Art Feb 2016

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On Productive Shame, Reconciliation, And Agency

Sternberg Press 2015 ISBN 9783956791499 Acqn 25803
Pb 17x22cm 264pp 41col ills 15.95
Texts by Tal Adler, Eva Blimlinger, Andrea B. Braidt, Jasmina Cibic, Das Kollektiv, Zsuzsi Flohr,
Eduard Freudmann, Tmea Junghaus, Jakob Krameritsch, Jean-Paul Martinon, Suzana Milevska,
Helge Mooshammer, Peter Mrtenbck, Trevor Ngwane, Karin Schneider, Primrose Sonti,
Gayatri Chakravorty Spivak, Working Group Four Faces of Omarska
On Productive Shame, Reconciliation, and Agency prompts a unique cross-disciplinary inquiry
into the productive potential of the affect of shame. This book contests the ontological
understanding of shame and the psychoanalytical interpretation of it based on personal traumatic
experiences linked to lack, loss, memory repression, and absence. Rather, the book builds on
complex issues (initially proposed by Paul Gilroy) that concern the coming to terms with a grim
colonial and imperial past: How can one deal with the personal and collective memories of
paralyzing guilt after dreadful atrocities and genocides? How can such negative experiences be
transformed into productive shame (not only for the perpetrators but also for the victims and
witnesses)?
This collection of essays, discussions, and interviews reflects on the intersection of the historicity,
materiality, and structures behind culturally constructed race and racism, anti-Semitism, antiRomaism, and queer shame across different disciplines, fields, and theories (for example, in
philosophy, art and art history, visual culture, architecture, curating, postcolonial history, gender
and queer studies). Various case studies and artistic projects employing collaborative and
participatory research methods are analysed as practices that empower the process of turning
shame into productive agency. The ensuing role of productive shame is to prevent the recurrence
of the institutional structures, patterns, and events that are responsible and constitutive of racism,
and has been conceptualised in recent debates on political responsibility and reconciliation in
Europe and Africa.
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Ull Hohn - Foregrounds, Distances

Hb 23x27cm 332pp 240ills 180col 26.95
Edited by Hannes Loichinger, Magnus Schaefer
Texts by Tom Burr, Thomas Eggerer, Manfred Hermes, Hannes Loichinger, Fionn Meade,
Magnus Schaefer, Megan Francis Sullivan, Lanka Tattersall, Alexis Vaillant
After his studies at the arts academies in Berlin and Dsseldorf, Ull Hohn (19601995) moved to
New York to attend the Whitney Independent Study Program in 1987. Enganging with current
theoretical debates and cultural issues, his work from the late 1980s and early 1990s frequently
invokes questions of gender and homosexuality, as well as their representation. It interrogates
the history of painting, traditional notions of virtuosity, the conventions of value and taste inherent
to education, and the distinction between high and popular culture.
Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his
work, but also to contribute to a history of painting-based practices, which occupy a marginal
place in the established narratives of the art of the 1980s and 1990s.
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Shahryar Nashat Obituary

Pb 18x28cm 128pp 96col ills 14
Text by Sarah-Lehrer Graiwer
CGI by Andrea Faraguna
The subject of this book is a deceased prop, an object of a particular colour, the green of
cinematic trickery and special effects. It edged itself into Shahryar Nashats work in 2011, first
appearing in Factor Green, an installation the artist produced for the Venice Biennale. Taking its
final form a year later, the prop became properly known as La Shape and garnered critical
acclaim for its sardonic personification of an unscrupulous impresario in Parade and star turn in
Nashats video Hustle in Hand (both 2014). Earlier this year, its mysterious death at the height of
its career became the occasion for Nashat and Los Angeles writer Sarah Lehrer-Graiwer to
reflect upon the brief but meaningful life of a most singular figure.
Accompanied by archival images and a series of portraits that Nashat made during La Shapes
most prolific years, Obituary is a gripping read into a most mysterious icon and a timely
consideration of the roles played, and agency expressed, by such a highly mediated art object.
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Daniel Buren - 1965-2015

Kamel Mennour 2015 ISBN 9782914171588 Acqn 25309
Pb 17x24cm 138pp col ills 19.95
Conceptual artist Daniel Buren has produced his signature regular coloured stripes for five
decades. His body of work is dedicated to integrating the visual surface with architectural space,
and most notably finds place outside the gallery space on historical or landmark buildings.
Burens particular method of abstract minimalism thus characterises his works as modulations of
space in which colour, contrast, situation, and inventiveness come together in an expressive
vocabulary of temporality and spatial plasticity. This exhaustive retrospective volume, published
on the occasion of a solo exhibition at kamel mennour in Paris, paints a fascinating portrait of the
artist through the years.
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Stan Douglas - The Secret Agent

Ludion 2015 ISBN 9789491819384 Acqn 25717
Hb 22x27cm 192pp 150ills 100col 35.50
Visual artist Stan Douglas explores the turbulent history of 1970s Portugal, a time when the
nation both freed itself from a dictatorship and relinquished its colonial holdings. The book
features three works. The first, a video installation titled The Secret Agent, follows a story written
by Joseph Conrad in 1907. Douglas keeps the plot characters but transports the narrative to
Lisbon, soon after the Carnation Revolution. Disco Angola, a series of staged historic photos in
New York and Angola, juxtaposes the citys hedonistic nightlife with the African nations brutal
civil war. Finally, Luanda-Kinshasa is a six-hour-long film comprising eleven jazz songs from the
legendary 30th Street Studio.
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Si Puo? - Dutch National Opera, 50 Years

nai010 publishers 2015 ISBN 9789462082502 Acqn 25354
Pb 28x35cm 256pp 350ills 200col 61.95
Over the past 50 years, the 'De Nederlandse Opera' (DNO) has offered its audience a wide
variety of startling and compelling operas. Its adventurous and consistent artistic policy has
resulted in an unprecedented number of world premieres, as well as a solid and leading position
in the international field. This festive book offers a rich overview of the premieres, highlights,
developments and stories that 50 years of DNO have delivered. Artistic director Pierre Audi and
graphic designer Irma Boom have together made a surprising choice from the rich material, with
many unpublished photographs, posters and pictures.
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Graphic 33 Bookshops
Propaganda 2015 no ISBN Acqn 25177
Pb 23x30cm 204pp 200ills 150col 22.50
Conceived and compiled as a direct follow up to issue 30, with the theme Publishers, which
appeared summer 2014, this issue of the magazine delves into the realm of the independent
bookshop. Champions of some of the most stimulating and creative books appearing today,
independent bookshops around the world strive to disseminate their own brand of topical culture
and inspiration to niche readers and specialised markets alike. Featured are 20 exemplary
bookshops located in various cities (New York, Tokyo, Berlin, Melbourne, Auckland, London,
Tallinn, Utrecht, Madrid, Seoul, and more). Each profile comprises an interview, photos, and book
recommendations.
Casco Bookshop, Dashwood, Desert Island, Ivorypress Bookshop, John Simons (Idea Books),
Librairie Yvon Lambert, Lugemik Bookshop, OMMU, ON READING, Ooga Booga, Perimeter
Books, POST, Printed Matter, PrintRoom, Pro qm, Section 7 Books, split/fountain, The Book
Society, Torpedo Bookshop, World Food Books, X Marks the Bokship.
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Lee Ufan
Pace Gallery NY 2015 ISBN 9781935410751 Acqn 25120
Hb 29x23cm 72pp 31cil ills 35
Since his foundational role in Japans Mono-ha (School of Things) movement in the 1960s, Lee
has developed an oeuvre attuned to the interconnectedness of matter and consciousness.
Referring to his artworks as living structures, he takes a philosophical approach to creating
them, viewing his gestures and raw materials as entities that reveal conditions and states of the
world as well as our relationship to it. The exhibition highlights the artists continued attention to
how objects and gestures shape space and will feature new paintings, watercolours and
sculpture.
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Tara Donovan
Hb 27x30cm 172pp 96ills 53
Donovan made her first pin drawings in 2009, continuing her practice of accumulating common
objects into dense, visually rich compositions. Using thousands of nickel-plated steel pinsa
material typically used by tailorspressed into white gatorboard, she creates shimmering
gradients through the clustering of pins and their interaction with light.
The works negotiate a space between sculpture and drawing, using three-dimensional objects to
create what, at certain distances, seems to be a two-dimensional field
Donovan expands upon her previous series of pin drawings by inscribing an underlying geometry
into the structure of the drawings, which reveals itself through a multi-perspectival observation.
When viewed from the side, we see the length between the pinhead and gatorboard, which
generates a new experience of the field of pins.
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Lucas Samaras - Album 2

Hb 19x25cm 24pp 700col ills 26.50
Samaras continues his exploration of manipulated images and identity with 700 digitally altered
images. Comprised mostly of self-portraits, the photographs reflect the artists unrelenting selfinquiry. Among the recent self-portraits, Samaras has interspersed personal family photographs
with childhood images of himself, transforming the project into a personal archive and a
biographical inquiry.
The manipulations of the photographs refer back to the rainbow-tinged Auto-Polaroids Samaras
began in the 1960s and his Photo-Transformations of the 1970s. Using a range of techniques
from filters to mirroring and doubling, Samarass manipulations form visual metaphors for the
psychological probing and self-investigation that appears throughout the artists oeuvre. The
filters and changes that characterize this massive body of images also refer to his protoPhotoshop works of the 1980s and digital videos in the 2000s, constituting something of an
archive of previous techniques.
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Robert Irwin Cacophonous

Since the 1960s, Irwin has emphasized experience as an extension of the perceptual. The
pioneer of the Light and Space movement in Southern California, Irwins work draws focus to
ambient environmental conditions, making them palpable by heightening the viewers awareness
in the context of the work.
For his exhibition at Pace, he has produced eight works that advance his use of fluorescent light,
a material he first used in the 1970s. Irwin installs rows of columnar lights, coating the different
tubes with coloured gels that alter the transmission of light. Other tubes remain unlit taking some
advantage of the reflected light. The walls, as well as the contiguous elements that constitute the
piece, are perceived as a whole.
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Thomas Nozkowski
Since the 1970s Nozkowski has produced abstract paintings and drawings inspired by events and
places he has experienced firsthand. His paintings are the result of an extensive series of
decisions in which he experiments with a form, colour, or gesture, and then reworks it repeatedly
over subsequent days, weeks or even years. His compositions reveal vivid organic shapes,
gradations of colour, exchanges between translucency and opaqueness, and explorations of the
figure/ground relationship.
Nozkowski produces many of his oil on linen on panel and oil on paper works simultaneously.
These two bodies of work provide insight into the artists process as he charts various possibilities
for forms, colours, or patterns that might initiate in a linen on panel work and be reinterpreted or
digress into something else on paper.
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James Siena - New Sculptures

The exhibition features three bodies of work that expand the formal language of his painting into
sculpture, marking the culmination of a decades-long development of three-dimensional work.
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Mao Yan
Pb 22x30cm 46pp 18col ills 21.95
Mao Yan contends with the history of portraiture in his work, interpreting figures and faces
through a subjective language steeped in the technical formalism he developed while studying in
Beijing in the late 1980s and early 1990s. Mao Yans paintings exhibit tropes of portraiture such
as the seated nude and oval frames, but cede deliberate representation to style and mood.
Aqueous blue, green, and grey tones swirl around, coalescing into smoky figures defined by
gestural brushwork. He empties his portrait subjects of interiority and identity, divorcing them from
any background or context and allowing paint to take precedence. Mao Yan paints not to
represent but to explore and capture the relationship between paintings spiritual and technical
dimensions.
Painting at different sizes, Mao Yan creates distinct effects. Three nude portraits feature full
figures looming over the viewer on their more than ten-feet-tall canvases. More small scaled
works show only a head or a bust and allow for a more intimate exchange between the painting
and viewer.
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Isamu Noguchi Variations

Isamu Noguchis work over his seven-decade practice varied from stone and plywood sculpture
to furniture and paper lanterns. He approached all of his work through a sculptural lens, believing
sculpture to be relevant to the principles of design and public space. Variations highlights the role
collaboration played in Noguchis expansive practice. Works such as Octetra, a painted cement
sculpture, display a lyrical, hard-edged geometry that reveal the influence Noguchis friendship
with Buckminster Fuller had on his practice. In addition to working for Knoll and Herman Miller,
Noguchi also designed sets for choreographers and enjoyed a particularly fruitful relationship with
Martha Graham over many decades.
Working in Brancusis Paris studio in the late 1920s was a profoundly influential experience for
Noguchi. A selection of his Paris Abstraction gouaches made at that time demonstrate his early
understanding of space and form that can be reflected in his sleek and roughhewn stone works,
biomorphic plywood sculptures and iconic pieces such as his glass and wood coffee table.
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Thomas Ruff - Nature Morte

Gagosian Gallery (NY) 2015 ISBN 9781938748196 Acqn 25761
Ruff is a leading innovator in the generation of German artists that propelled photography into
mainstream art. Open and explorative, he has pushed the limits of the medium, harnessing
technologies both old and newincluding night vision, hand-tinting, and stereoscopyto
reconceptualize architectural, astrological, pornographic, and portrait photography. Ruff's recent
negatives extend his explorations of the photogram, in which he used positive and negative
imagery to create a mesmerizing photographic world of nebulous shadows, spheres, zigzags, and
hard edges against richly coloured backgrounds. Reversing the negative's role as a means to an
endthe master image from which the print is createdhe digitally transforms sepia-toned
albumen prints into dramatically contrasting apparitions.
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Sprayed - Works From 1929 to 2015

Gagosian Gallery (NY) 2015 ISBN 9781938748189 Acqn 25762
Pb 25x30cm 232pp 200ills 150col 87
This extensive exhibition spanning four generations explores the myriad ways in which artists
have employed the impulsive yet de-personalized and non-gestural forces of spray. It begins with
Paul Klee's work on paper Seltsames Theater (1929), where he improvised with a blowpipe to
achieve hazy background effects in a circus scene. This tentative experiment presaged the bold
and diverse artistic licence that would come with the post-war advent of aerosol paint as a
consumer product and the use of the industrial paint compressor.
Justin Adian, Richard Artschwager, Tauba Auerbach, Martin Barr, Jean-Michel Basquiat, David
Batchelor, Dike Blair, John Chamberlain, Dan Christensen, Dan Colen, Ida Ekblad, Jeff Elrod, Urs
Fischer, Jack Goldstein, Piero Golia, Kim Gordon, Katharina Grosse, Wade Guyton, Richard
Hamilton, Keith Haring, Hans Hartung, Alex Israel, Anish Kapoor, Paul Klee, Jeff Koons,
Harmony Korine, John Latham, Joseph Logan, Nate Lowman, Olivier Mosset, Takashi Murakami,
Albert Oehlen, Jules Olitski, David Ostrowski, Steven Parrino, Sigmar Polke, Stephen Prina, Ugo
Rondinone, Pamela Rosenkranz, Sterling Ruby, Ed Ruscha, Mira Schendel, Julian Schnabel,
David Smith, Rudolf Stingel, Blair Thurman, Charline von Heyl, Andy Warhol, Lawrence Weiner,
Franz West, Michael Williams, Christopher Wool, Richard Wright.
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Bridget Riley
Holzwarth Publications 2015 ISBN 9783935567817 Acqn 25760
Hb 25x31cm 38pp 20col ills 24.95
Bridget Riley's debut is marked by her famous optical black and white paintings, now
synonymous with the 1960s. However, she later focused more specifically on the effects
produced by the juxtaposition of colour, believing that the challenge of colour had to be met on
its own terms.
The recent black and white works, which will be featured for the first time, include a wall painting,
a very large canvas, two triangular paintings and a square one. The paintings somehow echo her
very early work. They are incisive examples of Rileys reorientation in terms of structure and
colour since the rigorous black and white paintings of the 60s.
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John Hilliard - Accident And Design

Holzwarth Publications 2015 ISBN 9783935567848 Acqn 25806
Hb 24x29cm 104pp 33col ills 32
Since the late sixties John Hilliard's work has evolved by continually raising questions about the
nature of photography as a representational medium, subjecting it to a critical examination of its
shortcomings and unreliability while also celebrating its material specificity. The exhibition
comprises a body of work made primarily between 2006 and 2015, complemented by a few
earlier photographs from the 70's and 90's. Various themes and approaches are represented and
thus allow an overview of the diversity of Hilliard's oeuvre.
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Frog 15
Frog 2015 no ISBN Acqn 25833
Pb 23x30cm 304pp 250ills 200col 17.50
Featuring: Cady Noland, Robert Gober, Sturtevant, Angela Bulloch, Sigmar Polke, Hilary Lloyd,
Jeff Koons, Stephen Felton, Avery Singer, 12th Sharjah Biennale; interviews with Andrea Branzi,
Bernard Picasso, Ippei Takahashi, Brian Calvin, Oscar Tuazon, Olivier Zahm, William Pope
L,William Leavitt, Ida Tursic & Wilfried Mille; the Picasso Museum photographed by Juergen
Teller, Trisha Donnelly, Disobedient Objects by Bruno Serralongue, Artists and Poets by
Marina Faust, Hans Walter Mller, After Ben Green by Marie Angeletti.
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The Territories Of Artists' Periodicals

Plagiarist Press 2015 ISBN 9782953402728 Acqn 25831
Pb 15x21cm 168pp 30ills 12.50
This book gathers the papers presented at an international symposium on artists' periodicals,
organized by academic arie Boivent and curator Stephen Perkins. It serves as a smart
introduction to a broad range of publishing strategies adopted by artists and others who were
experimenting across the field of periodical publishing in new and expanded ways from the 1960s
onwards.
This 168-page book contains 13 texts and 2 interviews that were presented at the international
symposium The Territories of Artists' Periodicals at University of Wisconsin-Green Bay in June
2014. Jointly organized by Marie Boivent (Universit Rennes 2, France) and Stephen Perkins
(UW-Green Bay, USA) this conference sought to take the pulse of both the past and the
contemporary history of artists' periodicals. Structured around 5 chapters this book presents
periodicals case studies, periodicals surveys, artists' and publishers' testimonies, issues of theory
and practice, as well as themes related to archives and archiving.
As a welcome addition to the literature on this long neglected field, it explores the various
currents that constitute the territories of artists' periodicals, as well as the accompanying
difficulties in establishing the borders between different periodical currents.
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The Drawer 09 - Paris, Texas

Les Presses Du Reel 2015 ISBN 9782840668374 Acqn 25832
Pb 17x24cm 160pp 150ills 125col 21
With Sonia Almeida, Linus Bill + Adrien Horni, Milena Bonilla, Stphane Calais, Jean-Charles de
Castelbajac, Olga Chernysheva, Clara Citron, Etienne Derux, Juliette Frenay, Jochen Gerner,
Edwin Herkens, Raphal Julliard, Sophie Lamm, Corinne Laroche, Olivier Masmonteil, JeanCharles Massera, Adriana Minoliti, Yves Oppenheim, Ed Ruscha, Pierre Seinturier, Robert
Stadler, Pier Stockholm, Eduardo Stupia, Claude Ttot, Laurent Tixador, Guy Yanai, Marie
Zawieja, and the Antoine de Galbert Collection.
9th issue of the monomaniac, thematic, artisanal and transversal magazine dedicated to drawing
(contributions by twenty contemporary artists).
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Nguyen Trinh Thi - Letters From Panduranga

CAPC Musee 2015 ISBN 9782877212250 Acqn 25834
Pb 15x21cm 64pp 60ills 45col 13.50
Letters from Panduranga evokes the fate of the Vietnamese Cham community, whose territory is
threatened by the construction of two nuclear power plants. Acting as an ethnologist Nguyen
Trinh Thi explores the issues related to speech and history as well as new forms of colonialism.
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Giorgio Griffa - Works 1965-2015

Mousse Publishing 2015 ISBN 9788867491759 Acqn 25835
Hb 18x25cm 248pp 125ills 40col 31
This monograph aims to highlight the very diverse features and extraordinary richness of Arte
Povera painter Giorgio Griffa. With a selection of the artist's writings and comprehensive
chronology. Giorgio Griffa abandoned figurative painting in favour of a format of abstract painting
that still characterizes his work to this day. Painting with acrylic on raw un-stretched canvas,
burlap and linen, Griffa's works are nailed directly to the wall along their top edge. When not
exhibited, the works are folded and stacked, resulting creases that create an underlying grid for
his compositions. In keeping with his idea that painting is constant and never finished, many of
his works display a deliberate end-point that has been described as stopping a thought midsentence.
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Georgia O'Keeffe Watercolors

Radius Books 2016 ISBN 9781942185048 Acqn 25899
Hb 26x33cm 140pp 55col ills 48
Georgia OKeeffe: Watercolors catalogues the first major exhibition of the nearly 50 watercolors
created by OKeeffe between 1916 and 1918, while she lived in Canyon, Texas. These years
mark a period of radical innovation for the artist, during which she firmly established her
commitment to abstraction. While her work in Texas is often understood as merely a prelude to
her career in New York City, these watercolors and drawings mark a seminal stage in OKeeffes
artistic formation, representing the pivotal intersection of her disciplined art practice and her
allegiance to the revolutionary techniques of her mentor, Arthur Wesley Dow. OKeeffes
watercolors explore the texture and landscape of the Texas desert and the artists own body in an
exceptionally fragile and sensitive medium, representing a substantial achievement in their own
right. These early works also relate to OKeeffes large-scale oil paintings, which in their handling
of color and texture in some ways seem to aspire to the condition of watercolor. Designed to
emphasize direct contact with these beautiful works, Watercolors features full-scale color
reproductions of the paintings, most of which are approximately 8x12 inches in scale, offering a
powerful testament to the significance of the watercolors in OKeeffes creative evolution. Georgia
OKeeffe (18871986) is best known for her distinctive paintings of flowers and landscapes which
applied a precise, often hard-edged abstract language to evocative natural forms. Dubbed the
"mother of American modernism," OKeeffe produced more than 1,000 artworks in a career of
more than 60 years.
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ART

On Productive Shame, Reconciliation, And Agency

Ull Hohn - Foregrounds, Distances

Shahryar Nashat Obituary

Daniel Buren - 1965-2015

Stan Douglas - The Secret Agent

Si Puo? - Dutch National Opera, 50 Years

Lucas Samaras - Album 2

Robert Irwin Cacophonous

James Siena - New Sculptures

Isamu Noguchi Variations

Thomas Ruff - Nature Morte

Sprayed - Works From 1929 to 2015

John Hilliard - Accident And Design

The Territories Of Artists' Periodicals

The Drawer 09 - Paris, Texas

Nguyen Trinh Thi - Letters From Panduranga

Giorgio Griffa - Works 1965-2015

Georgia O'Keeffe Watercolors

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