The first thorough look at Mike Kelley's riotous, irreverent and colorful paintings Featuring paintings from series that span a 15-year period, 1994 through 2009, this volume traces Mike Kelley's (1954-2012) engagement with the medium through bodies of work including The Thirteen Seasons (Heavy on the Winter), a series of oval-shaped paintings on wood; Timeless Painting, which marked Kelley's distinct return to painting in color, and which he described as "mannerist take-offs on Hans Hofmann's compositional theory of 'push and pull'"; the Horizontal Tracking Shots series; as well as works made under the umbrella of his expansive and ambitious Extracurricular Activity Projective Reconstructions, a series related to the Educational Complex artwork. Kelley's seminal mixed-media installation Profondeurs Vertes, his ode to the influential paintings in the collection of the Detroit Institute of Arts that captivated him as a young person, is also featured. The publication includes texts by various contemporary visual artists responding to Kelley's art: Edgar Arceneaux, Carroll Dunham, Daniel Guzmán, Richard Hawkins, Jay Heikes, Jamian Juliano-Villani, Mary Reid Kelley, Christina Quarles and Laurie Simmons.

Erweiterte Neuauflage des legendären Arnheim-Katalogs von 1993 in zwei Auflagen: Im März die rein englische Ausgabe anlässlich der Ausstellung in der Tate Liverpool, im Juli 2004 eine Ausgabe mit deutschem Textanhang mit einem zusätzlichen Interview mit Mike Kelley anlässlich der Ausstellung im Museum Moderner Kunst Stiftung Ludwig, Wien. Museum Moderner Kunst, Stiftung Ludwig, Wien, Juli 2004

The second volume of writings by Los Angeles artist Mike Kelley, focusing on his own work. What John C. Welchman calls the "blazing network of focused conflations" from which Mike Kelley's styles are generated is on display in all its diversity in this second volume of the artist's writings. The first volume, Foul Perfection, contained thematic essays and writings about other artists; this collection concentrates on Kelley's own work, ranging from texts in "voices" that grew out of scripts for performance pieces to expository critical and autobiographical writings.Minor Histories organizes Kelley's writings into five sections. "Statements" consists of twenty pieces produced between 1984 and 2002 (most of which were written to accompany exhibitions), including "Ajax," which draws on Homer, Colgate- Palmolive, and Longinus to present its eponymous hero; "Some Aesthetic High Points," an exercise in autobiography that counters the standard artist bio included in catalogs and press releases; and a sequence of "creative writings" that use mass cultural tropes in concert with high art mannerisms—approximating in prose the visual styles that characterize Kelley's artwork. "Video Statements and Proposals" are introductions to videos made by Kelley and other artists, including Paul McCarthy and Bob Flanagan and Sheree Rose. "Image-Texts" offers writings that accompany or are part of artworks and installations. This section includes "A Stopgap Measure," Kelley's zestful millennial essay in social satire, and "Meet John Doe," a collage of appropriated texts. "Architecture" features an discussion of Kelley's Educational Complex (1995) and an interview in which he reflects on the role of architecture in his work. Finally, "Ufology" considers the aesthetics and sexuality of space as manifested by UFO sightings and abduction scenarios.

Published on the occasion of the major exhibition of the same title, this catalogue is the first to place the practices of artists Mike Kelley (1954-2012) and Jim Shaw (b. 1952) alongside each other in historical context, approaching their work as parallel visual meditations on Midwestern culture in particular and on American culture more broadly. The catalogue begins with their meeting at the University of Michigan in Ann Arbor and early collaborations, branching out to present major bodies of work from each artist with a specific interest in tracing the lines of influence as rooted in the vernacular visual cultures of Michigan and the Midwest. Illustrations of the artists' source material, their individual works, and installation views from the exhibition feature prominently throughout the publication, and essays by exhibition co-curators Marc-Olivier Wahler, Carla Acevedo-Yates, and Steven L. Bridges also unpack the many narratives layered in the exhibition, including an interview with Jim Shaw.

Guston disagreed, famously saying: 'I got sick and tired of all that purity--I wanted to tell stories!' And what stories he told, with his Klansmen, ominous but somehow familiar, perhaps even ourselves under those hoods, as suggested in 'Untitled' (1971), which features a fleshy head enclosed by two hooded figures. This was not the path of refinement a leading abstract expressionist painter should be taking, yet Guston pushed forward: challenging tradition and expectations, guided solely by his own intuition and determination. Guston and his wife left for Italy immediately after the 1970 Marlborough opening, taking up residency at the American Academy in Rome over the next seven months. He spent the first two months brooding, despairing at the reviews and the rigidity of the art world, and revisiting the great art of the past that had first moved him to paint as a young man. .

Celia Forner has collaborated with 15 contemporary artists to create objects which defy a conventional definition of jewellery, sitting somewhere between sculpture and wearable art. These artists? designs are crafted from a variety of materials, ranging from traditional gold and silver with precious and semi-precious gems to enamel, aluminium, bronze and iron. Beginning with an exquisitely crafted gold cuff by Louise Bourgeois, the project has evolved to include artists such as John Baldessari, Phyllida Barlow, Stefan Brüggemann and Subodh Gupta. The catalogue features extensive illustrations, including photos of actress Rossy de Palma modeling the various creations. Quotes from the artists themselves offer perspective into their creations and the inspiration behind them.00Exhibition: Hauser & Wirth, New York, USA (20.04.-17.06.2017).

An unprecedented catalogue exploring the formal and visual affinities and contrasts between Josef Albers and Giorgio Morandi—two of modern art’s greatest painters. Rarely seen together, the artworks of Josef Albers (1888–1976) and Giorgio Morandi (1890–1964) share many similarities. Although they never met, both artists worked in series as they explored difference and potential through their distinctive treatment of color, shape, form, and morphology. They were also both influenced by Cezanne. As master illusionists and experts in proportion, they tackled similar conceits from different perspectives. Albers focused on the effects of subtle or bold changes and interactions in color, while Morandi made still lifes that treat simple objects as a cast of characters on a stage, exploring their relationship in space. Published on the occasion of the critically acclaimed exhibition Albers and Morandi: Never Finished at David Zwirner New York in 2021, the book illuminates the visual conversation between these two artists. With the exhibition hailed by The New Yorker’s Peter Schjeldahl as “one of the best … I’ve ever seen,” this publication brings this unusual, thought-provoking pairing to your home. Gorgeous reproductions are accompanied by a roundtable about form and color between the exhibition’s curator, David Leiber; Heinz Liesbrock, the director of the Josef Albers Museum Quadrat Bottrop; and Nicholas Fox Weber, the executive director of The Josef and Anni Albers Foundation, as well as an essay by Laura Mattioli, the Morandi expert and founder of the Center for Italian Modern Art.