Books & Co.

Ed Ruscha -- Books & Co.

Ed Ruscha — Books & Co.
March 5 — April 27, 2013
Opening: Tuesday, March 5, 6-8pm
Organized by Bob Monk

Gagosian Gallery
980 Madison Ave.
New York, NY 10075
Tuesday-Saturday 10-6pm

New York Times Preview.

Gagosian Gallery is pleased to present an exhibition of Ed Ruscha’s legendary artist books together with books and works of art by more than 100 contemporary artists that respond directly and diversely to Ruscha’s original project. Organized by Bob Monk, “Ed Ruscha Books & Co.” has been drawn from private collections, including Ruscha’s own. Most of the books are installed so that viewers can interact with them and browse their pages.

Inspired by the unassuming books that he found on street stalls during a trip to Europe, in 1962 Ruscha published his first artist book, Twentysix Gasoline Stations under his own imprint, National Excelsior Press. A slim, cheaply produced volume, then priced at $3.50, Twentysix Gasoline Stations did exactly what its title suggests, reproducing twenty-six photographs of gasoline stations next to captions indicating their brand and location. All of the stations were on Route 66, the road mythologized by the eponymous TV series and in John Steinbeck’s The Grapes of Wrath. Ruscha’s book traveled more or less west to east, from the first service station in Los Angeles, where he moved as a young man, back to Oklahoma City, where he grew up.

Initially, the book received a poor reception, rejected by the Library of Congress for its “unorthodox form and supposed lack of information.” However, during the sixties it acquired cult status, and by the eighties it was hailed as one of the first truly modern artist’s books. Ruscha followed up Twentysix Gasoline Stations (1962) with a succession of kindred publications, including Some Los Angeles Apartments (1965), Nine Swimming Pools and a Broken Glass (1968), and Real Estate Opportunities (1970), all of which combined the literalness of early California pop art with a deadpan photographic aesthetic informed by minimalist sequence and seriality.

As the prolific and playful examples in the exhibition attest, Ruscha’s artist books have proved to be deeply influential, beginning with Bruce Nauman’s Burning Small Fires (1968), for which Nauman burned Ruscha’s Various Small Fires and Milk (1964) and photographed the process. More than forty years later, photographer Charles Johnstone relocated Ruscha’s Twentysix Gasoline Stations in Cuba, producing the portfolio Twentysix Havana Gasoline Stations (2008). The most recent homage is One Swimming Pool (2013) by Dutch artist Elisabeth Tonnard, who re-photographed one of the photographs from Ruscha’s Nine Swimming Pools and a Broken Glass (1968) and enlarged it to the size of a small swimming pool, consisting of 3164 pages the same size as the pages in Ruscha’s original book. The pages of this ‘pool on a shelf’ can be detached to create the life-size installation. Between these early and recent examples are a wealth of responses to Ruscha’s ideas by artists from all over the world, gathered here in this celebratory exhibition:

ABC Artists’ Books Cooperative, Noriko Ambe, Edgar Arceneaux, Eric Baskauskas, Luke Batten / Jonathan Sadler (New Catalogue), Erik Benjamins, Victoria Bianchetti, Doro Boehme, Jeff Brouws, Denise Scott Brown, Wendy Burton, Stephen Bush, Corinne Carlson, Dan Colen, Julie Cook, Jennifer Dalton, Bill Daniel, Claudia de la Torre, Joshua Deaner, Jen DeNike, Eric Doeringer, Stan Douglas, Harlan Erskine, Frank Eye, Kota Ezawa, Robbert Flick, Jan Freuchen, Jochen Friedrich, Thomas Galler, Anne-Valérie Gasc, Steve Giasson, Simon Goode, Oliver Griffin, Daniel S. Guy, Dejan Habicht, Marcella Hackbardt, Sebastian Hackenschmidt, Karen Henderson, Mishka Henner, Kai-Olaf Hesse, Taro Hirano, Marla Hlady, Dominik Hruza, Steven Izenour, Sveinn Fannar Jóhannsson, Taly and Russ Johnson, Charles Johnstone, Rinata Kajumova, Henning Kappenberg, Jean Keller, Shohachi Kimura, Julia Kjelgaard, Joachim Koester, Sowon Kwon, Tanja Lažetic, Gabriel Lester, Jonathan Lewis, Jochen Manz, Michael Maranda, Scott McCarney, Mark McEvoy, Jerry McMillan, Daniel Mellis, Martin Möll, Dan Monick, Jonathan Monk, Simon Morris, Audun Mortensen, Brian Murphy, Toby Mussman, Maurizio Nannucci, Bruce Nauman, John O’Brian, Stefan Oláh, Performance Re-Enactment Society, Michalis Pichler, Tadej Pogačar, Susan Porteous, James Prez, Clara Prioux, Robert Pufleb, Joseph Putrock, Jon Rafman, Achim Riechers, David John Russ, Mark Ruwedel, Tom Sachs, Joachim Schmid, Andreas Schmidt, Jean-Frédéric Schnyder, David Schoerner, Yann Sérandour, Travis Shaffer, Gordon Simpson, Paul Soulellis, Tom Sowden, Kim Stringfellow, Derek Stroup, Derek Sullivan, Yoshikazu Suzuki, Chris Svensson, Eric Tabuchi, Elisabeth Tonnard, John Tremblay, Marc Valesella, Wil Van Iersel, Louisa Van Leer, Robert Venturi, Reinhard Voigt, Alex Von Bergen, Emily Wasserman, John Waters, Henry Wessel, Keith Wilson, Charles Woodard, Theo Wujick, Mark Wyse, Hermann Zschiegner.

“Ed Ruscha Books & Co.” will coincide with the publication of MIT Press’s Various Small Books: Referencing Small Books by Ed Ruscha (2013), which documents ninety-one of the books inspired by Ruscha’s own, reproducing covers and sample layouts from each, along with a detailed description. Various Small Books also includes selections from Ruscha’s books and an appendix listing most of the known Ruscha book tributes.

Juliaan Lampens

Juliaan LampensJuliaan Lampens

Juliaan Lampens
Softcover, 152 pp., offset 4/1, 210 x 275 mm
Edition of 2000
ISBN 978-94-6117-005-7
Published by ASA Publishers

$40.00 · out of stock

The architecture of the Belgian Modernist Juliaan Lampens (b. 1926) goes beyond designs for conventional living and instead suggests a utopian avant-garde of living without barriers. He experimented with the use of raw concrete and created sculpture-like exteriors leading onto open vistas. Edited by Angelique Campens. With contributions by Angelique Campens, Sara Noel Costa De Araujo, Joseph Grima, Jan Kempenaers, Hans Ulrich Obrist and Francis Strauven.

Juliaan Lampens

Juliaan Lampens

Juliaan Lampens

Juliaan Lampens

Juliaan Lampens

Juliaan Lampens

Le Peintre Flamant

Jef Verheyen, Le Peintre FlamantJef Verheyen, Le Peintre Flamant

Jef Verheyen, Le Peintre Flamant
Softcover, 256 pp., offset 4/1, 230 x 230 mm
English and German
Edition of 2000
ISBN 978-94-611-7007-1
Published by ASA Publishers

$60.00 · add to cart

Jef Verheyen (1932-1984) is one of the most important Flemish artists of the twentieth century. This book brings together contributions from international authors, exploring for the first time, from a variety of perspectives, Verheyen’s art and his close connections with the avant-garde Group ZERO. A quarter of a century after his untimely death, Verheyen’s abstract paintings are re-examined, interpreted and accorded their place in the history of art. The production of the book has led to the rediscovery of a painter who had fallen into oblivion. Here, unpublished texts and letters and a wealth of photographs bring Verheyen’s creations back to life. Book published on the occasion of ‘Jef Verheyen & Friends,’ at the Langen Foundation in Neuss.

“Jef Verheyen painted an essential distillation of his vision, a perfume of the visible, and his paintings offer their viewers possibilities of seeing something new, remembering things forgotten, and experiencing things they have never experienced before.”

— Dirk Pörschmann

Jef Verheyen, Le Peintre Flamant

Jef Verheyen, Le Peintre Flamant

Jef Verheyen, Le Peintre Flamant

Jef Verheyen, Le Peintre Flamant

Jef Verheyen, Le Peintre Flamant

Jef Verheyen, Le Peintre Flamant

Jef Verheyen, Le Peintre Flamant

Parties de voyant

Benoit Platéus, Parties de voyantBenoit Platéus, Parties de voyant

Benoit Platéus, Parties de voyant
Softcover, 100 pp., offset 4/4, 210 x 280 mm
English and French
Edition of 2000
ISBN 978-94-906-9337-4
Published by MER. Paper Kunsthalle

$28.00 · add to cart

This first work on the Belgian artist Benoit Platéus is a monography as well as an artist’s book. It comprises a selection of works created between 1997 and 2011, as well as a text written by the artist and proposing a direct insight into his universe. Platéus work doesn’t neglect any medium — photography, video, drawing or sculpture — in order to search for ambiguities in the most mundane field of visibility. In this way his art often acts as a ‘psychic apparatus’ that plays on, and questions and reflects the viewer’s perception and consciousness.

Benoit Platéus, Parties de voyant

Benoit Platéus, Parties de voyant

Benoit Platéus, Parties de voyant

Benoit Platéus, Parties de voyant

Benoit Platéus, Parties de voyant

Benoit Platéus, Parties de voyant

Hands of Time

Johan De Wilde, Hands of TimeJohan De Wilde, Hands of Time

Johan De Wilde, Hands of Time
Softcover, 240 pp., offset 4/4, 210 x 297 mm
English and Dutch
Edition of 2000
ISBN 978-94-906-9339-8
Published by MER. Paper Kunsthalle

$45.00 · add to cart

For many years now, Johan De Wilde’s work has been praised for its meticulous drawing style. The many solemnly applied layers that compose the works also hide in their folds, ever shrinking never to vanish, the Great Irony of our existence and its languages. This first monography presents over 500 drawings, prints and collages from the early nineties to today, concluding with the epic series Hands of Time. The book includes an essay by Hans Theys. A must for those acquainted with De Wilde’s works and a perfect introduction for all others.

Johan De Wilde, Hands of Time

Johan De Wilde, Hands of Time

Johan De Wilde, Hands of Time

Johan De Wilde, Hands of Time

Johan De Wilde, Hands of Time

Epilogue

Heike Langsdorf, Christophe Meierhans and Christophe Ragg, Epilogue

Heike Langsdorf, Christophe Meierhans and Christophe Ragg, Epilogue
Postcards from the Future
Softcover, 158 pp., offset 4/1, 170 x 240 mm
Edition of 2000
978-94-9069-355-8
Published by MER. Paper Kunsthalle

$28.00 · add to cart

Epilogue retraces Postcards from the Future’s journey across the nine different city districts in which the project has taken place, each time involving its inhabitants and users in the realisation of a dedicated postcard/performance.

Postcards from the Future has taken place during an entire year, in collaboration with very diverse populations of the city, in places and at moments remote from another. This book takes up the challenge of gathering this multiplicity within a single bundled work, in order to give to all those who have taken part an overview of what the project has accomplished, partcipants in as much as audience members.

The book does not only document how these nine performances appeared in the visual realm of the city. Epilogue develops for each one of them the very thematic which has conditionned the most its realisation. The book portraits nine different interactions with the city, with its different neighborhoods, populations, infrastructures, administration, et al.

Just like any postcards, the Postcards from the Future are linked to the specific place they depict. What makes them special is that each one is associated with a precise point in time located in the future. Rather than being souvenirs, these postcards act primarily as invitations. By accepting the invitation and going to the address on the date and time indicated on a Postcard from the Future, one will be able to verify the prophecy made, thereby not only questioning the determinism, but also the pertinence of the images printed on the paper.

Heike Langsdorf, Christophe Meierhans and Christophe Ragg, Epilogue

Heike Langsdorf, Christophe Meierhans and Christophe Ragg, Epilogue

Heike Langsdorf, Christophe Meierhans and Christophe Ragg, Epilogue

Heike Langsdorf, Christophe Meierhans and Christophe Ragg, Epilogue

Heike Langsdorf, Christophe Meierhans and Christophe Ragg, Epilogue

Dislexicon

Hilde D’haeyere, DislexiconHilde D’haeyere, Dislexicon

Hilde D’haeyere, Dislexicon
Hardcover, 64 pp., offset 1/1, 130 x 195 mm
Edition of 2000
ISBN 978-94-906-9331-2
Published by MER. Paper Kunsthalle

$20.00 · add to cart

The ‘Dislexicon of Slapstick Humor, Funny Cinematography, and Very Special Effects’ is a richly illustrated glossary containing 138 witty words used in the Mack Sennett Comedy Studios between 1912 and 1933. It comprises clever concepts connected to slapstick comedy, gag strategies, funny pratfalls, dangerous stuntwork, and secrets of the filmmaking trade. In a mishmash of slapstick facts and fictions, the Dislexicon fully accepts tall tales, technical reports, jokes, and gossip as historical sources. Hopping from “gag” to “laugh” to “trick,” the dictionary presents a slapstick universe in which everything makes perfect sense — as only a fictional construction can.

Hilde D’haeyere, Dislexicon

Hilde D’haeyere, Dislexicon

Hilde D’haeyere, Dislexicon

Hilde D’haeyere, Dislexicon

Hilde D’haeyere, Dislexicon

Hilde D’haeyere, Dislexicon

Hilde D’haeyere, Dislexicon

Neither Appearance Nor Illusion (’ni apparence ni illusion’)

Joseph Kosuth, Neither Appearance Nor Illusion ('ni apparence ni illusion')Joseph Kosuth, Neither Appearance Nor Illusion ('ni apparence ni illusion')

Joseph Kosuth, Neither Appearance Nor Illusion (’ni apparence ni illusion’)
Hardcover, 164 pp., offset 4/4, 260 x 320 mm
English and French
Edition of 5000
ISBN 978-94-906-9303-9
Published by MER. Paper Kunsthalle

$65.00 · add to cart

Published on the occasion of Joseph Kosuth’s installation ‘Neither Appearance Nor Illusion’, an exhibition in the Medieval Louvre. Joseph Kosuth installed on the foundation walls of the original Louvre palace 15 neon text lines he appropriated from an artwork he developed to be read on the Internet, a project for young artists at the Brooklyn Museum. In this context combining a medieval archeological site with a historical art institution the exhibition circuit unfolds the field of potential meanings that always has been the hallmark of Kosuth installations. Entitled ‘Neither Appearance Nor Illusion’ in reference to Nietzsche, it is undoubtedly one of the artist’s most successful and spectacular interventions to date.

Texts by Henri Loyrette, Marie-Laure Bernardac and John Welchman and an interview between Joseph Kosuth and Jacinto Lageira.

Joseph Kosuth, Neither Appearance Nor Illusion ('ni apparence ni illusion')

Joseph Kosuth, Neither Appearance Nor Illusion ('ni apparence ni illusion')

Joseph Kosuth, Neither Appearance Nor Illusion ('ni apparence ni illusion')

Joseph Kosuth, Neither Appearance Nor Illusion ('ni apparence ni illusion')

Joseph Kosuth, Neither Appearance Nor Illusion ('ni apparence ni illusion')

Joseph Kosuth, Neither Appearance Nor Illusion ('ni apparence ni illusion')

IKO IKO at Printed Matter’s Los Angeles Art Book Fair

IKO IKO booth at Printed Matter's Los Angeles Art Book Fair

The Geffen Contemporary at MOCA
Printed Matter’s Los Angeles Art Book Fair
February 1-3, 2013
Opening: Thursday, January 31, 2013, 6–9pm
IKO IKO will be participating at Printed Matter’s first annual Los Angeles Art Book Fair, with WAKA WAKA book-friendly furniture; a selection of forty books from Texfield, Inc.; IKO IKO limited edition screen prints, t-shirts and totes; and a MATERIAL Press special edition by artist Michael Bauer.

New York Times Tmagazine.
Hrag Vartanian/Hyperallergic.

Free and open to the public, the Los Angeles Art Book Fair is a unique international event for artists’ books, art catalogs, monographs, periodicals and zines presented by more than 220 international presses, booksellers, antiquarians, artists, and independent publishers from twenty countries.

Featured projects include an Homage to Mike Kelley presented by Gagosian, a Larry Clark Pop-Up Shop by BOO-HOORAY, and a stunning new installation by John Armleder with Three Star Books. Fulton Ryder will present publications by John Dogg and Howard Johnson; unique books and Untitled Originals by Richard Prince, and naughty pulp paperbacks.

Zine World is a super-sized subsection of the Los Angeles Art Book Fair, featuring zinesters from home and abroad, together with three zine exhibitions. GSD: Skate Fate till Today begins from Gary Scott Davis’ early, ground-breaking zine publishing of the 80s. Zine Masters of the Universe features zines by Mark Gonzales, Ari Marcopoulos, Ray Pettibon, and Dash Snow. Bedwetter and Beyond is a survey of the artist books and zines of Los Angeles-based artist Christopher Russell.

The Los Angeles Art Book Fair is the companion fair to the New York Art Book Fair, held every fall in New York. Over 20,000 artists, book buyers, collectors, dealers, curators, independent publishers, and other enthusiasts attended the New York Art Book Fair in 2012.

HOURS and LOCATION
Opening: Thursday, January 31, 6–9pm
Friday, February 1, 11-5pm
Saturday, February 2, 11-6pm
Sunday, February 3, 12-6pm

The Geffen Contemporary at MOCA
152 North Central Ave
Los Angeles CA 90012
(213) 626-6222

Capricious 13

Capricious 13, WaterCapricious 13, Water

Capricious 13, Water
Softcover, 158 pp., offset 4/4, 210 x 270 mm
Edition of 2000
ISSN 1573-3076
Published by Capricious

$17.00 · add to cart

With the theme of Water, Capricious delves into one of the most pressing global concerns of the 21st century, finding a dynamic intersection between social consciousness and fine arts photography. Culled from hundreds of submissions, the editorial selection evokes not only the most visually profound forms of water, but documents our shifting relationship with water, whether it be through celebration, or sense of loss.

Capricious 13 moves through sections like Arid, Drift, and Quiet, a fluid visual narrative honoring water. And speaks to our palimpsest-like landscape, where the rise and fall of water lines are marked, and the history of water remains tangible. The work selected explores a myriad of watery dimensions, from the intimate, as water spills into our personal histories, quietly shaping our daily rituals; to global, as water is tamed, an ancient presence spun through industrialization. What ultimately comes to surface is, to what degree water has, in turn, overwhelmed and overcome us.

Also included, is a special chapter of curated texts by Hanna Wilde, including diverse variations on the theme, from poetry to political essay, to stage performance and film excerpt.

Capricious 13, Water

Capricious 13, Water

Capricious 13, Water

Capricious 13, Water

Capricious 13, Water

Capricious 13, Water

Issue h like hammer

der:die:das:, Issue h like hammer

der:die:das:, Issue h like hammer
Softcover, 92 pp., offset 4/4, 200 x 270 mm
English and German
Edition of 1000
ISSN 1663-2508
Published by der:die:das:

$20.00 · add to cart

Some words on, and images of, hammer. A magazine about common things. Featuring: Lou Nora Langosch, Johannes Willi, Katharina Nill, Pascal Tanner, Rico Scagliola, Michael Meier, Kathrin Eckhardt, Veronique Hoegger, Aleli Leal, Enzo Mari, Nichole Bachmann, Nina Langosch, Moritz Schmid, Maja Trudel, Christian Ratti, Eric Anderson, Søren Berner, Taiyo Onorato, Nico Krebs, Michael Hiltbrunner, Helvetia Leal, Max Heinrich, Paul Watzlawick, et al.

der:die:das:, Issue h like hammer

der:die:das:, Issue h like hammer

der:die:das:, Issue h like hammer

der:die:das:, Issue h like hammer

KALEIDOSCOPE Magazine 17

KALEIDOSCOPE Magazine 17, Painting Forever

KALEIDOSCOPE Magazine 17, Painting Forever
Winter 2012/2013 — Painting Special Edition
Softcover, 224 pp. + three commissioned inserts, offset 4/4, 220 x 287 mm
ISSN 2038-4807
Published by KALEIDOSCOPE Press

$12.00 · add to cart

“Painting Forever” is a special edition of KALEIDOSCOPE entirely dedicated to the past, present and future of the medium. The most persistent of art forms — one that was once given up for dead, then revived and is now more alive than ever — painting has been at the core of an intense research process that we undertook in collaboration with writers, curators and artists of different origins, beliefs and generations, all of whom share a desire to examine its history and envision its forthcoming possibilities. The questions we asked, and asked ourselves, were: Which artists are practicing painting in a relevant way today? Which conceptual and formal strategies, which modes of presentation and diffusion, do they deploy? And, ultimately, why? What are contemporary painters’ motives, references and perspectives? This issue is the tentative answer, and one which will hopefully foster further debate.

HIGHLIGHTS
In the opening section we introduce you to the work of five emerging artists: Oscar Murillo, Ryan Sullivan, Allison Katz, Jonathan Binet and Tala Madani. All born in the 1980s in different parts of the world, they’ve chosen to explore, revisit, celebrate and challenge the idea and practice of painting, with a common spirit of engagement and varying degrees of irony and irreverence.

MAIN THEME
This section, on the other hand, consists of extensive conversations with four artists born between the late 1950s and the early 1960s — Heimo Zoberning, John Currin, Amy Sillman and Michael Krebber — who represent divergent yet equally prominent and visionary approaches to the medium. Their common ground most revealingly lies in the influence they exert on a younger generation of artists. Accordingly, it’s no surprise that three of them hold teaching positions at eminent art schools, including the Academy of Fine Arts in Wien, Columbia University in New York and the Städelschule in Frankfurt.

MONO
This issue is likewise devoted to a painter, Los Angeles-based artist Dianna Molzan, whose practice occupies the liminal space between two-and three-dimensionality, between “pictures” and “objects,” and whose works convey a sophisticated research on abstraction encompassing elements drawn from the history of painting, as well as from design, fashion and visual culture at large.

REGULARS
This section features the work of NY–based artist Nikolas Gambaroff and of Italian conceptualist Giorgio Griffa, alongside discussions with the director of a prestigious foundation dedicated to the legacy of Pablo Picasso and the curators of an ambitious group exhibition, “Painter Painter,” soon to open at the Walker Art Center in Minneapolis.

INSERTS
Finally, this issue is enriched with commissioned inserts by three exciting young artists — Marieta Chirulescu, Fredrik Værslev and Keegan McHargue — that have each contributed a unique and affecting visual take on the making and experiencing of painting today.

KALEIDOSCOPE Magazine 17, Painting Forever

KALEIDOSCOPE Magazine 17, Painting Forever

KALEIDOSCOPE Magazine 17, Painting Forever

KALEIDOSCOPE Magazine 17, Painting Forever

KALEIDOSCOPE Magazine 17, Painting Forever

KALEIDOSCOPE Magazine 17, Painting Forever

fillip 17

fillip 17fillip 17

fillip 17
Softcover, 156 pp., offset 4/1, 170 x 245 mm
Edition of 2500
ISSN 1715-3212
ISBN 978-1-927354-07-0
Published by Fillip

$15.00 · add to cart

Fillip is a publication of art, culture, and ideas released three times a year.

Taking as its point of departure Giorgio Agamben’s suggestion that subjectivity emerges from the relentless struggle between living beings and the various apparatuses in which they are captured, Apparatus, Capture, Trace, reflects on the links between such apparatuses whose operations today appear increasingly intertwined: photography and biopolitics.

1. Series: Apparatus, Capture, Trace
2. David Geers, Open Call
3. Walid Sadek and Mayssa Fattouh, Tranquility is Made in Pictures
4. David Hartt, Stray Light (Portfolio)
5. Renato Rodrigues da Silva, El Instrumento y Su Obra
6. James Langdo, A Eulogy for the Cutaway
7. Miwon Kwon and Helen Molesworth, Documents Magazine, 1992-2004
8. Caren Kaplan, Aerial Photography as Biopower in the Visual Culture of 9/11
9. Maria Muhle, Imitation of Life: Biopolitics and the Cinematographic Image