Celebrating poet Robert Creeley's pathbreaking role as an artistic collaborator, this illustrated volume adds substantially to the documented history of contemporary multidisciplinary art. For more than forty years, Creeley has worked on collaborative projects with some of the best-known artists of our time, including Georg Baselitz, Francesco Clemente, Jim Dine, R. B. Kitaj, Marisol, and Susan Rothenberg. In Company explores this history with essays, interviews, archival photographs, and images of the books and portfolios created, from Numbers (1968) with Robert Indiana to Edges (1997) with Alex Katz. An accompanying CD-ROM features interactive presentations of the projects.
The publication of In Company coincides with a traveling exhibition organized by the Castellani Art Museum of Niagara University. The exhibition, which opened in Niagara this spring and will travel to the New York Public Library in September, will also appear at the Weatherspoon Art Gallery at the University of North Carolina at Greensboro, the University of South Florida Contemporary Art Museum, and Stanford University's Green Library. 
Robert Creeley, winner of the 1999 Bollingen Prize and author of more than 60 volumes of poetry, is Samuel P. Capen Professor of Poetry and Humanities at the State University of New York at Buffalo.

In Company: Robert Creeley's Collaborations

Arts & Photography

Cappellazzo, Amy

Licata, Elizabeth

Collections, Catalogs & Exhibitions

The University of North Carolina Press

Contributors: Amy Cappellazzo, Adriano Pedrosa, Peter Wollen.

Making Time: Considering Time as a Material

Wollen, Peter

Pedrosa, Adriano

Palm Beach Institute of Contemporary Art

Since the early 1990s, Fred Tomaselli's work has critiqued utopias and dystopias, and has examined the sublime in suburban American culture. His colorful works are instantly recognizable due to his use of pharmaceuticals and illicit drugs to create his elaborate paintings This survey of Tomaselli's career includes an essay by the American novelist Rick Moody, author of The Ice Storm and Demonology.

Fred Tomaselli: Ten Year Survey

Tomaselli, Fred

Individual Artists

Glee is a uniquely designed volume dedicated to new developments in the world of contemporary painting--developments that engage advances in digital technology instead of fleeing from them. Including such already-renowned and up-and-coming painters as Peter Halley, Franz Ackerman, Ricci Albenda, Pedro Barbieto, Linda Besemer, Alex Blau, Greg Bogin, Alex Brown, Ingrid Calame, Sharon Ellis, Jeff Elrod, Carl Fudge, Wayne Gonzales, Jim Isermann, Sarah Morris, Stephen Mueller, Albert Oehlen, Monique Prieto, John F. Simon Jr. and Yek, Glee documents how these artists are innovating via the influence of styles as diverse as Op Art, Pattern &amp; Decoration, early computer graphics and late 1960s psychedelia. The catalogue was designed by the rising young firm COMA, and features a gatefold that divides the book into two halves: the first dedicated to the artworks themselves, and the second devoted to essays and artist biographies.

Glee: Painting Now

Travis, David

Morris, Sarah

Oehlen, Albert

Mueller, Stephen

Blau, Alex

Brown, Alex

Hough, Jessica

Ellis, Sharon

Wood, James N.

Halley, Peter

Brien, Sidney

Ackerman, Franz

Albenda, Ricci

Barbieto, Pedro

Besemer, Linda

Bogin, Greg

Calame, Ingrid

Elrod, Jeff

Fudge, Carl

Gonzales, Wayne

Isermann, Jim

Prieto, Monique

Simon Jr., John

History & Criticism

The Aldrich Museum of Contemporary Art

Janine Antoni has played a leading role in performance and installation art during the past decade. She had placed her own body at the center of her work, exploring how the body is both absent and present, visible and invisible. Part of Antoni's groundbreaking method has been to use her body both as an art object and as a functioning tool, as canvas, palette and paintbrush--she ''draws'' with a twitch of her eyelashes, ''paints'' with her hair, and ''sculpts'' blocks of fat with her teeth. On the other hand, Antoni just as often takes as her point of departure the sleeping, resting, more or less prenatal body. In Slumber, an electric encephalograph is used to record the instinctive movements of her pupils, and the resulting graphic pattern is integrated into a weaving piece the day after, which, in turn, serves as her blanket at night. The first monograph devoted to Antoni, this brilliant new volume documents the artist's major works in full color, alongside insightful essays.

Janine Antoni

WARNER, Marina

Lajer-Burcharth, Ewa

Hatje Cantz Publishers & Ink Tree

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