More than a half-century of drawings made through "unsighted" chance procedures, from conceptualist William Anastasi In 1977, the New York-based artist William Anastasi (born 1933) began playing chess with John Cage. At that time, Anastasi was living in Harlem and would travel to Cage's 18th Street apartment via the subway. The journey became the perfect opportunity to revive his earlier experiments of creating seismographic "unsighted" drawings. With a lap-size sheet of paper, Anastasi allowed the movement of the subway to literally "make" the drawing. The Blind Drawings: 1963-2018 were created using two-dozen "unsighted" strategies. With works spanning 56 years, this volume gathers Anastasi's Dot Drawings, Subway Drawings, Walking Drawings, Pocket Drawings, Blind Self-Portraits, Waterfall Drawings, X Drawings, Eyebrow Drawings, Burst Drawings, Resignation Drawings, Drop Drawings and Still Drawings.

William Anastasi: Blind Drawings 1963–2018 (MARLBOROUGH)

Arts & Photography

Cattelan, Maurizio

Stuckey, Charlie

Individual Artists

Marlborough

"Walking between these figures feels like an interruption; being a spectator is itself a performance. They seem to know more than we do, about the status of being an artwork and the place of the viewer. The joke, if there is one, is on us." - The Guardian Muñoz's revolutionary oeuvre creates emotional and evocative narratives through sculpture, installation, drawing, writing, and sound. Situating viewers between his work and amongst each other, he creates an intimacy between works of art and viewers. Muñoz thought deeply about art history and in particular the tradition of Spanish painting. Before his untimely death at the age of forty-eight, he produced an extensive, powerfully evocative body of work that uniquely explores the narrative and philosophical possibilities of art. Published on the occasion of the two-floor exhibition at David Zwirner in New York in 2022, this catalogue provides an expansive overview of Muñoz's career from the 1980s onwards. In an accompanying text, art historian and curator Guillaume Kientz contextualizes Muñoz's influences within the art-historical canon. Acclaimed writer Siri Hustvedt writes a thoughtful response to the artist's iconic Conversation Piece. In an imagined interview between Muñoz and himself, Maurizio Cattelan further propels the artist's artistic momentum and potential in the time before his death. Also featured is a never-before-published interview between Muñoz and the art historian Michael Brenson that took place in 2000, less than one year prior to his untimely death.

Juan Muñoz: Seven Rooms

Hustvedt, Siri

Muñoz, Juan

Kientz, Guillaume

History & Criticism

David Zwirner Books

Maurizio Cattelan

Schwabe Ag, Basel

Why?Marianne Vitale (*1973 in East Rockaway, USA) presents larger-than-life steel sculptures, quite obviously rooted in the world of railways, in conjunction with large-scale installations, such as a wooden Wild West saloon bar, with foot rests still bearing the traces of its patrons. At the back of the bar in front of a black background, bizarre plaster masks are placed, their respective appearance formulated somewhere between horror and laughter. Her third group of works pertains to surfaces, such as old patched tar roofs, which she calls Roof or Shingle paintings. This enigmatic work again puts the spotlight on the great American Story and its failure. The artist resolves this strangeness in her text »Transformation rituals on the great frontier« where she recalls that women in America during the western expansion were prohibited from approaching furnaces during their menstrual periods; in Wisconsin there is actually a figure of speech whereby, during smelting, »the slag flows like the menstrual period of a woman«.Exhibition: CFA Contemporary Fine Arts Berlin, 1/5–6/6/2015

Marianne Vitale: Oh Don’t Ask Why: Kat. CFA Berlin

Vitale, Marianne

Snoeck Publishing Company

De Mona Lisa a los Simpson

Robecchi, Michele

Bonazzoli, Francesca

Lunwerg Editores

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