Ellen Gallagher

Ellen Gallagher has emerged as one of the most acclaimed young artists in the United States over the past decade, and this book will be the first to present a significant body of recent work in one volume. Gallagher inflects the surface of her layered drawings and paintings with unique irony and wit. They refer obliquely to a history of African American stereotypes through minute interventions on the canvas: tongues, eyes, wigs, and lips appear like individual musical notes. Their lack of fully formed bodies underlines the manner in which these stereotypical images were used: appearing as disembodied parts in advertisements, toys, and other products of the popular culture. It is through repetition of this limited vocabulary of signs that meanings are established and transformed in Gallagher's work. The large-scale paintings in the exhibition and this accompanying book explore her personal iconography of forms. Included will be Gallagher's recent all-black paintings as well as a carefully selected group of drawings from the artist's own collection. In addition, it features an extensive interview with the artist, for which she has executed several drawings specifically to illustrate this section, as well as critical essays on the work.

Arts & Photography

Tate, Greg

Medvedow, Jill

Gallagher, Ellen

STORR, Robert

Individual Artists

D.A.P./ICA Boston

South African artist Marlene Dumas has cultivated a unique position within the world of figurative painting since the early 1980s, focusing on how the human body is translated into an image. Dumas dose not use models, but instead takes her images from mass media and popular culture sources, particularly newspapers and television. According to Dumas, ''what interested me was to make a statement about peoples' frames of mind and the relationships between them.'' Dumas' pictures impress with their urgent realism--but within their provocative energy lurk provocative questions about gender, identity, oppression, sexual and ethnic violence, and the situation of women and minorities; Dumas is always seeking to initiate new thought processes and critical strategies. Featuring the series of drawings One Hundred Models and Endless Rejects, this book provides an overview of the last ten years of Dumas' brilliant and challenging work.

Marlene Dumas: One Hundred Models And Endless Rejects

Dumas, Marlene

Hatje Cantz Publishers

This new catalogue accompanies the first major U.S. museum presentation of work by internationally celebrated Danish artist Olafur Eliasson, whose photography, sculpture, and installation work are distinguished by poetic economy of means and a quiet, elegant beauty. Eliasson's work typically transforms the museum or outdoor setting through installations that combine the artist's concerns with both the ephemeral natural effects of light, water, and wind and more tangible materials such as thorns, moss, and grass. His work is characterized by simplicity of approach. Despite its often-remarkable effects--rainbows, massive waterfalls, walls of steam--the technology required to create the work is relatively simple and clearly exposed for the viewer to observe. Eliasson has also worked extensively in the field of photography, frequently documenting the landscape of Iceland, his home for many years. Presented in serial grid format, Eliasson approaches photography with the mind of an amateur scientist, documenting different cave formations or icebergs in dozens of studies that take on the appearance of independent sculptural objects.

Olafur Eliasson: Your Only Real Thing is Time

Morgan, Jessica

Eliasson, Olafur

Nan Goldin shoots campaigns for Prada, David LaChapelle does Camel cigarette ads, and Jurgen Teller got his start photographing models in i-d, w, and The Face. The debate between aesthetic images and commercial pressure has perhaps never been so relevant and complex as it is today, with the increasing commercialization of the art world, the not insignificant exploratory aspects of fashion photography, and our constantly expanding realm of visual references. To study these tensions and overlaps, Chic Clicks invited some 40 photographers to present both their free work and their published editorials from fashion magazines and advertising campaigns. Photographers well-known for their commercial work offer personal and exploratory prints; those who gained prominence in the fine arts display work they were subsequently hired to do for fashion companies and magazines. Accompanying essays approach fashion photography from various perspectives, from that of cutting-edge fashion magazines to the field of contemporary art photography.

Chic Clicks: Creativity and Commerce in Contemporary Fashion Photography

Lehmann, Ulrich

Lipovetsky, Gilles

DiCorcia, Philip-Lorca

Day, Corinne

Stahel, Urs

Williams, Valerie

Wurm, Edwin

PRINCE, Richard

Photography & Video

Catherine Opie (born 1961) has forged new idioms in both portrait and landscape photography, frequently combining the two genres to explore how people occupy different landscapes--from high school football players on the field to ice fishermen on frozen lakes, to surfers waiting for the next wave. In doing so she has come to stand as one of America's foremost documentarians. Recently, Opie has returned to the genre of street photography, elaborating on the relationship between people and place, particularly the energies and desires created when masses of people convene around a shared interest or value. Freedom of assembly is one of the rights Americans take for granted; Opie is interested in the way that sites, such as the National Mall in Washington, D.C., come to be defined by the groups of people who assemble there and how their gathering shapes the identity of the place. This catalogue presents Opie's photographs of recent political demonstrations and gatherings, ranging from the inauguration of President Obama to Tea Party rallies. Drawing on a long and august tradition of American landscape painting and documentary photography, Opie gives us a view of democracy in action. Her photographs offer a dynamic, complicated and loving portrait of the United States at the dawn of the twenty-first century. This fully illustrated catalogue features a discussion between the artist and ICA Boston Chief Curator Helen Molesworth.

Catherine Opie: Empty and Full

Stothart, Anna

Hatje Cantz

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Books by Medvedow, Jill