn, Ann Rower, Reese Williams, David Wojnarowicz, and many others.

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.

Contains photographs by Barbara Ess, Glenn Branca, Alice Albert, Vikky Alexander, Al Arthur, Lynne Augeri, Judith Barry, Ellen Brooks, Brian Buczak, Susan Britton, Alan Belcher, Tom Brazelton, Glenn Branca, Dara Birnbaum, Ellen Carey, Jim Casebere, Catherine Ceresole-Bachman, Sarah Charlesworth, Myrel Chernick, Nancy Chunn, Glegg & Guttman, Ellen Cooper, Mitch Corber, William Coupon, Paula Court, Peter Cummings, Roger Cutforth, Dorit Cypis, Mararet Dewys, Lea Douglas, Sara Driver, Nancy Dwyer, Bradley Eros, Aline Mare, Bart Everly, Stephen Frailey, Matthew Geller, Joe Gibbons, Mike Glier, Nan Goldin, Robert Goldman, Jack Goldstein, Dan Graham, Rodney Graham, Rudolph Grey, Susan Hanel, Sam Marshall Harvey, Steven Harvey, Marilyn Hawkridge, Geoff Hendricks, Susan Hiller, John Hilliard, Becky Howland, Ulli Rimkus, Peter Hujar, Peter Hutton, Glenda Hydler, Gary Indiana, Jeffrey Isaac, Bill Jacobson, Jim Jarmusch, Tod Jorgensen, Daile Kaplan, Peggy Katz, Christof Kohlhofer, Silvia Kolbowski, Barbara Kruger, Beth Lapides, Louise Lawler, Thomas Lawson, Annette Lemieux, Greg Letson, Daniel Levine, Nancy Linn, Carla Liss, Rik Little, Ken Lum, Meredith Lund, Mark Lyon, Francie Lyshak, Rona Patrice Lytkens, Frank Majore, Gianfranco Mategna, Sheila McLaughlin, Allan McCollum, Paul McMahon, Richard Morrison, Matt Mullican, Peter Nadin, Peter Nagy, Joseph Nechvatal, Gary Nickard, Mike Osterhout, Carol Parkinson, Victor Poisontete, Virginia Piersol, Jeffrey Pittu, Richard Prince, John Rehberger, Bill Rice, Walter Robinson, Jon Rubin, Arleen Schloss, Kathleen Seltzer, Laurie Simmons, Teri Slotkin, Kiki Smith, Michael Smith, Studio Melee, Jim Sutcliffe, Karen Sylvester, Lynne Tillman, Diane Torr, Anne Turyn, Gail Vachon, Sokhi Wagner, Jeff Wall, Tom Warren, Oliver Wasow, James Welling, Sally C. White, Robin Winters, Dan Witz, David Wojnarowicz, and Michele Zalopany. Essays by Rosetta Brooks, Tricia Collins, Richard Millazzo, John Hilliard, Gary Indiana, Cookie Mueller, David Rattray, Carol Souiers, Amy Taubin, and Lynn Tillman.

The chance situation or random eventówhether as a strategy or as a subject of investigationóhas been central to many artists’ practices across a multiplicity of forms, including expressionism, automatism, the readymade, collage, surrealist and conceptual photography, fluxus event scores, film, audio and video, performance, and participatory artworks. But whyóa century after Dada and Surrealism’s first systematic enquiriesódoes chance remain a key strategy in artists’ investigations into the contemporary world?

The writings in this anthology examine the gap between intention and outcome, showing it to be crucial to the meaning of chance in art. The book provides a new critical context for chance procedures in art since 1900 and aims to answer such questions as why artists deliberately set up such a gap in their practice; what new possibilities this suggests; and why the viewer finds the art so engaging.

Artists surveyed include: Vito Acconci, Bas Jan Ader, Francis Alys, William Anastasi, John Baldessari, Walead Beshty, Mark Boyle, George Brecht, Marcel Broodthaers, John Cage, Sophie Calle, Tacita Dean, Stan Douglas, Marcel Duchamp, Brian Eno, Fischli & Weiss, Ceal Floyer, Huang Yong Ping, Douglas Huebler, Allan Kaprow, Alison Knowles, Jiri Kovanda, Jorge Macchi, Christian Marclay, Cildo Meireles, Robert Morris, Bruce Nauman, Yoko Ono, Gabriel Orozco, Cornelia Parker, Robert Rauschenberg, Gerhard Richter, Daniel Spoerri, Wolfgang Tillmans, Keith Tyson, Jennifer West, Ceryth Wyn Evans, La Monte Young

Writers include: Paul Auster, Jacquelynn Baas, Georges Bataille, Daniel Birnbaum, Claire Bishop, Guy Brett, Benjamin H. D. Buchloh, Stanley Cavell, Lynne Cooke, Fei Dawei, Gilles Deleuze, Anna Dezeuze, Russell Ferguson, Branden W. Joseph, Siegfried Kracauer, Jacques Lacan, Susan Laxton, Sarat Maharaj, Midori Matsui, John Miller, Alexandra Munroe, Gabriel Perez Barreiro, Jasia Reichardt, Julia Robinson, Eric L. Santner, Sarah Valdez, Katharina Vossenkuhl

Documents of Contemporary Art series
Copublished with Whitechapel Gallery, London

A personal encounter with 50 of the world’s most significant contemporary artists, “pressPlay” draws together the full texts of the complete Phaidon interviews with living artists, 1995-2005, originally appearing in “Phaidon’s Contemporary Artists” series and “Robert Mangold” monograph. Highlights include veteran painter Vija Celmins and noted sculptor Robert Gober (who represented the US at the 2001 Venice Biennale) in an intimate discussion on their differing art practices; longtime friends and fellow travellers for decades, Benjamin Buchloh and Lawrence Weiner recall 35 years of work, in the definitive, career-long interview for this key Conceptual artist; the late Sir Ernst Gombrich honoured the “Contemporary Artists” series in a discussion with the UK’s pre-eminent sculptor Antony Gormley – who confesses that it was Gombrich’ “Story of Art” that first inspired him to become an artist; the taciturn, legendary Raymond Pettibon muses on the evolution of his work with noted hip novelist Dennis Cooper; musician artist Christian Marclay is interviewed by Sonic Youth rockstar Kim Gordon. From highly established artists Louise Bourgeois and Alex Katz, to midcareer masters Richard Prince, Mike Kelley, Fischli and Weiss, Jenny Holzer, and Raymond Pettibon, to the most exciting artists of the current generation, including Maurizio Cattelan, Olafur Eliasson and Pipilotti Rist, pressPlay is a highly readable, comprehensive look at contemporary art today. Vito Acconci/Mark C Taylor; Doug Aitken/Amanda Sharp; Uta Barth/Matthew Higgs; Christian Boltanski/Tamar Garb; Louise Bourgeois/Paulo Herkenhoff; Cai Guo Qiang/Octavio Zaya; Maurizio Cattelan/Nancy Spector; Vija Celmins/Robert Gober; Richard Deacon/Pier Luigi Tazzi; Mark Dion/Miwon Kwon; Stan Douglas/Diana Thater; Marlene Dumas/Barbara Bloom; Jimmie Durham/Dirk Snauwaert; Olafur Eliasson/Daniel Birnbaum; Peter Fischli and David Weiss/Beate Soentgen; Tom Friedman/Dennis Cooper; Isa Genzken/Diedrich Diederichsen; Antony Gormley/Sir Ernst Gombrich; Dan Graham/Mark Francis; Paul Graham/Gillian Wearing; Hans Haacke/Molly Nesbit; Mona Hatoum/Michael Archer; Thomas Hirschhorn/Alison M Gingeras; Jenny Holzer/Joan Simon; Roni Horn/Lynne Cooke; Ilya Kabakov/David A Ross; Alex Katz/Robert Storr; Mary Kelly/Douglas Crimp; Mike Kelley/Isabelle Graw; William Kentridge/Carolyn Christov-Bakargiev; Yayoi Kusama/Akira Tatehata; Robert Mangold/Sylvia Plimack Mangold; Christian Marclay/Kim Gordon; Paul McCarthy/Kristine Stiles; Cildo Meireles/Gerardo Mosquera; Lucy Orta/Roberto Pinto; Raymond Pettibon/Dennis Cooper; Richard Prince/Jeff Rian; Pipilotti Rist/Hans Ulrich Obrist; Doris Salcedo/Carlos Basualdo; Thomas Schutte/James Lingwood; Lorna Simpson/Thelma Golden; Nancy Spero/Jo Anna Isaak; Jessica Stockholder/Lynne Tillman; Wolfgang Tillmans/Peter Halley; Luc Tuymans/Juan Vicente Aliaga; Jeff Wall/Arielle Pelenc; Gillian Wearing/Donna De Salvo; Lawrence Weiner/Benjamin H D Buchloh; Franz West/Bice Curiger.

Linder Sterling’s work had its first exposure in the punk fanzine The Secret Public and as art for the sleeve of the Buzzcocks’ first single, “Orgasm Addict.” Soon she had her own band, Ludus, founded with Ian Divine. Her visuals and her performances have remained legendary in the musical world–for example, a costume consisting of raw meat and a black vibrator, worn for a special evening at the Hacienda–but these formative contributions to the aesthetics of punk and its offshoots have only recently received wider recognition. With no clear academic career path, without institutional or curatorial support, Linder has continued to make multidisciplinary work, work that has led observers to call her the missing link between Yoko Ono and Tracey Emin. This first book, a rediscovery and a debut at once, includes contributions from writers and cultural figures including Philip Hoare, Jon Savage, Andrew Renton, Lynne Tillman, Paul Bailey and Morrissey.

Put About: A Critical Anthology on Independent Publishing presents a timely discussion about independent publishing and publishing by artists, focusing on books where the makers keep control of every aspect of production through to distribution. Combining an interest in what and why publishers and artists feel compelled to deliver such materials, together with the economic models, audience and networks of association that can give independent productions a wider cultural presence, this book features a broad range of written and visual pieces alongside ‘case-studies’ from a selection of contemporary international publishers. Contributors: Wieder, Axel John; Trembley, Nicolas; Tillman, Lynne; Pettibon, Raymond; Osbaldeston, David; Moisdon, Stéphanie; Mir, Aleksandra; Miller, Paul D.; Miller, John; Lippard, Lucy; Kolding, Jakob; Klingberg, Gunilla; King, Emily; Hunt, Ian (ed.); Home, Stewart; Higgs, Matthew; Dibosa, David; Cattelan, Maurizio; Camplin, Bonnie; Cabinet Magazine; Brady, Andrea; Bracewell, Michael; Bedwell, Simon; Baldessari, John

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.