"Unmonumental: The Object in the 21st Century" is the first exhibition in the "Unmonumental" cycle, and explores the reinvention of sculptural assemblage. Using found, fragmented, and discarded materials, the works of the artists on view make a case for modesty, informality, and improvisation. The exhibition includes more than one hundred objects by thirty artists who represent a wide range of backgrounds and artistic strategies.

Unmonumental

Arts & Photography

Smith, Trevor

Hoptman, Laura

Gioni, Massimiliano

Flood, Richard

Collections, Catalogs & Exhibitions

Phaidon Press

Brazilian artist Rivane Neuenschwander (born 1967) joyously embraces all genres from painting and sculpture to film and photography, installation and collaborative actions. Whether gathering anonymously created objects from bars and restaurants, or installing continually dripping buckets in a forest, her art is ultimately about being alive and responsive. Some of Neuenschwander's best-known works are collaborations with the public: "I Wish Your Wish" enables visitors to select from hundreds of wishes those they hope will come true, in exchange leaving new wishes behind; in "First Love," visitors are invited to describe the face of their first love to a forensic artist. A Day Like Any Other is the artist's first full-length monograph.

Rivane Neuenschwander: A Day Like Any Other

Thomas, Rachael

Raymond, Yasmil

Herkenhoff, Paulo

Larsen, Lars

History & Criticism

Editora Cobogó

Edited by Douglas Fogle. Contributions by Deepali Dewan. Text by Richard Flood.

No Place (Like Home)

Walker Art Center

Artwork by Robert Gober. Text by Gary Garrels, Ann Temkin, Richard Flood.

Robert Gober: Sculpture And Drawing

GARRELS, Gary

Temkin, Ann

Individual Artists

Photography has become an increasingly pervasive medium of choice in contemporary art practice and is even employed at times by artists who do not necessarily consider themselves to be photographers. How did this come to be? The Last Picture Show will address the emergence of this phenomenon of artists using photography by tracing the development of conceptual trends in postwar photographic practice from its first glimmerings in the 60s in the work of artists such as Bernd &amp; Hilla Becher, Ed Ruscha and Bruce Nauman, to its rise to art-world prominence in the work of the artists of the late 70s and early 80s including Sherrie Levine, Richard Prince and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the checklist will include a wide array of works examining a range of issues: performativity and photographic practice; portraiture and cultural identity; the formal and social architectonics of the built environment; societal and individual interventions in the landscape; photography's relationship to sculpture and painting; the visual mediation of meaning in popular culture; and the poetic and conceptual investigation of visual non-sequiturs, disjunctions and humorous absurdities. Bringing together a newly commissioned body of scholarship with reprints of important historical texts, The Last Picture Show seeks to define the legacy that has produced a rich body of photographic practice in the art world today.

The Last Picture Show: Artists Using Photography 1960-1982 (WALKER ART CENT)

WEISS, David

Graham, Dan

Beuys, Joseph

Baldessari, John

Dibbets, Jan

Nauman, Bruce

Anselmo, Giovanni

Gronnert, Stefan

Lee, Pamela

Batchen, Geoffrey

Fischli, Peter

Bochner, Mel

Charlesworth, Sarah

Export, Valie

Acconci, Vito

Ader, Bas Jan

Boltanski, Christian

Broodthaers, Marcel

Kruger, Barbara

Oppenheim, Dennis

Lewitt, Sol

Graffiti is generally dismissed as a form of urban vandalism, but in the late 1970s art collectors and museums began to look on graffiti as a genre worthy of serious aesthetic consideration. This survey discusses the graffiti work of artists including Lee Quinones, Jenny Holzer and Kenny Scharf, and includes Henry Chalfant's meticulously photographed reproductions of the work. Richard Flood, Curator for the Walker Art Center and of this exhibition, offers his meditations on the complex aesthetic and sociological issues generated by graffiti.

Rapid Enamel

Renaissance Society

Selected as the United States representative to the 2001 Venice Biennale, the sculptor and installation artist Robert Gober has, thanks to several major museum exhibitions in recent years, established himself as perhaps the most important artist of his generation, thanks to his symbolically charged re-creations of everyday objects that he makes into installations that question the ideals and values of childhood, family, home, and religion. This catalogue presents his work for the United States pavilion at the Biennale.

Robert Gober

Tate Gallery Publishing Ltd

Separately renowned in their respective mediums of film and painting, Harmony Korine and Rita Ackermann meet in their mutual affection for unorthodox, mischievous beauty, and more specifically in the creation of psychologically jarring figures amplified through fragmented narratives. Shadowfux documents the artists' first collaboration. Taking Korine's recent film Trash Humpers (2009) as its point of departure, it features large-scale works in which Ackermann and Korine have collaged, painted and drawn over stills of the film's beguiling young bodies with old faces. Generated through a call-and-response method, Shadowfux illustrates the importance of cutting to both artists' works. Additionally, it presents short texts by Korine, as well as previously unpublished deleted scenes from Trash Humpers. Accompanying the artists' works are short illustrative texts by exhibition curator Gianni Jetzer, curators Richard Flood and Piper Marshall, and critics Antoine Catala and Cameron Shaw.

Rita Ackermann & Harmony Korine: Shadowfux

Shaw, Cameron

Jetzer, Gianni

CATALA ANTOINE

Marshall, Piper

Swiss Institute/Agnès b.

Brings together works from one of the most important private collections of modern and contemporary art, the D.Daskalopoulos Collection with key pieces from the Scottish National Gallery of Modern Art, providing a new context for both collections.

From Death to Death and Other Small Tales: Masterpieces from the Gallery of Modern Art and the D. Daskalopoulos Collection

Hartley, Keith

Askew, Lucy

National Galleries Of Scotland

Matthew Barney: Pace Car for the Hubris Pill

Wakefield, Neville

Distributed Art Pub Inc

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Books by Flood, Richard