art november 2014 i i

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Alice Neel - Intimate RelationsThe Nordic Watercolour Museum 2014 ISBN 9789189477537 Acqn 23361Hb 21x23cm 96pp 95col ills 29.50

The art of Alice Neel (19001984) distinguished itself from that of her American contemporariesby the special intimacy of its style, in which her drawing practice was a decisive factor. Though

somewhat less known than her paintings, Neels drawings and watercolors articulate an array ofinfluences--German Expressionist and Neue Sachlichkeit painting, the Ashcan School, an earlysojourn in Cuba--that accompanied her through her tentative beginnings in the mid-1920s throughto the maturity of her art after the Second World War, when she found room to accommodateabstraction and Pop art. This volume, published for the first European exhibition of Neels workson paper, spans the years 1926 to 1982, and gathers color and ink-only portraits and streetscenes, as well as her illustrations for an edition of Dostoyevskys The Brothers Karamazov.


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Raqs Media Collective CasebookArt Gallery York University 2014 ISBN 9780921972686 Acqn 23401Pb 15x24cm 296pp 120col ills 29.50

Introduction by Philip Monk. Text by Raqs Media Collective, Svetlana Boym, Kaushik Bhowmik,Alexander Keefe, Anders Kreuger, Molly Nesbit, Hans Ulrich Obrist, Parul Dave Mukherji,Jonathan Watkins, Elena Bernardini, Srinivas Aditya Mopidevi, Cuauhtmoc Medina, Theodor

Ringborg, Cdric Vincent.This book documents 80 artworks and projects by New Delhibased Raqs Media Collective(Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta) from 20022012. The collectiveexecutes a wide spectrum of projects, ranging from full-scale curatorial works to discrete objectssuch as prints.


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Kristin Baker - Illume-MineThe Suzanne Geiss Company 2014 ISBN 9780615767895 Acqn 23403Hb 22x29cm 68pp 45col ills 35

Illume-Minepresents the newest paintings by artist Kristin Baker (born 1975), from 20112013.Bakers compositions often involve the distortion of light and color: rectangles float like prisms

through which red turns to purple, white fans out and tangerine comes in and out of focus. At thecore of her work, which has developed over the course of a decade, is an exploration of theboundaries and expectations of the painted medium. The abstract works in this catalogue extendthis investigation. In these new paintings, visual and process-oriented allusions to photography,printmaking and other two-dimensional media combine to reveal a diverse acrylic idiom. Illume-Mineis also the first publication to feature Bakers Minums--small paintings whose scale reflectsthe size of notebook paper but displays the same dramatic effects as the large-scale works. Thismonograph was edited by Nikki Columbus and includes an essay by Suzanne Hudson.


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Arts/Industry - John Michael Kohler Arts Center. Collaboration And Revelation

John Michael Kohler Arts Cente 2014 ISBN 9780985380038 Acqn 23412Hb 25x31cm 304pp 300col ills 63

Founded in 1974 as a one-month experiment to open up new opportunities for extraordinaryartists, Arts/Industry brought together two spirited partners: the groundbreaking John MichaelKohler Arts Center, then in its infancy, and Kohler Co., a 100-year-old leader in the internationalplumbingware industry. The program took the ceramic arts community by storm and through theyears transformed artists' interests and university curricula regarding clay from molds. Today,Arts/Industry is hailed as the most unusual and successful ongoing collaboration between the artsand industry in the U.S. Each year, approximately 16 artists worldwide are selected for two- tosix-month residencies to explore new technologies as well as ways of thinking and to createwhole new bodies of work and/or public commissions in Kohler Co.'s Pottery, Iron and BrassFoundries and Enamel Shop. Published on the occasion of the fortieth anniversary of

Arts/Industry, this landmark book presents a profusely illustrated history of the program from theperspective of its founder and director of the John Michael Kohler Arts Center, Ruth DeYoungKohler, Kohler Co. Chairman and CEO Herbert V. Kohler, Jr., artists-in-residence, Kohler Co.industrial staff and art historians Ezra Shales and Glen Brown. Chapters explore some of theprogram's major emphases: experimentation, originality and multiplicity, the impact of theindustrial setting on the artistic process and the interaction between artists and industrial artisans.


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Daniel Joseph Martinez - The Report Of My Death Is An ExaggerationRoberts & Tilton 2014 ISBN 9780991488902 Acqn 23928Hb 31x31cm 68pp 76col ills 29.50

As interpreted by Michel Foucault, Das Narrenschiff( The Ship of Fools), a fifteenth-century satireby Sebastian Brant, imagines a world in which knowledge belongs squarely in the realm ofmadness, useful only to those who would debate idly and apply nothing to experience. ArtistDaniel Joseph Martinez (born 1957) has recognized the relevance of this allegory to presenttimes, and through text paintings, photographs and sculptures, he has traced contemporary LosAngeles onto Foucaults conception of Narrenschiff. Inspired by bus rides observing his fellowpassengers, Martinez conceived of four narratives that explore a modern kind of knowledge-based perversity. The Report of My Death Is an Exaggeration, which documents Martinezsinstallation of these works at Roberts & Tilton in Culver City, California, also features an essay by

art historian, critic and curator Juli Carson.


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Jeronimo Voss - Phantasmagorical HorizonRevolver Publishing by VVV 2014 ISBN 9783957631039 Acqn 24056Hb 14x21cm 268pp 200ills 150col 15.95

The artist book "Phantasmagorical Horizon" by Jeronimo Voss translates his exhibition of thesame title at MMK Zollamt, Museum fr Moderne Kunst Frankfurt am Main on to transparentpaper pages. Phantasmagoria originated as a Magic Lantern show, between spectacle andscientific education, after the French Revolution in Paris. Institutional media history often relatesto it as the Prehistory of Cinema. Phantasmagorical Horizon develops a different story. In it,Voss' full-dome projection Eternity through the Stars, first shown at dOCUMENTA (13) inKassel, or the slide show In Dependent Gravity appear as translucent montages of texts andimages. Furthermore, authors Astrid Mania, Christiane Ketteler and Chris Tedjasukmana took theexhibition as a starting point for their book contributions on Phantasmagoria.


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Robert Delaunay - Exhibition CatalogueCentre Georges Pompidou 2014 ISBN 9782844266828 Acqn 24077Pb 21x30cm 144pp 130ills 90col 26.50Text in French

A reference book on Robert Delaunay focusing on his work during the Twenties and the Thirties.This catalogue sheds light on the creation of the artist in early modern times in its entirety. Fromhis pictorial activities to his projects in applied art (reliefs, decors, sceneries...), Robert Delaunayprogressively got into the architecture area especially through his scenic collaborations.


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Philippe Parreno - TV ChannelCAC Malaga 2014 ISBN 9788494216930 Acqn 24159Pb 22x25cm 160pp 93col ills 33.75

French artist and filmmaker Philippe Parreno is known to have radically redefined the exhibitionexperience by exploring its possibilities as a coherent object rather than a collection of individualworks. In the scripted spaces of his shows, a series of events unfolds, with orchestrated soundand image heightening the sensory experience. This book is published on the occasion of CACMalagas showing of TV Channel, an installation comprising the projection of seven short filmsthat summarise Parrenos career, from its start in the mid-1980s to his most recent works.Besides numerous installation views, it includes an close reading of the experience by Cyril

Bghin.


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Fukt 13Revolver Publishing by VVV 2014 ISBN 9783957632272 Acqn 24264Pb 17x24cm 216pp 250ills 100col 12.50

Fukt magazine is dedicated to drawing, inviting the most interesting and adventurous internationalartists and writers to publish their images and views on contemporary drawing practice. Fukt is inconstant transformation with issues in different sizes and layouts. Number 13 features 27established and emerging artists, curators and authors from 16 different countries worldwide, withinteresting interviews and beautiful and intriguing drawings.

Contributors: William Kentridge, Antje Weitzel/Viktoria Lomasko, Dan Perjovschi, Aris Moore,Christoph Niemann, Benjamin Betts, Marit Roland, Derek Beaulieu, Brigitte Waldach, Caroline

Kryzecki, David Eager Maher, Drawing Room/Stewart Helm, Irene Kopelman, JockumNordstrm, Mariusz Tarkawian, Keita Mori, Lotte Maja Bjerre, Bjrn Hegardt, Marco Fusinato,Mark Reynolds, Phil Sawdon, Pushwagner, Amadeo Azar, Trafo Pop, Christian Schwarzwald.


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Yoshitomo NaraPace Gallery NY 2013 ISBN 9781935410454 Acqn 24296Pb 26x31cm 72pp 48ills 46col 32

Nara fuses Japanese visual traditions and Western Modernism with elements of popular cultureranging from manga to American pop and punk music, the lyrics of which appear in many of hispaintings and drawings. When I look at Naras work, I see its roots in the Kulture of Kute (theJapanese term is kawaii): the big eyes on the little kids, writes Byrne. On the surface, theyrepretty damn cute. But Nara has stepped outside that world in a big way. The kids and dogs in hispictures and bronzes are defiant, angry, annoyed, and pissed off. They have rebelled againsttheir roots, and their big eyes are cold, slightly alien. Nothing is scarier than something that is the

opposite of what it seemsa cute kid who is in fact a bad seed.Though often associated with Pop, Naras newest works reveal an engagement with the acts ofpainting and sculpting that places him closer to artists like Rothko and Bonnard. The layering ofcolour and the texture of brushwork is even more luminescent than in earlier works, and Narasrough-hewn bronzes leave traces of the artists own hand, in contrast to the smoothness of hisfibreglass sculptures.


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Tim HawkinsonPace Gallery NY 2013 ISBN 9781935410447 Acqn 24297Hb 21x24cm 68pp 44ills 43col 28

Tim Hawkinsons idiosyncratic creations are meditations on nature, machines, mortality, the bodyand human consciousness. Since the 1980s, Hawkinson has used common household materials,handcrafted and found objects, and mechanical components to shift familiar subject matter

askew, creating visual conundrums imbued with deeper meaning. His inventive works range insize from monumental kinetic and sound-producing sculptures to almost microscopic piecescreated from such unassuming materials as fingernail clippings and eggshells. Driven bymaterials and an interest in transformation, Hawkinson continues to create unlikely and thought-provoking associations by repurposing ordinary materials into extraordinary works of art. All of thepieces in this show take their titles from Girl Scout cookies, yielding uncannily accuratedescriptive associations with each work and reflecting how daily experiencein this case, hisdaughters cookie driveinfluences Hawkinsons imagination.


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Anton Marcus Pasing - Eutopia II: Non-Linear Multiple Hybrid SolutionsRevolver Publishing by VVV 2014 ISBN 9783957631077 Acqn 24321Hb 15x22cm 552pp 320ills 300col 35.95

The concept of nature in Western philosophy and culture identifies everything that is not createdby human beings as nature. Within nature, a further distinction is made between abiotic andbiotic nature.This perspective is problematical because on the one hand it is saturated with a certainarrogance, and on the other hand it runs counter to the logic of evolution. Furthermore, itperpetuates a structural distinction that goes back to Scholasticism between natura naturansand natura naturata. According to this distinction, we are deemed to be a part of creatednature and thus separate from creating nature.The assumption on which this narrative is based does not share this classification.If the human being is one outcome of evolution, how can the results of his action then not benature?Nature is not an antonym of culture; rather, culture is a variation that nature has allowed to thisday through our existence.Eutopia II is based on the ontological claim that everything that is is one indivisible nature. Thisavowal of naturalism thus opens every possible hybridization, transformation and mutation ofnatural systems, that is, of all systems.At the core of this publication is a longing for narration and imagination, and by the same tokenthe wish for liberation from the "terror of understanding" within architecture.The obsession with explicability and the quest for meaning follows an increasingly one-dimensional functionalization of the interpretation of architecture. This book opposes this lure ofreality.

The result is an architectural-spatial narration, a narrative fiction that does not strive to generatetruth or to accommodate the imperative of consciousness.Seekers are always also travellers. Eutopia II is a place that receives travellers, that answers noquestions, that leaves fictitious situations as they are and that is more apt to generate questionsthan to answer questions that were brought along.


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Tracey Emin - The Last Great Adventure Is YouWhite Cube 2014 ISBN 9781906072919 Acqn 24345Hb 24x24cm 112pp 78col ills 31

The Last Great Adventure is You, featuring bronze sculptures, gouaches, paintings, large-scaleembroideries and neon works, chronicles the contemplative nature of work by an artist who hasconsistently examined her life with excoriating candour. Reflective in tone, the works in theexhibition are the result of many years development, from the bronze sculptures the mostsignificant body she has made to date to the works on canvas. There is a complexity in thesculptural form of the bronzes, simultaneously robust yet tender, that points to a consummateunderstanding of material, composition and subject matter. In Grotto(2014), a tessellated, cave-like chamber gives sanctuary to a solitary figure as artist proxy, while the muscular form of Bird(2014) harmonises sinuous lines with gravity and grace. A series of bronze bas-relief plaquesportray figures that appear amorphous yet distinct, with subtle interplay between light andshadow. While the paintings at first appear simple and immediate, many of them are the result ofapplication, obliteration and layering over a period of several years. Emin repeatedly returns tothe canvases as a means of reviewing, revising and reconsidering her own position in relation to

painting through temporal passages. The title The Last Great Adventure is You, which istranscribed in neon within the exhibition, was originally intended by Emin as a reference to theother person; however, over the two year period since she began creating this body of work, shecame to realise that the implication was once again coming back to the self.


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Alan Green - Selected Works From 1972 To 2003Annely Juda Fine Art 2014 ISBN 9781904621638 Acqn 24351Pb 24x21cm 40pp 24col ills 18.75

Alan Green (19322003) wanted to create ordinary paintings as ordinary as the real world. Thiscame from his belief that, in the second half of the twentieth century, artists carried too muchbaggage to be able to experience things.Green was one of the great British abstract artists whose formative years were spent in London inthe 1960s. He was trained as an illustrator and graphic designer that freed him from thetheoretical constraints of art history. In the mid1960s he made field paintings (which wereremarkably advanced for their time) in which his colour and its application dictated the form. Hispaintings are deliberately non-emotional and controlled.


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Naum Gabo - Gabo's StonesAnnely Juda Fine Art 2014 ISBN 9781904621621 Acqn 24352Pb 22x25cm 48pp 37ills 30col 18.75

Naum Gabo was one of the worlds foremost Constructivist sculptors. Born in Russia, namedNaum Neemia Pevsner he was the younger brother of Antoine Pevsner. He abandoned a medicalcareer and began to study in Munich. In 1910 he met Kandinsky and in 1913/14, while visiting hisbrother, then a Cubist painter in Paris, he met other artists. In 1915 he made the firstconstructions using the name Gabo. He returned to Russia in 1917 and become embroiled in art

and politics. He and Pevsner opposed Tatlin and in 1920 they issued their RealisticManifesto. He had to leave Russia, spending the years 192232 in Berlin, lecturing at Bauhausin 1928, before going to England. He spent seven years in Cornwall meeting Hepworth,Nicholson, Lanyon and others. In 1946 he settled in America, taking citizenship in 1952.


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Koisukihime - Sans Souci ( Signed Edition )Editions Treville 2014 ISBN 9784309920191 Acqn 24358Hb 19x27cm 96pp 72col ills 32.50


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Koisukihime - Sans Souci. Special Edition + Minature Book. SignedEditions Treville 2014 no ISBN Acqn 24359Hb 19x27cm 96pp 72col ills 47.50


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Katsuya Terada - Erotic Engineering

Editions Treville 2014 ISBN 9784309920085 Acqn 24360Hb 22x31cm 104pp 88col ills 35.00Signed by the Artist


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Katsuya Terada - Erotic Engineering. Special EditionEditions Treville 2014 no ISBN Acqn 24361Hb 22x31cm 104pp 88col ills 43.50Signed by the Artist


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Etsuko Miura EucharistEditions Treville 2014 ISBN 9784309920160 Acqn 24362Hb 20x24cm 80pp 56col ills 34


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Pussycat! Kill! Kill! Kill! - Hajime Sorayama, Rockin' Jelly Bean, Katsuya TeradaEditions Treville 2014 ISBN 9784309920221 Acqn 24363Pb 26x37cm 72pp 73col ills 35


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Michael Tedja AquaholismSternberg Press 2014 ISBN 9783956791109 Acqn 24387Hb 24x32cm 442pp 569ills 398col 30

Contributions by Nav Haq and Martijn van Nieuwenhuyzen; interview with Michael Tedja by

Robert van Altena

Michael TedjasAquaholismis an exhibition catalogue, a published oeuvre, an artistic treatise, apoetry collection, a visual essay, an artists book. It is a polyphonic collage of text and image.More than seventeen years of artistic output unfold between the first and last pages. With itsthoroughness, density, and associative power, the book embodies Tedjas artistic essence:voluminous, interrelated, and in continuous motion.

The title recalls Tedjas first solo exhibition The Holarium (2002) and highlights his process ofword formation, which infuses his drawing, painting, sculpture, and curatorial work. The Holariumis a virtual container of fragments of language, rhythm, and in depth examinations, and Holism isthe surge for elevated connections between these different parts. Aquaholism is the act ofcollecting these fragments, and the collector, the Aquaholist, scrutinizes discoveries in a

transparent and closed aquariuma space whose contents remain in motion.

Tedjas new terminology serves to open up established systems of sociopolitics, identification,and aesthetics: the present publication frees concepts from their accepted function. Tedjasartworks remain similarly pliable and live beyond their initial exhibition. A painting can bereworked, acquiring three-dimensional objects. Finished texts can accompany a collage, or ignitea freestanding juncture of preexisting objects. Tedja presents the artist as an active linguist whotranslates form and text from the studio to exhibition and public spaces.


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Josef Bauer - Works 1965TodaySternberg Press 2014 ISBN 9783956790966 Acqn 24388Pb 22x28cm 208pp 114ills 54col 24

Edited by Krist GruijthuijsenContributions by Hans-Peter Feldmann, Krist Gruijthuijsen, Bettina Steinbrgge, and Thomas

Zaunschirm

We rarely encounter letters or colours outside of their communicative or decorative functions. Yetdetached from the flat surfaces they normally adorn, they become sculptural objects that collapsethe divide between language and bodies.

Works 1965Todaystems from a retrospective held at the Grazer Kunstverein showcasing JosefBauers experiments with language, colour, and their spatial contexts nearly forty years after hislast exhibition in Graz. His practice combines sculpture, installation, painting, and performance todisturb our perception of words and colours as mere carriers of meaning. By removing their two-dimensional context, letters become objects that communicate directly with our bodies in anunfiltered and urgent language called tactile poetry.

In addition to over one hundred career-spanning works by Bauer, this volume brings togethercritical commentary from a variety of experts. In his introduction, Krist Gruijthuijsen illuminatesBauers tactile poetry as a radical embodiment of 60s Concrete poetry. In an essay from 1974,Austrian philosopher Thomas Zaunschirm explores Bauers formal bid to transcend therepresentational relation of language to images. Situating Bauers practice in a historical context,Bettina Steinbrgge throws light on the reception and development of his works. The book alsoincludes a unique visual rejoinder by artist Hans-Peter Feldmann. Works 1965Todayis a vitalintroduction to thisuntil nowunderrepresented master of letters and their contours.

art november 2014 i i

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