With images that suggest a modern day Caspar David Friedrich, sculptor, installation artist and photographer Olafur Eliasson recreates in elegant forms the extremes of the landscape and the atmospheric conditions of his native Denmark, resulting in a kind of techno-Romanticism. Now based in Berlin, Eliasson rebuilds in the gallery fragments of a faraway land: icebergs at the Musee d'Art Moderne de la Ville de Paris, 'windmills' at the Louisiana Museum in Humlebaek, Denmark. For Eliasson, immaterial sensations such as temperature, smell, taste, air and magnetic waves become sculptural elements. A simple circular cut in the ceiling of a gallery in Los Angeles, for example, recreates the feeling of the weak Scandinavian sun, and becomes a kind of giant sun-clock reminiscent of both Gordon Matta-Clark's architectural cut-outs and the oculus of the Pantheon. In her survey, curator Madeleine Grynsztejn examines the unique position of the artist, overlapping technological and artistic innovation in the creation of his art. Critic and curator Daniel Birnbaum discusses with the artist the role of location and the immediate environment in both his gallery (indoor) and remote-site (outdoor) work. Architectural theorist Michael Speaks looks in his Focus at the work Green river (1998) particularly in relation to filmmaker Michelangelo Antonioni's 1964 film, Red Desert. The artist has selected an extract from Henri Bergson's Creative Evolution (1907) dealing with our subjective, visual response to nature, a theme central also in the artist's own work. Olafur Eliasson's writings include an essay on that most banal of topics, the weather, and an open letter entitled 'Dear Everybody' addressed to the viewers.

Olafur Eliasson (Phaidon Contemporary Artists Series)

Madeleine Grynsztejn

Michael Speaks

Daniel Birnbaum

Olafur Eliasson

Arts & Photography

Phaidon Press

Over the past four decades, Richard Tuttle has thrown into question nearly every conceivable artistic convention and critical category to create an enormously inventive body of abstract work--one that embraces and intermingles drawing, painting, collage, book-making, sculpture and design. From his spare yet enigmatic forms of the 1960s to his complex, multi-faceted assemblages and installations of more recent years, Tuttle's primary impetus throughout has been to craft unique objects, using everyday, often ephemeral materials, that demand to be confronted on their own terms. The relentless individuality of his aesthetic vision has earned him standing as one of the most provocative and influential artists of his day. This richly illustrated and strikingly designed catalogue, the most authoritative volume ever published on this prolific artist, presents nearly 400 reproductions of artworks from across his oeuvre and documentary photographs of his creative process. Essays by a distinguished group of writers trace the arc of Tuttle's career from its inception in the 1960s to the present day, addressing topics such as the philosophical underpinnings of his artistic method; his sensitive handling of diverse materials; his lifelong engagement with drawing and its expansion into three-dimensional space; his groundbreaking solo exhibitions and their critical reception in the United States and Europe; his complex play with the conventions of language; and his innovative artist's books, many of which are collaborations with poets. The Art of Richard Tuttle is published in conjunction with a major retrospective organized by the San Francisco Museum of Modern Art. The exhibition travels to the Whitney Museum of American Art, New York; the Des Moines Art Center; the Dallas Museum of Art; the Museum of Contemporary Art, Chicago; and the Museum of Contemporary Art, Los Angeles.

The Art of Richard Tuttle

Reference

D.A.P./San Francisco

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

Books by Madeleine Grynsztejn