Andy Coolquitt makes objects and environments that exist in symbiosis with human relationships. During the 1990s, his life and work revolved around an expansive studio/artist commune/performance space/living sculpture/party place on the east side of Austin, Texas, where he continues to live, work, and host events. Intrigued by social contracts, Coolquitt creates artwork that facilitates conversation and interaction, augmenting the energy and frictions generated by individuals forming a community. He chooses materials that show the wear and tear of practical use, and, over the years, he has refined an artistic practice based on the collection, study, and reuse of things scavenged from the streets around him. Since his 2008 solo exhibition iight in New York City, Coolquitt's work has gained a wide national and international audience.
Andy Coolquitt is the first comprehensive monograph on the artist's work. Published in conjunction with a solo museum exhibition at Blaffer Art Museum, this volume displays the full range of Coolquitt's work over the past twenty-five years, including images of site-specific installations that no longer exist. Accompanying the color plates are an introduction and chronology of the artist's work by exhibition curator Rachel Hooper, an essay tracing Coolquitt's connections to other contemporary artists and designers by Frieze magazine senior editor Dan Fox, an in-depth exploration of Coolquitt's concepts and process by art writer Jan Tumlir, an interview with Coolquitt by director and chief curator of White Columns Matthew Higgs, and Coolquitt's biography and bibliography.

Andy Coolquitt

Arts & Photography

Fox, Dan

Higgs, Matthew

Tumlir, Jan

Blaffer Art Museum

Hooper, Rachel

Individual Artists

University of Texas Press

A fascinating history of the explosive convergence of avant-garde art and rock music The dynamic relationship between rock music and visual art crosses continents, generations, and cultures. Beginning with Andy Warhol’s involvement with The Velvet Underground in 1967, artists have maintained a strong connection to rock. Artists such as Slater Bradley, Mike Kelley, and Raymond Pettibon have created album covers and music videos for rock bands, while rock musicians such as Bryan Ferry, John Lennon, and Peter Townsend have emerged from art schools, and punk and new wave bands such as Talking Heads and Sonic Youth have shared the same social and artistic milieu as artists including Robert Longo and Richard Prince.
Sympathy for the Devil: Art and Rock and Roll Since 1967 looks at the intimate and inspired relationship between the visual arts and rock-and-roll culture, charting their intersection through works of art, album covers, music videos, and other materials. Organized regionally by cultural centers including London, New York, Los Angeles, and Cologne, the essays examine rock and roll’s style, celebrity, and identity politics in art; the experience, energy, and sense of devotion rock music inspires; and the dual role that many individuals play in both the sonic and visual realms. Presenting work that defies a more literal interpretation of the theme and instead suggests the style, energy, and attitude that has come to be associated with rock and roll, this fascinating volume is essential for admirers of contemporary art and culture.

Sympathy for the Devil: Art and Rock and Roll Since 1967

Graham, Dan

Diederichsen, Diedrich

Nickas, Bob

KELLEY, MIKE

Hell, Richard

Molon, Dominic

Koether, Jutta

Elms, Anthony

History

Yale University Press

Christian Marclay is a New York-based, Swiss American artist who emerged in both the contemporary art and music scenes during the 1980s. He works across numerous visual media - sculpture, installation performance, found objects and collage - along with music and its artifacts, to create a unique, multidisciplinary art. Also a respected composer and DJ. he has collaborated with John Zorn and Elliott Sharp, among many others. In his visual works he sometimes simply evokes the memory of music, as in The Beatles (1989), a pillow crocheted out of Beatles audio tapes. Elsewhere he examines the cliched images of music-making, for example those found on LP record covers, charismatic, classical music conductors, smiling Easy Listening girls and sultry rock stars. These are then carefully sewn together to form hybrid figures echoing the splicing of the music itself (Body Mix, 1991-93). Marclay has presented his unique sound-and-vision works at the Whitney Biennial, New York, 1991 and 2002, and at the Venice Biennale, 1995 and 1999, among many other key international exhibitions. A major travelling retrospective of his work originated at teh Hammer Museum, Los Angeles, in 2003 and ended its tour at the Barbican Art Gallery, London, in 2005. The highlight is his tour de force, Video Quartet (2003), a four-screen installation largely combining Hollywood film clips associated with music, edited together with virtuoso precision.

Christian Marclay (Phaidon Contemporary Artists Series)

GORDON, Kim

González, Jennifer

History & Criticism

Phaidon Press

A personal encounter with 50 of the world's most significant contemporary artists, this book draws together the full texts of the complete Phaidon interviews. From highly established artists Louise Bourgeois and Alex Katz, to midcareer masters Richard Prince and Mike Kelley, this is a comprehensive look at contemporary art today.

pressPLAY: Contemporary Artists in Conversation

Taylor, Mark C.

Sharp, Amanda

This expanded edition of Gregory R. Miller's hugely successful first-ever monograph on Marilyn Minter from 2007 brings her public up to speed with the inclusion of works created over the past three years, including images from Minter's 2009 video "Green Pink Caviar," shown in New York's Times Square and featured in Madonna's recent Sticky and Sweet concert tour. Minter's ever-expanding reputation was established during the 1980s, when her work engaged formal aspects of painting as well as subject matter that remain central to her practice today. This publication features work from every period of a career that now spans over 40 years, and reproduces in full color nearly every painting Minter has made, along with a wide selection of her painterly photographs of the last several years. It also includes the seminal and haunting Coral Ridge Towers series of black-and-white photos that Minter took of her mother in 1969. Art historian Johanna Burton contributes a substantial essay that analyzes and elucidates all aspects of Minter's work; her text is complemented by a lengthy conversation between Minter and her friend, painter Mary Heilmann, as well as by "Twenty Questions," a project assembled by Matthew Higgs to which a wide range of artists, curators, friends and others with a unique connection to Minter have contributed. The design and production of this expanded edition have been superbly realized by the award-winning New York- and Amsterdam-based design studio, COMA. This monograph firmly establishes Minter's important and central position in contemporary art.

Marilyn Minter

Burton, Johanna

Gregory R. Miller & Co.

The Hayward Gallery's British Art Show, mounted every five years, celebrates the vitality and inventiveness of contemporary British art. British Art Show 5 showcases work by a cross-generational group of artists whose art has made a significant contribution in the five years prior to April 2000. The three selectors--freelance curator Pippa Coles; artist, curator, and writer Matthew Higgs; and artist Jacqui Poncelet--have embarked on an extensive program of research, looking at paintings, sculpture, film, video, installations, photography, and performance in exhibitions and studios all over Britain. This book features full-color illustrations of works in British Art Show 5, along with texts that explore the ideas raised by the exhibition.

British Art Show 5

Godfrey, Tony

University of California Press

Presented in a pseudo-autobiographical style that offers poetic musings to create meandering, off-centered texts, this volume by Frances Stark brings together many of her texts for the first time, including essays on artists and her infamous art + text column. Stark's writing is not specifically located in visual art, but rather rooted in the condition of contemporary life--encountering along the way the literary tradition, music, and philosophy. Often humorous and always highly readable, Stark's Collected Writing also includes facsimiles of The Unspeakable Compromise of the Portable Work of Art as well as specially designed pages by the author, for a truly unique experience in the world of artist's writings.

Frances Stark Collected Writing: 1993-2003

Stark, Frances

Book Works

Inspired by amateur flyers created by fans of indie rock bands, Dave Muller began producing watercolors based on the actual exhibition announcements of artists he admired. Acts of homage, they have never been mere copies. Muller transforms them, always retaining factual information, but subverting and reinterpreting it with wry humor. Simultaneously, Muller has been hosting his much beloved Three Day Weekends--"artist-run, nomadic projects" in which Muller invites artists he likes to exhibit in any space he can find, providing an opening party and refreshments and working collaboratively with each artist to choose pieces for the show. Originally held in his own studio, the TDW has moved around the world with Muller, with events in such cities as London, Tokyo, Athens, and San Francisco, in places as diverse as a freight elevator and a standard gallery. Although they take different forms, Muller's parallel art activities--his drawings and the TDW--are related in terms of the issues they raise: what Muller has referred to as "amorphous authorship," and the identity of artists and how their personas are presented by art world mechanisms and structures.

Dave Muller: Connections

Muller, Dave

Cruz, Amada

Cente for Curatorial Studies

In the summer of 1973, artist Gordon Matta-Clark discovered that the city of New York occasionally auctioned improbably tiny and frequently inaccessible parcels of land created by zoning eccentricities. Fascinated by these spaces, he bought 15 of them (14 in Queens, and one in Staten Island) for between $25 and $75 each, photographed them and collated the photographs with the appropriate deeds and maps. He called the project Fake Estates. Odd Lots: Revisiting Gordon Matta-Clark's “Fake Estates” further documents and advances this seminal work, and accompanies Cabinet magazine's exhibition at the Queens Museum of Art and White Columns in New York. Included here are responses to Matta-Clark's original artwork by 20 contemporary artists including Francis Alÿs, Jimbo Blachly, Mark Dion, Sarah Oppenheimer, Dan Price and Mierle Ukeles. Odd Lots also provides the definitive Fake Estates history, thus adding new dimension to the scholarship on this important artist*all within the spirit of collaboration and experimentation that marked Matta-Clark's short but influential career.

Odd Lots: Revisiting Gordon Matta-Clark's Fake Estates

Finkelpearl, Tom

Kroessler, Jeffrey

Richard, Frances

Cabinet Books/The Queens Museum of Art/White Columns

Martin and Rebecca Eisenberg have been collecting contemporary art for more than 25 years; their collection features major works by artists including Kai Althoff, Jeremy Deller, Peter Doig, David Hammons, Mary Heilmann and many others.

At Home/Not at Home: Works from the Collection of Martin and Rebecca Eisenberg

Collections, Catalogs & Exhibitions

Center for Curatorial Studies, Bard College

See the best price to sell, buy, or rent books by Higgs, Matthew. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Higgs, Matthew