This new gorgeous and diverse collection documents the exhibition 00 at the Barbara Gladstone Gallery in New York. For this exhibition, over one hundred prominent contemporary artists were asked to submit works on paper that were made this year--in '00'. 00 investigates the act of drawing as a vital necessity that transcends the bounds of age, nationality, scale, content, process, and concept. The richness of the medium is reflected by the diversity of the participating artists, who include: Acconci Studio, Kai Althoff, John Baldessari, Miroslaw Balka, Matthew Barney, John Bock, Louise Bourgeois, Cecily Brown, Vija Celmins, Francesco Clemente, Michael Craig-Martin, John Currin, Roy Dowell, Marlene Dumas, Carroll Dunham, Rachel Feinstein, Tim Gardner, April Gornik, Arturo Herrera, Gary Hume, Sol LeWitt, Anish Kapoor, Ellsworth Kelly, Yayoi Kusama, Mark Manders, Brice Marden, Chris Ofili, Elizabeth Peyton, Elle Phelan, Lari Pittman, Richard Prince, Charles Ray, Gregor Schneider, Richard Serra, Serse, Takashi Murakami, Rirkrit Tiravanija, Rosemarie Trockel, Kara Walker, Lawrence Weiner, and Christopher Wool. The resulting exhibition and its accompanying catalogue--including an illuminating essay by the curator and writer Klaus Kertess--act as a definitive survey of the practice of drawing at the present moment.

00: Drawings 2000 At Barbara Gladstone Gallery

Arts & Photography

Baldessari, John

Clemente, Francesco

Dunham, Carroll

Dumas, Marlene

Murakami, Takashi

Craig-Martin, Michael

BARNEY, Matthew

Ofili, Chris

Currin, John

Pittman, Lari

Kertess,klaus

Feinstein, Rachel

Bourgeois, Louise

Althoff, Kai

Celmins, Vija

Acconci Studio

Balka, Miroslaw

Brown, Cecily

Dowell, Roy

Gornik, April

Phelan, Ellen

Serse

Bock, John

Gardner, Tim

Collections, Catalogs & Exhibitions

Barbara Gladstone Gallery

In 2004, John Currin (born 1962) began a large-scale painting that would eventually be titled “The Dogwood Thieves.” What ensued was six years of humorous missteps, uncomfortable second-guesses and painterly faux pas, all visually presented here in 39 previously unreproduced and no longer extant iterations of a single painting. John Currin: The Dogwood Thieves is an entertaining portrait of the sometimes agonizing artistic process, and follows the artist’s initial inspiration from the photograph of a magazine advertisement to what would become dozens of paintings atop paintings. Currin shows how he went about changing night skies into ocean horizons, how a Russian bra evolved upon a pair of bare breasts and why his wife’s face underwent a lengthy transformation and traded features with a 1980s newscaster and then a 1970s Danish porn star. It also displays the delicate balancing act Currin maintains more generally in his work as he maneuvers between a broad range of cultural references, from women’s magazine photography and photorealist kitsch to Renaissance oil painting drapery and personal narrative. Combining visual documentation with a lecture Currin gave at the Acadia Summer Arts Program in 2010, this book is, as the artist puts it, “partly just to show kind of what I go through to make a painting,” but “also to dispel any notion that it’s a good thing to work on a painting for six years.”

John Currin: The Dogwood Thieves (A.S.A.P.)

Individual Artists

A.S.A.P.

su-per-no-va: n., pl. A rare celestial phenomenon involving the explosion of most of the material in a star, resulting in an extremely bright, short-lived object that emits vast amounts of energy. Given the massive shift in the West's cultural sensibility in the wake of the 9/11 attacks and the current global political situation, the 1990s and its over-the-top, anything-goes art scene suddenly appear much more historical than contemporary. If we really are at the turning point that we seem to be, then we've arrived at a particularly opportune moment for reconsideration, for assessing the legacy of the decade after the frenzy has subsided. Supernova brings together a number of curators and critics--each of whom was actively involved in constructing the 1990s art discourse--to step back and consider what trans-identity, broad-based thematic trends can now be identified as emblematic of, or seminal to, the decade. The Kent and Vicki Logan collection of contemporary art offers a compelling and visually alluring vehicle to consider such issues, as these ambitious collectors were firmly planted at the center of the scene--acquiring some of the most challenging and iconic art of the period, including works by Young British Artists (YBAs), Asian practitioners and a diverse array of influential women artmakers. In Supernova, reproductions of these artists' works are dispersed among contributors' essays, which explore such themes as beauty and the abject, iconoclasm and the role of social activism in art.

Supernova: Art of the 1990s From the Logan Collection

Benezra, Neal

HIRST, Damien

Gober, Robert

Gonzalez-Torres, Felix

Siegel, Katy

Zhang, Huan

Antoni, Janine

Yuskavage, Lisa

Fritsch, Katharina

Grynzstejn, Madeleine

History & Criticism

D.A.P./San Francisco Museum of Modern Art

As elements of our life move closer to art, and as art moves directly into life, the differences between the artificial and real are becoming progressively blurred. Form Follows Fiction focuses on a generation of artists who can no longer follow the modernist dictum "form follows function"; as our model of reality becomes more layered and less concrete, that decree morphs inevitably into "form follows fiction." Some of these artists create structures that intersect with everyday life, while others construct elaborate fictional systems that fuse elements of reality and fantasy. Some fashion elaborate invented worlds where past, present, and future are collapsed into one and where art historical icons and the debris of contemporary pop culture have equal relevance. All have developed new models of contemporary reality that are as fictional as they are real. Form Follows Fiction was conceived as a sequel to the 1992 exhibition Post Human, also curated by Jeffrey Deitch, which explored a new model of the human condition, pushing deep into the confusion between the artificial and the real.

Form Follows Fiction

Eliasson, Olafur

Walker, Kara

Aitken, Doug

Ritchie, Matthew

Ackermann, Franz

Orozco, Gabriel

Mori, Mariko

Guo-Qiang, Cai

Beecroft, Vanessa

Adler, Amy

Noble, Tim

Webster, Sue

Khedoori, Toba

Laurette, Matthieu

Kauper, Kurt

Manzelli, Margherita

Rist, Pipilotti

Gianelli, Ida

Charta

John Currin: Paintings

et.al.

Forma Edizioni

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Books by Currin, John