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

Higgs, Matthew

Hell, Richard

Molon, Dominic

Tumlir, Jan

Koether, Jutta

Elms, Anthony

History

Yale University Press

"Lots of painters are obsessed with inventing something," American painter Joan Mitchell (1925–92) said in 1986. "When I was young, it never occurred to me to invent. All I wanted to do was paint." Throughout her life Mitchell remained committed to totally autonomous abstract painting, always driven by this fundamental love for the craft and technique of painting. In a career spanning more than four decades, Mitchell's painting style married the dynamic gesture of the Abstract Expressionists, her generational peers, to a keen sensitivity to natural phenomena such as light and water. Characterized by an intense color palette and fresh gestural energy, often applied on a very large scale, Mitchell’s paintings both sensually seduce and intellectually stimulate viewers. Published to accompany a large-scale survey of Mitchell's painting, Joan Mitchell: Retrospective draws from Mitchell's entire oeuvre, from her early work of the 1950s to her late, multipart works painted in her last years. Both catalogue and exhibition insist on the importance of biography to any retrospective account of Mitchell’s work, and a large part of the exhibition is dedicated to the first extensive public presentation of archival materials from the Joan Mitchell Foundation. Photographs, correspondence and ephemera from the archives are reproduced here, along with an illustrated timeline that relates Mitchell's life to her work. Born in Chicago in 1925, Joan Mitchell studied at Smith College before training at The Art Institute of Chicago. After a fellowship in Paris, Mitchell lived in New York, where she became part of the community of Abstract Expressionist painters. She spent increasing amounts of time in France, eventually moving to Paris in 1959, and remaining there until her death in 1992.

Joan Mitchell: Retrospective: Her Life and Paintings

Arts & Photography

Morris, Laura

Dziewior, Yilmaz

Graw, Isabelle

Okiishi, Ken

MICHAUD, YVES

Individual Artists

Kunsthaus Bregenz

The iconic postpunk band Sonic Youth is famed for blurring musical genres, veering from thundering rock to dismantled experimentalism, and expanding the possibilities of the electric guitar. "What we're doing is always inventing itself. I have no terminology for it," guitarist Thurston Moore observes. Moore and his bandmates Kim Gordon, Lee Ranaldo and Steve Shelley have also, over the course of 27 years since they first started playing together, more quietly engaged in multidisciplinary solo efforts and collaborations with visual artists, filmmakers, designers and other musicians. Numerous artists, from Richard Prince and Raymond Pettibon to Gerhard Richter have contributed artwork for Sonic Youth album covers, and Moore, Ranaldo and Gordon in particular have collaborated with visual artists; but the group has also produced a large amount of great ephemera over the decades. This comprehensive 784-page volume--which includes two 7-inch records with unpublished songs by each member, album covers, band portraits and documentary photos, many of which have never been published before--is a must for fans and anyone wanting to connect the dots between New York's various scenes. It features writings by band members and contributions by a host of other luminaries, including Richard Hell, Mike Kelley, Jutta Koether, Alan Licht, Lydia Lunch and John Miller.

Sonic Youth: Sensational Fix

Ranaldo, Lee

Moore, Thurston

GORDON, Kim

Alexander, Vikki

Miller, John.

Photography & Video

Walther Konig

Collecting paintings produced between 1972 and 1999, this book also includes snapshots and recollections by esteemed New York abstract artist Mary Heilmann.

Mary Heilmann: The All Night Movie

Heilmann, Mary

Galerie Hauser & Wirth

First published in German in 1987, this is artist and writer Jutta Koether's meditation on painting. In novella form, f. follows several disembodied female characters as they consider velvet, coral, the curtain, money, color, red. These objects, these things, help the narrator and other characters come into being, but it is paintings that embody who the narrator really is: “Even if I'm their hostage when I look at them, I'm not inferior to them. I lie down, stand, or sit in front of them and, in this moment, I'm everything they affect in me.” Unlike people, paintings are fixed, explicit with their intentions and challenges―in the end they will still be here, outlasting those who made them or who looked at them. A facsimile of the original German publication is included in this volume.

f. (Sternberg Press / Institut für Kunstkritik series)

Sternberg Press

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Books by Koether, Jutta