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A new retrospective of the work of trailblazing artist Barbara
Chase-Riboud Barbara Chase-Riboud is a bestselling novelist, an
award-winning poet, and a renowned visual artist whose sculpture
and drawings are in museum collections around the world. Among her
best-known sculptural work is the Malcolm X series of flowing cast
bronze forms combined with braided fiber elements. Barbara
Chase-Riboud Monumentale traces this pioneering artist's remarkable
career from the 1950s to the present, providing the most
comprehensive account of her important body of work to date. The
book features both celebrated and never-before-seen artworks that
highlight Chase-Riboud's groundbreaking contributions to
contemporary sculpture. In addition to some forty sculptures, the
book presents nearly twenty works on paper, a selection of
Chase-Riboud's poetry, and excerpts from an interview with the
artist. Exploring the many different aspects of Chase-Riboud's
artistic practice, Barbara Chase-Riboud Monumentale provides
unprecedented insights into her meditations on form, memory, and
monument, while revealing the rich array of inspiration she has
drawn from global art history and literature. Published in
association with the Pulitzer Arts Foundation Exhibition Schedule
Pulitzer Arts Foundation, St. Louis September 16, 2022-February 5,
2023
Yoko Ono: One Woman Show, 1960-1971 examines the beginnings of
Ono's extensive career, demonstrating her pioneering role in visual
art, performance and music during the 1960s and early 1970s. The
exhibition begins in New York in December 1960, where Ono initiated
a performance series with La Monte Young in her Chambers Street
loft. Over the course of the decade, Ono earned international
recognition, staging Cut Piece in Tokyo and Kyoto in 1964,
exhibiting at the Indica Gallery in London in 1966, and launching
her global War is Over! campaign in 1969. Ono returned to New York
in the early 1970s and organized an unsanctioned `one woman show'
at The Museum of Modern Art. Over forty years after Ono's
unofficial MoMA debut, the Museum will present its first exhibition
dedicated exclusively to the artist's work. The publication
evaluates the broader cultural context of Ono's early work and
features five sections reflecting her geographic locations during
this period and the corresponding evolution of her artistic
practice. Each chapter includes an introduction written by a guest
scholar, artwork descriptions, new interviews with key figures from
the time, and a selection of primary documents culled from
newspapers, magazines and journals.
In June 2012, Jasper Johns encountered a photograph of the painter
Lucian Freud reproduced in a Christie's auction catalogue. Inspired
not only by the photographic image, but also by the physical
qualities of the object itself, Johns took this motif through a
succession of cross-medium permutations. He also incorporated into
his art the text of a rubber stamp he had made several years ago,
to allow him to efficiently decline the myriad requests and
invitations that come his way: 'Regrets/Jasper Johns'. But the
stamp's text also calls to mind the more familiar connotations of
regret, such as loss, disappointment, and remorse, invoking an
enigmatic sense of melancholy. Published in conjunction with an
exhibition of this recent series of paintings, drawings and prints,
created over the last year and a half through an intricate
combination of techniques, this publication presents each of the
sixteen new works in full colour. An essay by Ann Temkin, Chief
Curator of Painting and Sculpture, and Christophe Cherix, Chief
Curator of Drawings and Prints, MoMA, examine the importance of
process and experimentation, the cycle of dead ends and fresh
starts, and the incessant interplay of materials, meaning, and
representation so characteristic of Johns's career over the last
sixty years.
Part of JRP]Ringer's innovative "Documents" series, published with
Les Presses du Reel and dedicated to critical writings, this
publication comprises a unique collection of interviews by Hans
Ulrich Obrist mapping the development of the curatorial field--from
early independent curators in the 1960s and 70s and the
experimental institutional programs developed in Europe and the
U.S. through the inception of Documenta and the various biennales
and fairs--with pioneering curators Anne D'Harnoncourt, Werner
Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini,
Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and
Harald Szeemann. Speaking of Szeemann on the occasion of this
legendary curator's death in 2005, critic Aaron Schuster summed up,
"the image we have of the curator today: the curator-as-artist, a
roaming, freelance designer of exhibitions, or in his own witty
formulation, a 'spiritual guest worker'... If artists since Marcel
Duchamp have affirmed selection and arrangement as legitimate
artistic strategies, was it not simply a matter of time before
curatorial practice--itself defined by selection and
arrangement--would come to be seen as an art that operates on the
field of art itself?"
New in MoMA’s ‘One on One’ series, this book focuses on Betye Saar’s Black Girl’s Window (1969) and a selection of the artist’s prints from the 1960s and early 1970s .
Betye Saar made Black Girl’s Window in 1969. It is a deeply autobiographical picture that alluded to her African-American heritage along with her interest in mysticism and astrology. The black girl named in the title appears in the lower half of this found window frame. The girl’s facial features are hidden. The only thing there are these surprisingly bright blue eyes, which appear to open and close if you shift back and forth in front of it. The work encourages us to think about connections between eyes, that are often said to be windows on the soul, and pictures, that have been said to be windows on the world. Saar herself once said that she considers windows to represent a means of traveling from one level of consciousness to another. If you continue to look at the girl, you can see that her hands are covered with yellow and red symbols. Some of these same symbols, in particular the crescent moon and the stars, are echoed in the nine small vignettes created in the spaces outlined by the intersecting crossbars of her found window frame.
Paul Klee (1879-1940) was an extraordinary draftsman, printmaker,
teacher and theoretician with a singular style whose work greatly
impacted the development of twentieth-century art. Klee's prints
demonstrate, more fully than his works in any other medium, his
remarkable evolution from a traditionalist to one of the most
daring innovators of modern art. This limited-edition facsimile of
"The Prints of Paul Klee," originally published by The Museum of
Modern Art, New York in 1947, presents 40 of Klee's etchings and
lithographs from MoMA's collection, ranging in date from 1903 to
1931 and each printed on a separate sheet of stiff card, eight of
which are in color. Accompanied by a 40-page booklet featuring an
essay by James Thrall Soby (then Chairman of the museum's
Department of Painting and Sculpture), and a new text by Christophe
Cherix, MoMA's Chief Curator of Prints and Illustrated Books, the
prints are encased in a cloth-covered and ribbon-bound box. This
unique and luxurious portfolio is being reissued for the first time
since its original publication, and is available in a limited
edition of 2,000 numbered copies.
Over the past two decades, the art world has broadened its
geographic reach and opened itself to new continents, allowing for
a significant crosspollination of post-conceptual strategies and
vernacular modes. Printed materials, both in innovative and
traditional forms, have played a key role in this exchange of ideas
and sources. This catalogue, published in conjunction with an
exhibition at The Museum of Modern Art, New York, examines the
evolution of artistic practices related to prints, from the
resurgence of ancient printmaking techniques - often used alongside
digital technologies - to the worldwide proliferation of
self-published artists' books and ephemera. Print/Out features
focused sections on ten artists and publishers, including Ai
Weiwei, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, Museum
in Progress, Superflex and Rirkrit Tiravanija, as well as rich
illustrations of additional printed projects from the last twenty
years by major artists such as Trisha Donnelly, Felix
Gonzalez-Torres, Thomas Schu tte, and Kelley Walker. An
introductory essay by Christophe Cherix, Chief Curator of Prints
and Illustrated Books at MoMA, offers an overview of this period
with particular attention to new directions and strategies within
an expanded field of printmaking.
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