The Art of David Ireland: The Way Things Are

Widely recognized as one of the West Coast's most important and critically acclaimed practitioners of conceptual and installation art, David Ireland (born 1930) has taken the concept of art itself as one of his subjects. A self-described "post-discipline" artist, guided by Zen thought and postmodern aesthetics, Ireland moves fluidly from making small drawings to creating sculptures as large as houses. Freely incorporating anything within his conceptual or physical reach―dirt, concrete, wire, and other everyday materials―his work is subtle, puzzling, and witty, and consistently challenges traditional definitions of art. In this book accompanying the first full-scale retrospective of Ireland's work, curator and author Karen Tsujimoto provides an insightful overview of more than thirty years of the artist's accomplishments, from his drawings, sculptures, and site-specific installations to his remarkable series of architectural transformations, including his well-known house at 500 Capp Street in San Francisco. Chronicling Ireland's circuitous route to his calling, Tsujimoto explores how key life experiences have influenced his artistic perspective―from his early art-student days, through his years as an African importer and safari guide, to his long-standing interest in Eastern, and particularly Zen, philosophy and his deep connections with the San Francisco Bay Area conceptual art community. An illuminating essay by art historian and curator Jennifer R. Gross also considers Ireland's art in terms of historical materialism―assessing his use of neglected materials and artifacts as a process of cultural preservation.

Arts & Photography

Tsujimoto, Karen

Gross, Jennifer

History & Criticism

University of California Press

Art for Obama: 2011 Wall Calendar

Fairey, Shepard

Universe Publishing

Few events in recent memory have captivated the world’s attention like that of Barack Obama’s historic presidential campaign. Not only did it stir passionate political momentum, but it also inspired the creative talents of a world of artists, illustrators, and graphic designers. Shepard Fairey’s iconic Hope portrait became the face of the campaign and, more than ever before, innovative graphic design became a central strategy for winning the race. Comprised of collages, paintings, photo composites, prints, and computer-generated pieces, Art for Obama showcases the well-known images of the campaign as well as less famous but equally creative pieces from around the globe. This is a volume for design and art aficionados, as well as supporters of the 44th President of the United States who want a keepsake as uncommon as his extraordinary campaign.

Art for Obama: Designing the Campaign for Change

Harry N. Abrams

Surge and Shadow presents ambitious new work by Kristin Baker, formerly best known for her critically-acclaimed paintings of automobile racing. In the large-scale acrylic paintings on PVC gathered here, Baker riffs on very different subject matter: historical paintings ranging back from the New York School to encompass nineteenth-century Romanticism and history painting. In this body of work, one senses the sweeping dramatic symphonies and tragic wreckages of Turner and the Romantic painters of the early nineteenth century so that Baker's crashing colors gain impact from the heft of her materials and technique, unleashing a "visual force field that absorbs the viewer in the passion of the moment," according to Yale University Art Gallery's Jennifer Gross. Also included are Baker's recent explorations of freestanding painting-constructions that approach sculptural dimensions. Kristin Baker attended the School of the Museum of Fine Arts, Boston and received her MFA from Yale University in 2002. Deitch Projects presented her first solo exhibition, Flat Out, in New York in September of 2003.

Kristin Baker: Surge and Shadow

Individual Artists

Deitch Projects

"I Am Jennifer" is the story of a personal journey from daddy's favourite son to mature woman in an environment of conservative Christian fervor. A study of Gender identification taken from a different point of view.

I Am Jennifer: Not the Boy I Thought I Was Supposed to Be

Literature & Fiction

iUniverse

From 1996 to 1999 Richard Tuttle worked for the Kunsthaus Zug, in Switzerland, in an endeavor to provide the institution's collective activities with a new orientation. To this end, Tuttle created four rather different large works that referred to the space of the museum as a whole as well as its immediate surroundings. Astounding in view of Tuttle's body of mostly small and delicate work, these tailor-made objects redefine the space which they inhabit. The works also act in dialogue with each other: Replace the Abstract Picture Plane IV, for instance, consists of no less than forty parts whose asymmetrical arrangement on the first two floors of the southern wing respond to the spiral shape of the green snake located in the northern wing. Conceived by Tuttle, this new monograph constitutes a work of art in itself, and represents a pioneering step in collaborations between artists and museums. Also presented here is a photographic essay by Guido Baselgia, who viewed and documented Tuttle's work at Zug for the duration of its three-year stay.

Richard Tuttle: Replace The Abstract Picture Plane

Tuttle, Richard

Hatje Cantz Publishers

The publication will include essays devoted either to particular problems within the artist-run organization or essayistic comparative studies. The conference organized in 2017 with the participation of scholars such as Maria Gough, Rebecca Uchill as well as Julian Myers and Joanna Szupińska was serving as a starting point for the development of its content. Besides, we have invited Masha Chlenova, Sandra Loschke, two former YUAG curators, Jennifer Gross and Frauke Josenhans, as well as several Polish authors to contribute to this publication. In total, we are planning to publish thirteen texts in two separate, Polish and English, versions. Both will contain, besides the mentioned texts, a selection of source materials, iconographical and textual. The publication will include essays devoted either to particular problems within the artist-run organization or essayistic comparative studies. The conference organized in 2017 with the participation of scholars such as Maria Gough, Rebecca Uchill as well as Julian Myers and Joanna Szupińska was serving as a starting point for the development of its content. Besides, we have invited Masha Chlenova, Sandra Loschke, two former YUAG curators, Jennifer Gross and Frauke Josenhans, as well as several Polish authors to contribute to this publication. In total, we are planning to publish thirteen texts in two separate, Polish and English, versions. Both will contain, besides the mentioned texts, a selection of source materials, iconographical and textual.

The Avant-Garde Museum: Ausst. Kat. Muzeum Sztuki, Lodz 2021/2022

Gough, Maria

Chlenova, Mascha

Josenhans, Frauke

Loschke, Sandra

Muzyczuk, Daniel

Uchill, Rebecca

Verlag der Buchhandlung Walther Konig

Laura Owens is among a select group of artists credited with the rebirth of American painting. She has developed a style all her own, moving from landscape to abstraction in energetic thick brushstrokes, fanciful childlike doodles, or sophisticated fine line drawings. "Each painting can act as a question," she says, and, demonstrating a wide and imaginative range, she constantly experiments and redefines her work. "Ultimately, you want to make the painting that you want to be with, not one that is constantly telling you everything it knows. Who wants to be with something or someone like that? It's more fun to be with someone who is willing to go out on a limb." This book is designed by Owens herself, and accompanies an exhibition at the Isabella Stewart Gardner Museum in Boston. Along with paintings from the show, it includes new drawings made exclusively for the publication, as well as several textile works from the museum's collection that inspired her during her residency of Spring 2000.

Laura Owens

Charta

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Books by Gross, Jennifer