In this volume, full-color images, in-depth scholarly investigations and detailed gallery histories vibrantly document how Hearn and de Land tested new notions of what an art gallery could be. The conditions of being art is the first book to examine the activities of groundbreaking contemporary art galleries Pat Hearn Gallery and American Fine Arts, Co.
This publication is the first book-length critical account of the alternative commercial gallery practices of the 1990s, a moment and a scene that is extremely influential to many of today's art dealers, curators and artists. Hearn and de land's gallery practices explored new experimental and ethical possibilities within the selling of art, testing the relationship of contemporary art to its markets.
1983–2004, and the transnational milieu of artists, dealers and critics that surrounded them. Drawing on the archives of dealers pat hearn and colin de land―both, legendary players on the New York art scene of the 1980s and '90s, independently, significant exhibitions and events, and one of the great love stories of the art world―this publication illustrates their distinctive artistic practices, and daily business.
Hearn and de land championed art that challenged the business of running an art gallery; artists like Renée Green and Susan Hiller, who employed conceptualism and installation, Andrea Fraser and Cady Noland, social and institutional critique. Contributing to the history of exhibitions, institutions and curating, The Conditions of Being Art addresses a significant gap in this literature around experimental commercial spaces in recent art history.
Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art
The contemporary art market is an international juggernaut, throwing off multimillion-dollar deals as wealthy buyers move from fair to fair, auction to auction, party to glittering party. Now, dealers and auctioneers are seeking the first billion-dollar painting. Dealers operate within a private world of handshake agreements, negotiating for the highest commissions.
The meteoric rise of the largest unregulated financial market in the world-for contemporary art-is driven by a few passionate, guileful, and very hard-nosed dealers. It hasn't happened yet, but they are confident they can push the price there soon. He has spoken to all of today's so-called mega dealers-larry gagosian, cy twombly, Arne and Marc Glimcher, Andy Warhol, and Iwan Wirth-along with dozens of other dealers-from Irving Blum to Gavin Brown-who worked with the greatest artists of their times: Jackson Pollock, David Zwirner, and more.
This kaleidoscopic history begins in the mid-1940s in genteel poverty with a scattering of galleries in midtown Manhattan, London's Bond Street, takes us through the ramshackle 1950s studios of Coenties Slip, the hipster locations in SoHo and Chelsea, and across the terraces of Art Basel until today.
But none of it would happen without the dealers-the tastemakers who back emerging artists and steer them to success, often to see them picked off by a rival. Michael shnayerson, a longtime contributing editor to Vanity Fair, writes the first ever definitive history of their activities. They can make and break careers and fortunes.
Vile Days: The Village Voice Art Columns, 1985-1988 Semiotexte / Active Agents
In the midst of reaganism, the grim toll of AIDS, and the frequent jingoism of postmodern theory, Indiana found a way to be the moment's Baudelaire. I now had to actually enter all those galleries instead of peeking in the windows. But indiana also remained alert to the aesthetic consequence of sumo wrestling, public art, flower shows, corporate galleries, and furniture design.
He turned the art review into a chronicle of life under siege. As a critic, indiana combines his novelistic and theatrical gifts with a startling political acumen to assess art and the unruly environments that give it context. Gary indiana's collected columns of art criticism from the Village Voice, from the front lines, documenting, the 1980s New York art scene.
In 1985, the village Voice offered me a job as senior art critic. Edited and prefaced by bruce hainley, Vile Days provides an opportunity to track Indiana's emergence as one of the most prescient writers of his generation. This made my life easier and lousy at the same time. No one was better positioned to elucidate the work of key artists at crucial junctures of their early careers, from Sherrie Levine and Richard Prince to Jeff Koons and Cindy Sherman, among others.
Thirty years later, too long stuck in archival limbo, Vile Days brings together for the first time all of those vivid dispatches, so that the fire of Indiana's observations can burn again. At times, the only tangible perk was having the chump for a fifth of vodka whenever twenty more phonies had flattered my ass off in the course of a working week.
Lucio Fontana: On the Threshold
Essays by international experts address his work from both an Italian and Argentine perspective, providing numerous insights into Fontana’s expansive practice. This volume takes a fresh look at the renowned artist whose simultaneous innovations in painting, ceramics, as well as his spatial explorations, drawing, and sculpture, pushed the painterly into the sculptural and redefined the relationship between the arts.
A fascinating reassessment of the work of one of the most innovative artists of the 20th century, Lucio Fontana 1899–1968 blurred numerous boundaries in his life and art, emphasizing his Argentine background and interdisciplinary approach to both art and life A major figure of postwar European art and a binational resident of Argentina and Italy, crossing borders both literally and figuratively.
Archival images of environments, establishing a new approach to an artist who responded to the political, public commissions, and now-destroyed pieces accompany lavish illustrations covering his production from 1930 to the late 1960s, installations, cultural, and technological thresholds that defined the mid-20th century.
Evaluating fontana’s interest in synthesis and moving beyond his famous slashed canvases, this book reveals Fontana to be one of the first installation artists.
Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art
And helen frankenthaler, the beautiful daughter of a prominent New York family, chose the difficult path of the creative life. In ninth street women, acclaimed author Mary Gabriel tells a remarkable and inspiring story of the power of art and artists in shaping not just postwar America but the future. Gutsy and indomitable, lee krasner was a hell-raising leader among artists long before she became part of the modern art world's first celebrity couple by marrying Jackson Pollock.
Grace hartigan fearlessly abandoned life as a New Jersey housewife and mother to achieve stardom as one of the boldest painters of her generation. From their cold-water lofts, fought, drank, where they worked, and loved, these pioneers burst open the door to the art world for themselves and countless others to come.
Joan mitchell, whose notoriously tough exterior shielded a vulnerable artist within, escaped a privileged but emotionally damaging Chicago childhood to translate her fierce vision into magnificent canvases. Five women revolutionize the modern art world in postwar America in this "gratifying, and lush" true story from a National Book Award and Pulitzer Prize finalist Jennifer Szalai, generous, New York Times.
Set amid the most turbulent social and political period of modern times, wild, sometimes tragic, Ninth Street Women is the impassioned, always exhilarating chronicle of five women who dared to enter the male-dominated world of twentieth-century abstract painting--not as muses but as artists. Elaine de kooning, whose brilliant mind and peerless charm made her the emotional center of the New York School, used her work and words to build a bridge between the avant-garde and a public that scorned abstract art as a hoax.
These women changed american art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation.
Bill Cunningham: On the Street: Five Decades of Iconic Photography
Here you’ll find cunningham’s distinctive chronicling of the 1980s transit strike, Inauguration Day 2009, the onset of selfies, the rise of 1990s casual Fridays, the sadness that fell over the city following 9/11, and many other significant moments. This enduring portfolio is enriched by essays that provide a revealing portrait of Cunningham and a few of his many fascinations and influences, contributed by Cathy Horyn, and a much favored subject, Ruth La Ferla, Jacob Bernstein, Tiina Loite, Penelope Green, Guy Trebay, Vanessa Friedman, Anna Wintour.
But his work also shows that street style is not only about fashion; it’s about the people and the changing culture. These photographs—many never before seen, others having originally appeared in The New York Times and elsewhere—move from decade to decade, beginning in the 1970s and continuing until Cunningham’s death in 2016.
New york times bestseller • the first published collection of photographs by the icon of street style, bringing together favorites published in The New York Times alongside never-before-seen work across five decades. A dazzling kaleidoscope from the gaze of an artist who saw beauty at every turn. André leon talley bill cunningham’s photography captured the evolution of style, and of the everyday, of trends, both in New York City and in Paris.
More than anything, on the Street is a timeless representation of Cunningham’s commitment to capturing the here and now. An absolute delight. People.
Notes and Methods
It will stand as an important and timely contribution to the legacy of Hilma af Klint. With hilma af klint: notes and methods, we get to experience the arc of af Klint’s artistic investigation in her own words. Hilma af klint studied at the Royal Swedish Academy in Stockholm where she was part of the first generation of female students.
Up until the beginning of the century, she painted mainly landscapes and detailed botanical studies. Many consider her the first trained artist to create abstract paintings. It contains the rarely seen “blue notebooks, ” hand-painted and annotated catalogues af Klint created of her most famous series “Paintings for the Temple, ” and a dictionary compiled by af Klint of the words and letters found in her work.
At the turn of the twentieth century, kazimir malevich, swedish artist Hilma af Klint 1862–1944 created a body of work that left visible reality behind, exploring the radical possibilities of abstraction years before Vasily Kandinsky, or Piet Mondrian. Her work from this period was that of a young artist of her time who meticulously observed the world around her.
These abstract techniques would not be seen again until years later. Notes and methods presents facsimile reproductions of a wide array of af Klint’s early notebooks accompanied by the first English translation of af Klint’s extensive writings. But, like many of her contemporaries, af Klint was also interested in the invisible relationships that shape our world, believing strongly in a spiritual dimension.
This extraordinary collection is edited by and copublished with Christine Burgin, and features an introduction by Iris Müller-Westermann.
Hilma af Klint: Paintings for the Future
Her boldly colorful works, reflect an ambitious, spiritually informed attempt to chart an invisible, many of them large-scale, totalizing world order through a synthesis of natural and geometric forms, textual elements and esoteric symbolism. Accompanying the first major survey exhibition of the artist's work in the United States, Hilma af Klint: Paintings for the Future represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of her life and art.
The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art―a wish that finds a fortuitous answer in the Guggenheim Museum's rotunda, the site of the exhibition. Hilma af klint 1862–1944 is now regarded as a pioneer of abstract art. Hilma af klint's daring abstractions exert a mystical magnetismWhen Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than 1, 000 paintings and works on paper that she had kept largely private during her lifetime.
. Essays explore the social, placing her in the context of Swedish modernism and folk art traditions, intellectual and artistic context of af Klint's 1906 break with figuration and her subsequent development, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars and curators considers af Klint's sources and relevance to art in the 21st century.
But only in recent decades has the public had a chance to reckon with af Klint's radically abstract painting practice―one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years.
Bruce Nauman: Disappearing Acts
He studied math, davis, and received an ma in sculpture from the University of California, music and physics at the University of Wisconsin–Madison before switching his major to visual art, in 1966. An introductory essay explores Nauman’s many acts of disappearance, withdrawal and deflection as central formal and intellectual concerns.
With a magician’s sleight of hand, nauman’s art makes disappearance visibleAt 76 years old, Bruce Nauman is widely acknowledged as a central figure in contemporary art whose stringent questioning of values such as good and bad remains urgent today. The 18 other contributions discuss individual objects or themes that persist throughout the artist’s career, including the first extensive essay on Nauman as a photographer and the first detailed treatment on the role of color in his work.
. In 2009 he represented the united States at the Venice Biennale, where he won the Golden Lion. A wide range of authors―curators, artists and historians of art, architecture and film―focus on topics that have been largely neglected, such as the architectural models that posit real or imaginary sites as models for ethical inquiry and mechanisms of control.
In 1979 he moved to New Mexico, where he continues to reside. Throughout his 50-year career, space, sound, he has explored how mutable experiences of time, movement and language provide an insecure foundation for our understanding of our place in the world. This richly illustrated catalog offers a comprehensive view of Nauman’s work in all mediums, spanning drawings across the decades; early fiberglass sculptures; sound environments; architecturally scaled, participatory constructions; rhythmically blinking neons; and the most recent 3D video that harks back to one of his earliest performances.
Nauman’s work has been the subject of two previous retrospectives, in 1972 and 1994.
Whitewalling: Art, Race & Protest in 3 Acts
Whitewalling takes a critical and intimate look at these three “acts” in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, is free to speak?Aruna D’Souza writes about modern and contemporary art, exactly, who, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books.
D'souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader. In 2017, of the lynched body of a young black child, Dana Schutz, the Whitney Biennial included a painting by a white artist, Emmett Till. It lays bare how the art world―no less than the country at large―has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship.
In 1979, anger brewed over a show at New York’s Artists Space entitled The Nigger Drawings. Her work appears regularly in 4Columns. Org, artnews, bookforum, as well as in publications including the Wall Street Journal, Garage, where she is a member of the editorial advisory board, Momus and Art Practical.
In 1969, the metropolitan museum of Art’s exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.
Brand New: Art and Commodity in the 1980s
Coinciding with the rise of modern branding and the onset of the information age, installation, such as advertising, artists’ focus on commodities and consumerism began as satire but came to be much more complex: commodities and associated phenomena, photography, and personal relationships in “brand-new” types of painting, politics, sculpture, now served as vessels for ideas, and performance.
. An eye-opening book about the 1980s new York art scene, its far-reaching effects on contemporary art, and the rise of some of the biggest names in the art world today. These texts, peter halley, together with an illustrated chronology, provide a fresh account of the moment at which contemporary artists such as Felix González-Torres, Sherrie Levine, and Cindy Sherman grabbed the ball from Andy Warhol and ran with it, Richard Prince, Jeff Koons, Barbara Kruger, changing the rules of the game forever.
This groundbreaking book, accompanying a major exhibition at the Hirshhorn, tells the story of the evolution of New York’s downtown art scene in the 1980s—from a DIY counterculture in the East Village to a legitimate gallery business in SoHo. In a book full of visual surprises, while leah pires illuminates lesser-known conceptual collaborations, newly commissioned essays shed new light on this pivotal period: curator Gianni Jetzer provides a comprehensive overview, and Bob Nickas offers an eyewitness account of the East Village gallery scene.