A new reading of Warhol presents his life and work in the context of contemporary concerns, emphasizing his continued relevance in the digital age.\nAs an underground art star, Andy Warhol was the antidote to the prevalent Abstract Expressionist style of the 1950s. His work in advertising, fashion, film, and music videos featured popular everyday subjects, openly acknowledged wide-ranging influences, and had a fascination with popular culture.\nLooking at his background in an immigrant family, ideas of death and religion, sexuality, and ambition to push traditional artistic boundaries, the book reveals Warhol as an artist who succeeded and failed in equal measure and who embraced the establishment while cavorting with the underground. It explores Warhol's flirtation with the commercial world of celebrity alongside his socially engaged collaborations and advocacy of alternative lifestyles. Including many iconic as well as lesser-known works, this book highlights Warhol's conceptual ambition within the shifting creative and political landscape, permitting a broad view of how Warhol, and his work, mark a period of cultural transformation.

Andy Warhol

Arts & Photography

Dziewior, Yilmaz

Muir, Gregor

Individual Artists

Rizzoli Electa

Richard Phillips

Richard Phillips makes fairly realistic oil paintings of imagery borrowed from pornographic magazines, fashion rags, contemporary artworks, newspapers, and other common visual media. Bold, heavy, and unabashedly lacking in subtlety, Phillips's paintings splash nudie shots of spread-eagled women, head shots of fashion models in bizarre sunglasses and headgear, kitschy furballs of kitten cuteness, and details of art pieces like Jeff Koons's Michael Jackson (sans Bubbles) sculpture across gargantuan canvases, inevitably stunning the viewer for the time it takes to absorb such a wide swath of appropriated appropriation. Exceptional works include a spurting crotch shot entitled Negation of the Universe as a riff on Courbet's Origin of the World, and a horizontal portrait of President George Bush, bordered on either side by thick panels of hot pink, creating a brash new flag for the United States that is strangely reminiscent of Canada's.

Hatje Cantz Publishers

The city of Hamburg provided the Galerie fr Landschaftskunst and the Kunstverein in Hamburg with an ideal example of an urban metropolis for a joint project entitled Mapping a City: Hamburg Cartography. In a series of works devoted to the exploration of urban space, international artists investigated ideas about nature and landscape.

Mapping A City: Hamburg-Kartierung

Collections, Catalogs & Exhibitions

GOD IS DAD. That was the title of Sarah Lucas's last show in New York, in which the pun-prone artist assembled an array of sculptures constructed from cast concrete forms, tacky beige nylon stockings and random metal objects. These typically abject art pieces fit right into the body of work Lucas has been building since the early 1990s from apparently banal, everyday materials. Old, worn furniture, clothing, food, newspapers, cigarettes, cars, resin, plaster, neon lamps and light fixtures combine to form grungy assemblages whose appearance belies the serious and complex subject matter they address. Through the slyly anthropomorphic character of her sculptures, Lucas makes constant reference to the human body, questioning gender definitions and challenging male-dominated culture, especially that espoused by the sensationalist British press. She subverts sexual stereotypes in her appropriations of the tabloid vernacular and by making unexpected juxtapositions of objects, often employing visual wit and a defiant, bawdy humor. Her most iconic work, "Two Fried Eggs and a Kebab," which was included in the landmark Sensation exhibition in 1999, bears this out with a nasty wink: The title, which precisely describes the materials from which the piece was made, is slang for, well... just look it up. This extensive, large-format catalogue comprehensively tracks the career of one of the leading figures in an outstanding generation of British artists. Lucas, who first came to attention as a YBA (Young British Artist) in the 1990s, is here granted her first major exhibition survey. Included in this accompanying publication is documentation of key works, plus new work made especially for the Tate Liverpool. It is the most comprehensive publication on the artist to date.

Sarah Lucas: A Catalog Raisonné

Reference

Robert Kusmirowski

At first glance, this young Polish artist's sculptures and installations seem to be readymades, but on closer inspection they are three-dimensional trompe l'oeil objects of paper, wood, cardboard and Styrofoam, replicas of everything from communist-era artists' studios to full-size train cars, with a specialty in any documents those scenes might require, from newsprint to government paperwork. Kusmirowski works not only in prints, objects and spaces, but also in complex actions--in 2003 he rode a 1920s bicycle from Paris to Leipzig, documented the tour in photographs, antiqued the prints and then exhibited an unusable reproduction of the bicycle with the photographs and his own drawings, yellowed in order to simulate newspaper articles on the various stages of the tour. He explains the roots of this work in communist Poland: "There was nothing in kiosks, and also we lacked money--one had to Îorganize' toys for oneself." In 2003, he was named Poland's top emerging artist, and he is represented by Andrew Kreps Gallery in New York. This book documents all of Kusmirowski's exhibitions through 2005.

Cichocki, Sebastian

Willie Doherty works in photography, video and sound, reflecting back a world shaped by television, film and real and imagined collective memory--by the nightly news, movie fantasies and advertising. He balances on the narrow threshold between the documentary and the staged, questioning his chosen media's inherent claims to truth. His pieces, many of which reflect on life in his native Northern Ireland, have appeared at Paris's Centre Georges Pompidou, the Liverpool Tate Gallery and the Walker Art Center, Minneapolis. Doherty, born in Derry in 1959, was nominated for the Turner Prize in 1994 and 2003, and represented Ireland at the 1993 and 2007 Venice Biennales. Willie Doherty documents the entirety of his film and video work, now in one place for the first time.

Willie Doherty

McKee, Francis

Mühling, Matthias

Hatje Cantz

Bartana's works reflect the relationship between the individual and society while taking into consideration the specific political situation in her homeland, Israel. This publication contains an extensive visual and written presentation of all of the artist's works, as well as a complete videography.

Yael Bartana

Behm, Meike

Eilat, Galit

Ninio, Moshe

Birkenstock, Eva

Light wear to cover. Shipped from the U.K. All orders received before 3pm sent that weekday.

Art Now

Verwoert, Jan

Larsen, Lars Bang

Ribettes, Jean-Michel

Stange, Raimar

Titz, Susanne

Wege, Astrid

Blase, Christiph

History & Criticism

Taschen America, LLC

Whether tattooing a garder-belt onto her thigh before a live audience or wedging her body into the recesses of urban architecture, Valie Export has combated patriarchal structures and cast off inhibitions throughout a career that has consistently refused to conform to any one genre. Perhaps best known for her early experimentations in expanded cinema and her performances of feminist Media Aktionism, Export has amassed a vast oeuvre spanning feature film, digital photography, sculpture and installation. Archive amasses all of this material and more, excavating Export’s own collection of documentation, preparatory drawings, scripts, posters, Polaroids, newspaper clippings and correspondence to provide an unprecedented overview. Each step of the creation process for iconic pieces such as “Tap and Touch Cinema,” “Action Pants: Genital Panic” and “BODY SIGN ACTION” are explored along with never-before-seen art objects and brand new pieces, making this volume the definitive Valie Export anthology.

Valie Export: Archiv

Thaler, Jürgen

Kunsthaus Bregenz

Despite her years of work and influence as one of the world's leading choreographers, dancers and filmmakers, Yvonne Rainer (born 1934) has until now not received the retrospective exhibition in Europe that her career deserves. Yvonne Rainer: Space, Body, Language is published for exhibitions at the Kunsthaus Bregenz and the Museum Ludwig, Cologne, and covers the full spectrum of her work, starting from her foundational New York dance works such as The Mind Is a Muscle (1968), which created a new physical language out of everyday gestures and humdrum objects such as mattresses, barbells and bubblewrap. Moving to her political and feminist films between 1976 and 1996, which took the filmic montage features of her dance (and her incorporation of filmed actions of hands and volleyballs in her performances) to their next level, Space, Body, Language brings us up to the present with Rainer's return to choreography in 2000 and such recent compositions as Assisted Living: Good Sports 2 (2011) and Spiraling Down (2008). This catalogue presents previously unseen documentation of stage works, notebooks, an astonishing number of dance scores, scripts, movie and exhibition posters and a carefully compiled appendix, as well as essays by Douglas Crimp, Gabriele Brandstetter, Carrie Lambert-Beatty, Volker Pantenburg, Catherine Wood and editors Yilmaz Dziewior and Barbara Engelbach.

Yvonne Rainer: Space, Body, Language

Engelbach, Barbara

Performing Arts

Kunsthaus Bregenz/Museum Ludwig, Cologne

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