Johanna Burton Bücher

In 1980er Jahren sorgten Trockels maschinell gestrickte Wollstoffe auf Keilrahmen aufgezogen und als Bilder präsentiert für großes Aufsehen. In diesen heute legendären Strickbildern verwendete sie z.B. das Piktogramm für Wolle, den Playboy-Bunny oder Hammer und Sichel als institutionsreflektierende, feministische und politische Symbole.§Minimalistisch anmutende Wandobjekte und Skulpturen kombinierte sie mit herkömmlichen Herdplatten. Wie schon in den Strickbildern werden geschlechtsspezifisch konnotierte Objekte neu kontextualisiert.§Parallel dazu hat Rosemarie Trockel immer auch in vielfältigen anderen Medien und Techniken gearbeitet: Zeichnungen, Collagen, Skulpturen, Keramikarbeiten, raumgreifende Installationen sowie filmische oder fotografische Arbeiten. Werkimmanente Bezüge spielen in ihren Arbeiten eine ebenso wichtige Rolle wie Themen und Einflüsse aus Kunst, Literatur, Wissenschaft oder aktueller Zeitgeschichte.§§Der Titel des Kataloges, der eine Vorarlberger Mundart- Redeweise zitiert, heißt frei übersetzt 'Neuschnee im März und Frauenschmerz sind am nächsten Morgen verschwunden'. Er versieht so die hier vorliegende Werkauswahl mit einer für die Künstlerin charakteristischen Haltung. Dieser Bezug findet sich ebenso in einigen der hier abgebildeten Arbeiten, bei denen Trockel beispielsweise auch Bregenzerwälder Trachten verwendete und deren Mode, Brauchtum sowie spezifische gesellschaftliche und geschlechtliche Rollenzuweisungen in neue Zusammenhänge bringt. Im weiteren Fokus des Kataloges stehen die Printarbeiten, die erstmals in dieser Vielfalt präsentiert werden.

The first major American publication on this important contemporary sculptor. Anish Kapoor is one of a highly inventive generation of sculptors who emerged in London in the early 1980s. Since then he has created a remarkable body of work that blends a modernist sense of pure materiality with a fascination for the manipulation of form and the perception of space. This book—the first major American publication on Kapoor's work—surveys his work since 1979, with a focus on sculptures and installations made since the early 1990s. With more than ninety color images of these ambitious and complex works, three original essays, an extended interview with Kapoor, and selections from his sketchbooks, this book confirms Anish Kapoor's place as one of the most remarkable sculptors working today. Kapoor's work has evolved into an abstract and perceptually complex elaboration of the sculptural object as at once monumental and evanescent, physical and ethereal—as in his famous Cloud Gate (2004) in Chicago's Millennium Park. The works in Anish Kapoor include such striking works as Past, Present, Future (2006), 1000 Names (1979-1980) and When I Am Pregnant (1992). This book, which accompanies an exhibition at Boston's Institute of Contemporary Art, offers American readers a long-overdue opportunity to consider the extraordinary clarity, subtlety, and power of Kapoor's art.

The book showcases a radical cultural scene from the late 1980s to early 1990s, captured through Lyle Ashton Harris's 35 mm Ektachrome images. Accompanied by journal entries and insights from various artistic and cultural figures, it documents ephemeral moments and iconic personalities during a transformative era marked by significant changes in the art world, the rise of multiculturalism, AIDS activism, and early globalization. This collection serves as a poignant reflection on a vibrant and tumultuous period in contemporary culture.

An expanded edition of the first-ever Marilyn Minter monograph, establishing her central position in contemporary art This expanded edition of Gregory R. Miller's hugely successful first-ever monograph on Marilyn Minter from 2007 brings her public up to speed with the inclusion of works created over the past three years, including images from Minter's 2009 video “Green Pink Caviar,” shown in New York's Times Square and featured in Madonna's recent Sticky and Sweet concert tour. Minter's ever-expanding reputation was established during the 1980s, when her work engaged formal aspects of painting as well as subject matter that remain central to her practice today. This publication features work from every period of a career that now spans over 40 years, and reproduces in full color nearly every painting Minter has made, along with a wide selection of her painterly photographs of the last several years. It also includes the seminal and haunting Coral Ridge Towers series of black-and-white photos that Minter took of her mother in 1969. Art historian Johanna Burton contributes a substantial essay that analyzes and elucidates all aspects of Minter's work; her text is complemented by a lengthy conversation between Minter and her friend, painter Mary Heilmann, as well as by “Twenty Questions,” a project assembled by Matthew Higgs to which a wide range of artists, curators, friends and others with a unique connection to Minter have contributed. The design and production of this expanded edition have been superbly realized by the award-winning New York- and Amsterdam-based design studio, COMA. This monograph firmly establishes Minter's important and central position in contemporary art.

'Ten Hours' presents new work by Carol Bove, "sculpture's woman of steel," as coined by Randy Kennedy in The New York Times. Her new sculptures expand on her investigations of materiality and form. Characterized by compositions of various types of steel, Bove's ongoing series of "collage sculptures," begun in 2016, amalgamates theoretical and art-historical influences across time periods and disciplines. To create these lyrical and abstract assemblages, Bove pairs fabricated tubing that has been crushed and shaped at her studio with found metal scraps and a single highly polished disk. Luminous color is applied to parts of the composition, transforming the steel-more commonly associated with inflexibility and heft-into something that appears malleable and lightweight, like clay, fabric, or crinkled paper

Encounters with art engage various conditions of interiority—whether through psychic spaces or specific physical environments, such as museums and private residences. The exhibition “If you lived here, you'd be home by now,” presented at the Hessel Museum of Art, CCS Bard, in 2011, was the catalyst for the current volume, providing a paradigmatic case study for probing issues of the personal and subjective within realms of the sociological and the cultural. Through diverse discursive modes—commissioned essays, conversations and talks, historical writings, and artistic projects—this anthology, the first CCS Readers volume, examines the poetics and politics of interior experience within the frame of contemporary art. ContributorsAnni Albers, Doug Ashford, Gaston Bachelard, Angelo Bellfatto, Nova Benway, Gregg Bordowitz, Johanna Burton, Theresa Choi, Beatriz Colomina, Lynne Cooke, Moyra Davey, Tom Eccles, Diana Fuss, Jennifer Gross, Elizabeth Grosz, Roni Horn, Jenny Jaskey, Susanne Küper, Elisabeth Lebovici, Nathan Lee, Zoe Leonard, Dorit Margreiter, Josiah McElheny, Helen Molesworth, Georges Perec, Juliane Rebentisch, David Reed, Lisa Robertson, Joel Sanders, Virginia Woolf, Amy Zion

Vor genau dreißig Jahren veröffentlichte Schirmer/Mosel das erste Buch über die Künstlerin Cindy Sherman, die 1954 in Glen Ridge, New Jersey, geboren wurde. Seitdem hat sie internationale Anerkennung erlangt, die ihren Höhepunkt in der großen Einzelausstellung im New Yorker Museum of Modern Art findet. Es ist sowohl Pflicht als auch Vergnügen, den zur Retrospektive erscheinenden MoMA-Katalog in deutscher Sprache herauszugeben. Shermans vielschichtiges Werk, das zwischen Kunst und Fotografie angesiedelt ist, hat seit ihren Anfängen Kunstkritiker, Soziologen, Feministinnen und Philosophen beschäftigt. Ihre Selbstportraits, die keine sind, bieten weiterhin Stoff für gesellschaftstheoretische Diskurse über Gender, Repräsentation und Identität. Die thematischen Brüche von Serie zu Serie werfen immer wieder Fragen nach der Person auf, die hinter diesen Maskeraden steckt. Kuratorin Eva Respini betitelt ihren Essay „Möge die wahre Cindy Sherman bitte vortreten“ – eine Anspielung auf eine amerikanische Fernsehshow der 50er Jahre. Sie kommt zu dem Schluss: „Es gibt keine wahre Cindy Sherman, nur unendlich viele Figuren, in denen sich die zahllos vermittelten Bilder widerspiegeln, von denen wir täglich bombardiert werden … und die letzten Endes unser Selbstbild beeinflussen.“