The work of Tacita Dean consists primarily of 16mm films and sound pieces in which process, transformation, and coincidences play vital roles. Static camera positions and long takes are characteristic of her films, creating a sense of stillness in their moving images. Her methods are highly flexible: she allows chance to intervene during the phases of preparation, filming, sound recording, and editing in such a way that she continually finds new directions for her work to take, instead of directing it with rigidity. Her films merge fact and fiction. Both the physical world and our private worlds are depicted, with the relationship between them central to the work. She often employs the coastline and sea as a motif in her work, suggesting a fascination with the elemental idea of the sublime. This first monograph on her work accompanies a show at the Museum of Contemporary Art in Barcelona, and will be a welcome introduction to a young artist whose work has earned her significant praise.

Tacita Dean

Dean, Tacita

Institute of Contemporary Art, University of Pennsylvania

Janine Antoni photographs a pair of hands joined in a M bius strip of long, polished fingernails; John Baldessari commingles images of politics and handguns and primary-colored spheres; John Coplans offers his feet as self-portrait; Gregory Crewdson tells the cinematic, mysterious tale of a random street in some suburbia somewhere; Thomas Demand constructs the illusion of a soundproof room; Rineke Dijkstra portrays herself as a bather at an indoor pool in Amsterdam; Anna Gaskell shows a drowning Alice (or is she treading water?); Dan Graham sites New Houses behind Chain Link Fence, Jersey City, Ny; and Andreas Gursky reveals the frenzy of the Chicago Board of Trade. These photographs and many, many more form the Miami-based collection Debra and Dennis Scholl have amassed over the last two decades. Representing an important selection of the major figures in contemporary American and European photography, they are here accompanied by essays from Nancy Spector, James Rondeau, and Michael Rush, three of the most important curators of contemporary art.

Imperfect Innocence

Arts & Photography

Rondeau, James

Sangster, Gary

Collections, Catalogs & Exhibitions

Palm Beach Institute of Contemporary Art/Contemporary Art Museum, Baltimore

Over 40 years ago, Andy Warhol promoted the concept that artists are celebrities, just as worthy of portrayal as other cultural icons. Likeness: Portraits of Artists by Other Artists begins where Warhol left off. Presenting visually striking and conceptually diverse works in a range of mediums, Likeness is the first exhibition and catalogue to propose a recent history of artists' representations of other artists--of friends, peers, and idols. While any portrait is both a document and a personal record of the relationship between the artist and his or her subject, blurring distinctions between public and private, portraits of artists further enrich the situation; they commemorate and concretize the intimate social dramas of the art world and the economies of exchange. Selected here are over 50 paintings, drawings, photographs, and works in other media, created by a loose network of artists primarily active in New York, Los Angeles, London, and Berlin during the past three decades. Included are works by David Armstrong, AA Bronson, Bruce La Bruce, Chuck Close, Tacita Dean, Sam Durant, Nan Goldin, Felix Gonzalez-Torres, Richard Hamilton, Mike Kelley, Sean Landers, Robert Mapplethorpe, Richard Misrach, Dave Muller, Paul Noble, Julian Opie, Elizabeth Peyton, Sigmar Polke, Richard Prince, Wolfgang Tillmans, James Welling, and others.

Likeness: Portraits Of Artists By Other Artists

Killian, Kevin

Robbins, David

Tillmans, Wolfgang

Bronson, AA

CCA Wattis/ICI, NY

Monet Hates Me

Individual Artists

Getty Research Institute

Teignmouth Electron

History & Criticism

Book Works

112 pages 116 colour plates 38.5 cm x 28 cm Large format paperback Limited edition [1,000 signed and numbered copies]

Buon Fresco

MACK BOOKS

“If you were to ask me what I do, I would say I draw--this is the primary activity and that all my work has this in common regardless of idiom or material,” wrote Roni Horn in a letter to Paulo Herkenhoff in 2003. Born in 1955 in New York, Horn began developing her drawing technique in the early 1980s, using powdered pigment and varnish to produce soft, austere, floating abstractions that explored her now familiar preoccupation with pairs. Over the subsequent two decades, drawing has remained an essential dimension of Horn’s art--one that she has infused with her keen sculptural sensitivity to texture and the grander, almost spiritual possibilities of mass and volume. 153 Drawings presents for the first time a comprehensive selection of Horn’s drawings, ranging from the artist’s initial work with pigment to geometrically collaged works and extremely complex more recent drawings. This publication includes essays by British artist Tacita Dean and Briony Fer.

Roni Horn: 153 Drawings

Fer, Briony

JRP|Ringier

A stalwart of Vancouver's Conceptual scene, artist and musician Rodney Graham has used an array of media to explore appropriated historical sources from literature, philosophy and pop music, and to induce shifts in the viewer's preconceptions and perceptions of these sources: Sigmund Freud, Donald Judd, Edgar Allan Poe and even Graham's former bandmate Jeff Wall have provided subject matter for the artist's critical tweakings. Through the Forest collects over 100 works, dating from 1978 to the present, that emphasize Graham's interpolations in cultural history-in the forms of appendices, bookmarks and exhibition devices in the style of Donald Judd. This monograph also premiers Graham's first incursion into painting, his 2005 series Picasso, My Master, which inflects the reverence commonly attending Picasso's work with his signature humor. Through the Forest makes a thorough assessment of Graham's influential and seductive body of work.

Rodney Graham: Through the Forest

Heynen, Julian

Arnold, Grant

Hatje Cantz

Die Regimentstochter is the latest in a series of projects made from material turned up in flea markets, in this case, a series of 36 antique opera programs from the 30s and 40s found in the flea markets of Berlin. Like the found photographs in Dean's 2001 FLOH, these souvenirs remain unexplained by text. They retain the silence of the lost object, and they share a riddle: each program gives a tantalizing glimpse of a title or a face through a small window cut into the embossed cover. Readers will recognize Beethoven, Rossini, or perhaps a singer. A swift search in an archive would easily confirm what has been removed, but it seems likely that the missing piece is a swastika. These performances all happened during the Third Reich. When and by whom the incision was made, and why these programs were both worth disfiguring and worth keeping, remains a mystery.

Tacita Dean: Die Regimentstochter

Steidl

Prior to a controversial gallery renovation, Tacita Dean documents the brown and beige jute walls, carpeted floor and other decor of the Hessisches Landesmuseum in Darmstadt, which houses the famous seven-room installation Block Beuys, 1970-86 by Joseph Beuys. Opponents of the renovation cite the importance of entropy in Beuys' work.

Tacita Dean: Darmstädter Werkblock

Steidl Photography International

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