Donald Barthelme (Routledge Library Editions: Modern Fiction)

Literature & Fiction

DURAND, Régis

Couturier, Maurice

History & Criticism

Routledge

Originally trained as a sculptor, Thomas Demand approaches photography as a means of preserving ephemeral paper constructions but inevitably the camera becomes central to his creative process. At first glance, Demand's works seem to present fragments of a hyperreal and familiar place but, before long, they reveal their true identity: a wholly artificial world reduced to generic forms. Large immaculate photographs of interiors and architectural exteriorsa world peopled with inanimate objects and bathed in uniform lightingare mounted on Plexiglas, which underscores the materiality of the photographic object. For each of his reproductions, Demand constructs life-size models using paper and cardboard, and these forms always allow signs of their true nature to show through. 50 color illustrations.

Thomas Demand

Arts & Photography

Bonami, Francesco

DEMAND, THOMAS

Individual Artists

Thames&Hudson

Since her earliest photographs in the 1970s, Cindy Sherman has built a name as one of the most respected photographers of our day. Famous for posing as the subject of her own photos, Sherman's work addresses the role of the artist, the impact of the media upon the art world and the position of women in society. Organized in a roughly chronological path by theme, Cindy Sherman provides a comprehensive review of the artist's complete works, including her Bus Riders, Murder Mystery, and Untitled Film Stills series, and photographs on topics ranging from surrealist pictures, fairy tales, rear screen projections, the Old Masters, centerfolds, pink robes, clowns, dolls, and Hollywood. Fascinating archival material includes a notebook of personal snapshots that Sherman kept from an early age, on which she would circle herself and label each one: "That's Me." This monograph is the catalogue for an international exhibition that will be held in Paris, Denmark, Austria, and Berlin from 2006 through 2007.

Cindy Sherman

Mulvey, Laura

Criqui, Jean-Pierre

History

Flammarion

L' Organisation Pirate: Essai sur l'Evolution du Capitalisme

Politics & Social Sciences

Vergne, Jean-Philippe

Social Sciences

BORD DE L EAU

Erwin Wurm is a sculptor who does not mold clay, chisel stone, or carve wood. Instead, he provides objects such as pullovers, brooms, and boxes to spectators who are then meant to do something with these objects. The resulting situations, in which a person pulls on a pullover, or balances a broom, or puts a box over her head, are grotesque, unstable, and very temporary, and all that remains of them afterwards are photographs and videos of their short life. In dynamic works such as these, which Wurm collectively titles "One Minute Sculptures," the very concept of sculpture is challenged and expanded, continuing a line of inquiry begun with Marcel Duchamp's ready-mades and furthered by Bruce Nauman and Gilbert & George's performative sculpture works. Wurm is similarly concerned with reinvigorating the static, unchanging art object by introducing ideas of process, action, and the living body, but he adds an element of time to the mixture, insisting on spontaneity, brevity, and endless permutations. Fat Survival provides a broad survey of Wurm's oeuvre from the early 1990s to the present.

Erwin Wurm: Fat Survival

Weibel, Peter

Weiermair, Peter

Wurm, Erwin

Damianovic, Maia

Hatje Cantz Publishers

Video artist Michal Rovner's unique and ever-expanding alphabet is built of tiny depictions of the human figure. Fields documents her work in this vein over the past three years, including Data Zone, which combines the sculpture and video from her acclaimed solo exhibition in the 2003 Venice Biennale; documentation of the video installation Time Left; works from the project In Stone, including stone moving "texts;" and notebook vitrines. Her recent collaboration with the composer Heiner Goebbels, Fields of Fire, which was made following a trip to Kazakhstan, depicts oil-field fires in a landscape that recalls both the fluid ink brush of the Soong and T'ang dynasty and the hyperkinetic pen of the seismograph: the notion of landscape is transformed from the symbol of constancy to an engine of metamorphosis.

Michal Rovner: Fields

Lotringer, Sylvère

Omer, Mordechai

Steidl

Valérie Belin's images avoid simple representation or description, although she often photographs simple objects--glasses, silverware, or cars--or slightly less simple ones such as Venetian mirrors or animal carcasses. Each picture attempts both to unveil the very essence of its subject and to delve into the deepest secrets of matter and light, almost independent of the subject. This comprehensive retrospective includes explicit studies of bodybuilders, demure ones of Moroccan brides and bold work on what Belin calls "hybrid entities," such as transsexuals, Michael Jackson look-alikes and the mannequins in shop windows. Belin was born in 1964 in Paris. She has pursued her own artistic practice since the early 1990s. Her work is in the collections of The Museum of Modern Art, New York, among other major international museums. She lives and works in Paris.

Valérie Belin: Complete Work

Herschdorfer, Nathalie

Barents, Els

Steidl/Huis Marseille, Amsterdam

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