John Kelsey, Rich Texts: Selected Writing for Art
Softcover, 248 pp., offset 2/1, 120 x 190 mm
Edition of 2000
ISBN 978-1-934105-23-8
Published by Sternberg Press
$20.00 · out of stock
Compiled for the first time here, essays by American critic, artist, gallerist and dealer John Kelsey convey some of the most poignant challenges in the art world and in the many social roles it creates. “When the critic chooses to become a smuggler, a hack, a cook, or an artist,” Kelsey said, “it’s maybe because criticism as such remains tied to an outmoded social relation.” Kelsey’s “rich texts” play the double role of explaining the art world and actively participating in it; they close the distance between the work of art and how we talk about it. These playful, elegant writings — many originally published in Artforum — embody a timelessness that strikes at the core of the contemporary art world. The newest edition from the terrific Institut fur Kunstkritik series.
Criticism, Daniel Birnbaum, Isabelle Graw, John Kelsey, Markus Weisbeck, Matthew Evans, Miriam Rech, RAM, Sternberg Press, Theory
Christoph Keller and Jérôme Saint-Loubert Bié, Double Page
Softcover, 256 pp., offset 4/3, 115 x 160 mm
Edition of 2000
ISBN 978-2917855-06-5
Published by Editions B42
$15.00 · out of stock
45 graphic designers, 90 photographs, 10 years of books on contemporary art.
This book is based on an invitation to graphic designers to choose two books on contemporary art from the past decade whose design they think is particularly pertinent to the content, to photograph one double-page spread from each book and, if they wish, to comment on their choices.
Double Page provides a selection of recent art publications as viewed by graphic designers who are internationally known for their contribution to that field, and offers a glimpse at the role of book design today in our knowledge and understanding of contemporary art.
Shedding light on this prevalent relationship between art and graphic design by means of photography, Double Page constitutes an unprecedented document of how graphic designers see the work of their peers and their own practices as an essential part of the editorial process.
Alberto Vieceli, Alex Rich, Alexandre Dimos, Alexia de Visscher, Armand Mevis, Art, Arthur Herrman, Aude Lehmann, Benjamin Sommerhalder, Caroline Fabès, Catherine de Smet, Change is Good, Christian Haas, Christoph Keller, Christoph Steinegger, Counterspace, Daniel Eatock, David Reinfurt, David Rust, deValence, Dexter Sinister, Dimitri Bruni, Dorothea Weishaupt, École régionale des Beaux-Arts de Rennes, Editions B42, Erik Kessels, Frédéric Teschner, Gaël Étienne, Gail Swanlund, Gavillet & Rust, Georg Rutishauser, Gilles Gavillet, groenlandbasel, Interkool, Jean-Marc Ballée, Jean-Marie Courant, Jeroen Kummer, Jérôme Saint-Loubert Bié, Jocelyn Cottencin, Jon Sueda, Jonathan Maghen, José Albergaria, Joseph Logan, Joséphine Guérin, Julia Born, KesselsKramer, Kummer & Herrman, Lehni-Trueb, Lex Trueb, Lieuxcommuns, Linda van Deursen, Ludovic Balland, Manuel Krebs, Manuel Raeder, Markus Dreßen, Markus Weisbeck, Maureen Mooren, Mevis & van Deursen, Michael Worthington, Mike Meire, Müller & Wesse, NORM, O-R-G, Peter Bilak, Philipp Arnold, Pierre Huyguebaert, Prill & Vieceli, Purtill Family Business, Raffinerie AG für Gestaltung, Regular, Rik Bas Backer, Roger Willems, Roma, Sara De Bondt, Secondary Modern, Simon Josebury, Spector, Speculoos, Stephan Müller, Stripe, Stuart Bailey, Studio Ahoy, Tania Prill, Textfield, Typography Cabinet, Typotheque, Urs Lehni, Warren Olds, Will Holder, Yvonne Quirmbach
