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Titre:
The last picture show : artists using photography 1960 - 1982

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$63.00
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Résumé:
In 1976, critic Nancy Foote wrote that "for every photographer who clamors to make it as an artist, there is an artist running a grave risk of turning into a photographer." Traversing the fine line between artists who are photographers and artists who use photography, "The Last Picture Show" traces the development of conceptual trends in postwar photographic practice from their first glimmerings in the 1960's in the work of artists such as Bernd and Hilla Becher, Bruce Nauman, and Edward Ruscha to their rise to art world prominence in the work of the Picture Theory artists of the late 1970's and early 1980's, including Silvia Kolbowski, Richard Prince, and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the exhibition catalogue includes a wide array of works by Vito Acconci, John Baldessari, Gilbert & George, Yves Klein, Barbara Kruger, Gordon Matta-Clark, Charles Ray, Jeff Wall, Andy Warhol, William Wegman, and others.

Titre:
Mark Manders: Parallel occurrences / documented assignments

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$55.00
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Résumé:
Since 1986, Dutch artist Mark Manders has been developing an ongoing project titled Self-Portrait as a Building. Taking the form of sculptures, installations, drawings and projections, these works map Manders' artistic persona through the conceptual model of a built edifice, in the fashion of the Renaissance memory theater. Inspired by writings on this subject and by other literature, Manders' earliest works in this project were primarily written, but over time, Manders found ways to deploy everyday three-dimensional objects--epoxy figures, animals, teabags, pencils, household furniture--to build a portrait of his own mind as an architectural space. This publication accompanies the first North American touring exhibition of Manders' work.

Titre:
Jonas Wood- Drawings, 2003-2023

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$85.00
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Résumé:
Comprising 100 works on paper, "Drawings: 2003–2023" is the most expansive collection of Jonas Wood's artistic practice to date. This body of work traces the artist's trajectory back to his early days in Los Angeles, where he worked alongside painter Laura Owens and sculptor Matt Johnson. It was during this formative period that Wood's distinct visual language began to take shape: a language that would come to define his mature practice. Drawing played a central role in Wood's process, serving as both preparatory sketches for his collages and paintings, as well as independent works of art in their own right. At the core of Wood's prolific output lies a deep appreciation for the handmade—a reverence reflected in his engagement with found photographs, manual projectors and half-erased pencil sketches. Although rendered in a flattened perspective, the resulting tableaux are deeply layered, revealing traces of the artist's hand, miscellaneous references and the transformative nature of various artistic media. The comprehensive catalog features an essay by Douglas Fogle and a conversation between Laura Owens and the artist.