Kai Althoff stages ceramic works by modernist potter Bernard Leach in poetical mise-en-scènes at the Whitechapel Gallery 
German artist Kai Althoff (born 1966) is renowned as a figurative painter and creator of all-encompassing poetic environments that incorporate textiles, photographs, drawings and artifacts. Althoff draws from a wide range of literary, cultural and artistic influences in his work, and for his unique display at Whitechapel Gallery in London he pays tribute to British potter Bernard Leach (1887–1979), selecting around 20 of Leach’s ceramic vessels and tiles from the 1920s onward to be displayed in specially designed vitrines.\nAs a counterpoint to Leach’s own work, Althoff presents his own new paintings and sculptural installations, as well as recent pieces that bring together fabrics, found material and paintings inspired by Japonisme.

Kai Althoff Goes with Bernard Leach

Arts & Photography

Halbreich, Kathy

Eichler, Dominic

Tyas, Matthew

Podlatchikov, Iouri

Collections, Catalogs & Exhibitions

Whitechapel Gallery

"From the beginning I was trying to see if I could make art that did that. Art that was just there all at once. Like getting hit in the face with a baseball bat. Or better yet, like getting hit in the back of the neck. You never see it coming; it just knocks you down. I like that idea very much: the kind of intensity that doesn't give you any trace of whether you're going to like it or not."â€”Bruce Nauman
"Bruce Nauman's art is about heightened awareness, awareness of spaces we usually don't notice (the one under the chair, out of which he made a sculpture) and sounds we don't listen for (the one in the coffin), awareness of emotions we suppress or dread... It's hard to feel indifferent to work like his."â€”Michael Kimmelman, New York Times
One of America's most important artists, Bruce Nauman has worked in a dazzling variety of media since the mid-1960s: sculpture, photography, performance, installation, sound, holography, film, and video. What has been a constant throughout his career, however, is his persistence in exploring both art as an investigation of the self and the power of language to define that self.
The latest volume in the acclaimed Art + Performance series is the first book to combine the key critical writings on Nauman with the artist's own writings and interviews with him, as well as images of his work. Bruce Nauman offers a multifaceted portrait of an artist whose determination to experiment with style and form has created a body of work as eclectic and perhaps more influential than that of any other living American artist.

Bruce Nauman

Benezra, Neal

Nauman, Bruce

Distributed Art Pub Inc

Bruce Nauman's art has ranged across a variety of media that includes drawings, sculpture, performance, photography, neon, film, video, holograms, texts, and large-scale mixed media installations. This book features a comprehensive catalogue raisonne with illustrated entries for more than five hundred works, including films, videos, performances, and photographic pieces.

Bruce Nauman: Exhibition Catalogue and Catalogue Raisonne

SCHIMMEL, PAUL

Individual Artists

With the hotly discussed resurgence of painting at the dawn of the new century, it is clear that reports of the medium's death have been greatly exaggerated. "Painting at the Edge of the World" explores the possibilities of a redefinition and ''hybridization'' of painting begun in the 1960s, examining the manifestations of these new artistic vistas in the present day. This full-color catalogue features illustrations and a variety of critical texts by some of the most exciting established and emerging critical voices working today, in addition to work by an international and intergenerational group of artists hailing from places as diverse as Brazil, Ethiopia, Germany, South Africa, Scotland, Japan, Belgium, Iran, Italy, and the United States. Designed in two sections--a gatefold plate section containing reproductions of the work, and a french-folded section containing critical essays--the book brings together a wide range of contemporary views on painting from a diverse array of disciplines, including the visual arts, film, architecture, design, and music in an attempt to assess the relevance of painting in the contemporary global context. In addition, "Painting at the Edge of the World" includes documentation of each artist's work and an examination of their artistic methodology. Essays by: Daniel Birnbaum, Paulo Herkenhoff, Midori Matsui, Jorg Heiser, Frances Stark, Andrew Blauvelt, Reindaldo Laddaga, Yves-Alain Bois, Helio Oiticica, Takashi Murakami, Mike Kelley, and Cuauhtemoc Medina. Introduction by Douglas Fogle. Featuring artworks by: Franz Ackerman, Haluk Akakçe, Francis Alÿs, Kevin Appel, Marcel Broodthaers, John Currin, Marlene Dumas, Andreas Gursky, Eberhard Havekost, Arturo Herrera, Mike Kelley, Martin Kippenberger, Udomsak Krisanamis, Jim Labie, Margherita Manzelli, Paul McCarthy, Lucy McKenzie, Julie Mehretu, Takashi Murakami, Nader, Chris Ofili, Helio Oiticica, Michael Raedecker, Thomas Scheibitz, Rudolph Stingel, Hiroshi Sugito, Paul Thek, and Richard Wright. Paperback, 6.5 x 9 inches, 256 pages, 175 color illustrations.

Painting at the Edge of the World

Matsui, Midori

History & Criticism

Walker Art Center

The rise of globalism has created tremendous challenges to old economic, political, and cultural paradigms, changes that are increasingly reflected in diverse artistic practices across the planet. If disciplinary boundaries are now crossed as easily as geographic ones, how does the new internationalism that we are facing affect aesthetics and artistic production? Is there a link, for example, between the rise of video works and the global availability of digital media? Does the global information age facilitate an international language of art and an alternative reading of history, from art history toward art histories? From the perspective of a museum of modern and contemporary art--a purely European construct--the art institution has to overcome a major contradiction, one that exists between its mission of permanence and its mission of change. How can cultural institutions contribute to the revamping of their own structures now that the hegemony of Western modernity is being challenged? How can museums connect with new audiences through different practices, different scholarships, and different interpretive strategies that grow out of the sedimentation of their own history? To invite and encourage such dialogue, How Latitudes Become Forms looks at current scholarship on globalism and changing curatorial practices, and identifies critical models provided by artists themselves, featuring thought-provoking essays and conversations by curators, critics, and cultural programmers from across the world, as well as multidisciplinary artworks by more than 40 artists from Brazil, China, India, Japan, South Africa, Turkey, and the United States. Edited by Philippe Vergne.Essays by Paulo Herkenhoff, Hidenaga Otori,and Hou Hanru. Introduction by Kathy Halbreich. Conversations with Cuauhtemoc Medina & Vasif Kortun, Kathy Halbreich & Vishakha Desai, Steve Dietz & Raqs Media Collective, Philip Bither, Baraka Sele and Philippe Vergne. Paperback, 9 x 11 in., 336 pages, 250 color & 16 b/w illustrations

How Latitudes Become Forms: Art in the Global Age

Vergne, Philippe

Herkenhoff, Paulo

Hou Hanru

Process in Architecture: A Documentation in Six Examples

Laver, Lance

Anderson, Lawrence B.

Halasz, Imre

Architecture

Massachusetts Inst Technology

Affinities: Myron Stout Bill Jensen Brice Marden and Terry Winters

Against Nature: Japanese Art in the Eighties [Paperback] [Jan 01, 1989] Osaka, Eriko (ed.) ...

Against Nature: Japanese Art in the Eighties

In a time which one critic characterized recently as "the era of the curator," it is not only relevant but absolutely necessary to thoroughly question the current state of curatorial practice, its professional values, and the assumptions implicit in them. "Curating Now" gathers together the thoughts of a diverse group of internationally recognized, influential curators, comments presented for the benefit and examination of their peers at a weekend-long symposium held in October 2000. Questions regarding curatorial power and authorship, as well as how external pressures and challenges shape exhibitions, were addressed by participants including Robert Storr, Senior Curator, The Museum of Modern Art, New York; Thelma Golden, Deputy Director of exhibitions, the Studio Museum in Harlem, New York; Hans-Ulrich Obrist, Curator, Musee d'Art Moderne de la Ville de Paris; and Nicholas Serota, Director, Tate Gallery, London. Edited by Paula Marincola. Essays by Kathy Halbreich, Dave Hickey, Robert Storr. Foreword by Marian Godfrey.  6 x 9.5 in. 21 b/w illustrations

Curating Now: Imaginative Practice/Public Responsibility

Hickey, Dave

Univ of the Arts Philadelphia

Sigmar Polke Alibis 1963-2010 /anglais

Tate

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