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Published on the occasion of the eponymous exhibition, Let me
consider it from here features color reproductions of artworks by
Saul Fletcher, Brook Hsu, and Tetsumi Kudo and transcriptions of
the audio works of Constance DeJong, alongside newly commissioned
poems by Geoffrey G. O'Brien, Simone White, and Lynn Xu, and an
epilogue by Solveig Ovstebo. These artists frequently draw from
their own histories, humors, and instincts as they grapple with or
reimagine what's happening in the world around them. Across a range
of mediums, their works open up spaces that oscillate between
strange and familiar, registering deeply personal experiences as
well as more ambient cultural and political pressures. Their
practices are all similarly anchored in solitude and stretch
outward to meet the world, guiding us to the liminal realms between
the public and the intimate, the concrete and the fantastical.
Los Angeles-based artist Silke Otto-Knapp has developed a painting
practice characterized by its rigorous process and attentiveness to
the medium's possibilities. Using layers of black watercolor
pigment, she builds up delicate surfaces, producing subtle
variations in density and a powerful sense of atmosphere.
Otto-Knapp's exhibition at the Renaissance Society, In the waiting
room, presented a new group of large-scale free-standing paintings
in that evokes a multidimensional stage set. Some depict
silhouetted bodies while others introduce scenic elements
reminiscent of painted backdrops. Offering a close look at the
exhibition, this volume includes an array of illustrations, a
conversation between curator Solveig Ovstebo and the artist, and
four newly commissioned essays by Carol Armstrong, Darby English,
Rachel Hann, and Catriona MacLeod, grounded in art history and
performance studies.
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Liz Magor: BLOWOUT (Hardcover)
Liz Magor, Dan Byers, Solveig Ovstebo, Sheila Heti, Mitch Speed
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R889
Discovery Miles 8 890
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Ships in 12 - 17 working days
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In 2019, the Renaissance Society at the University of Chicago and
the Carpenter Center for the Visual Arts, Harvard University
co-organized an exhibition of a newly commissioned body of work by
the Canadian artist Liz Magor. The accompanying publication, Liz
Magor: BLOWOUT, is the artist's first US catalog in ten years, and
it features thorough photographic documentation of the new work,
commissioned texts by Mitch Speed and Sheila Heti, and a
conversation between the artist and curators Dan Byers and Solveig
Ovstebo. For more than four decades, Magor's practice has quietly
dramatized the relationships that develop among objects, and she
describes this body of work as "a collection of tiny and intense
narratives." Each written contribution responds in its own way to
Magor's new installations, which feature altered stuffed toys, bits
of paper, and rat skins--sculptural "agents," in the artist's
words--suspended in transparent Mylar box forms, and thirty-two
pairs of secondhand shoes, each displayed within its own box amidst
elaborate embellishments.
In 2015 the Renaissance Society presented an exhibition of newly
commissioned works by Los Angeles-based artist Mathias Poledna.
Coinciding with the museum's centennial, it marked the final show
in the institution's first hundred years. For this project Poledna
used the notion of iconoclasm and its various historical contexts
as a conceptual backdrop for two new works: a 35-mm film
installation, co-produced with and premiering at the Renaissance
Society, and a substantial alteration to the gallery space: the
demolition, dismantling and removal of the gallery's ceiling
structure, a steel truss grid that had horizontally bisected the
double-height gallery since 1967. This catalog--featuring a cover
designed by artist Peter Downsbrough--documents the exhibition and
its installation, and in doing so celebrates a century of the
Renaissance Society.
This richly illustrated volume offers an in-depth look into artist
Sadie Benning's exhibition Shared Eye, presented at the Renaissance
Society and the Kunsthalle Basel. The forty mixed-media panels in
Shared Eye defy easy categorization: they include collage,
painting, photography, and sculpture. The seriality of the
installation also nods to the artist's history with the moving
image. Throughout the 1990s, Benning created an extraordinary body
of experimental video work, improvising with materials at hand and
a toy camera. More than two decades later, in Shared Eye we see the
handmade aesthetic, grainy imagery, and durational logic of
Benning's early videos take on different forms to correspond to our
current moment. The catalog documents the exhibition in full color,
and it features an interview between the artist and Julie Ault,
essays by John Corbett and Christine Mehring, and an introduction
by the Renaissance Society's executive director, Solveig Ovstebo,
and Elena Filipovic, director of Kunsthalle Basel. These texts
provide illuminating framework for the exhibition and key insights
into how Benning pushes the limits of abstraction in response to
our present political climate.
Over a fifty-year career, Robert Grosvenor has produced a body of
work that is at once solidly physical and conceptual, muscular and
fluid. Grosvenor frequently uses industrial materials and found
objects as he experiments with texture and scale, resulting in
sculptures that reveal a handmade quality and subtle vein of humor.
In 2017, the Renaissance Society presented an exhibition of the
sculptor’s untitled work from 1989 to 1990. Re-contextualized
within a spare architectural installation, this assemblage of
materials and found objects eludes interpretation at the same time
as it asserts its form and construction. Such nuances, combined
with its ambiguous scale, evoke what critic John Yau has suggested
is the labor of an “anonymous worker.” Grosvenor has made
significant contributions as a sculptor over the past fifty years,
but relatively few books have been published about his work. This
monograph documents the Renaissance Society show and also features
new scholarship considering Grosvenor’s work with a broad scope.
The text includes contributions by Yves-Alain Bois, Bruce Hainley,
Susan Howe, John Yau, and Renaissance Society executive director
and chief curator Solveig Øvstebø.
Published on the occasion of Nora Schultz's exhibition
Parrottree-Building for Bigger than Real, January 12 - February 23,
2014. It was Schultz's first solo museum show in the US and the
first show curated at the Renaissance Society by new Chief Curator
and Executive Director, Solveig Ovstebo. Nora Schultz: Parrottree
is a unique and ambitious hybrid between exhibition catalog and
artist's book. Along with photo documentation of the Renaissance
Society installation and an essay by the curator Solveig Ovstebo,
the publication also includes The Parrot Magazine by Nora Schultz,
a 64-page magazine "made by parrots for parrots and for all birds
that need to integrate into human society under aggravated
circumstances." Additionally, experimental writing pieces by Keren
Cytter and Seth Price, and a visual art project by John Kelsey were
all commissioned specifically for this book.
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