New York artist Terence Koh (b. China 1977) creates monochromatic environments, wherein minimalist and baroque aspects of his sensibility vie for dominance. From drifting-powder silencing rooms and constellations of cryptically linked objects to pristine, perfectly crafted containers that become coffins for shattered glass and mirrors, Koh’s work plays on the melancholic beauty and sublime transcendence of emptiness.This book, produced in close collaboration with the artist and presented with text in both English and German, is published to coincide with the first solo museum presentation of Koh’s work in the United States. The exhibition is a counterpart/reaction to an earlier show at the Kunsthalle Zurich (August-October 2006). Koh’s work for the Whitney exhibition uses light as his material, transforming the gallery space into a seductive yet inaccessible diorama and creating a psychological interaction that evokes desire and loss, pain and hope. Beyond documenting these ephemeral works, this innovative catalogue, featuring a new series of drawings created by Koh, functions as a complement to the two installations.Bilingual (English/German)

Terence Koh

Arts & Photography

MOMIN, Shamim M.

Ruf, Beatrix

Individual Artists

The Whitney Museum of American Art

This book accompanies the 2008 Biennial of the Whitney Museum of American Art, always a highly anticipated event in the art world. Inaugurated by Gertrude Vanderbilt Whitney in 1932, the Whitney’s biennial exhibitions have received acclaim, stirred controversy, and unfailingly fostered artistic innovation and diversity. The 2008 Biennial features some 85 artists and collectives working in many media and employing a variety of methods and practices.
The book is abundantly illustrated, with the vast majority of its 300 images presented in color. Whitney curators Henriette Huldisch and Shamim M. Momin provide insightful essays, as does a specially commissioned essay by Rebecca Solnit. In one section of the book, a short text accompanies reproductions of each artist’s work; other sections present documentation of the artists’ diverse methods and practices as represented in the Biennial exhibition. 
The Whitney Museum of American Art has vigorously supported the development of 20th- and 21st-century American art since its founding, and that commitment is reflected nowhere more clearly than in the sponsorship of the Biennial exhibition, the museum’s signature survey of contemporary art.
For more information on the Whitney Biennial 2008 and its participating artists, visit www.whitney.org.

Whitney Biennial 2008

Huldisch, Henriette

History & Criticism

Featuring the latest work by emerging and established American artists, the 2004 Biennial Exhibition accompanies the Whitney Museum of American Art's signature survey of contemporary American art. This biennial is organized by a team of three Whitney curators: Chrissie Iles, Shamim M. Momin, and Debra Singer. 
More than 100 artists and collaborative teams are included in the exhibition, which explores the idea of an intergenerational conversation reflecting a number of overlapping trends: an engagement with the art, popular culture, and politics of the late 1960s and early 1970s; the construction of fantastic worlds, uncanny spaces, and new narrative forms; and paintings, drawings, and handmade films that show an obsessive working of line, surface, and image. The Biennial is consistently one of the most exciting exhibitions of contemporary art in the United States; as always, it will garner attention around the world.

Whitney Biennial 2004

Iles, Chrissie

Singer, Debra

Collections, Catalogs & Exhibitions

WHITNEY MUSEUM OF ART.

New York artist Alex Katz is best known for his eye-catching, large-scale portraits, figures, and landscapes, but in the mid-1950s he painted intimate works, originating the style that would become the hallmark of his mature work. By the early 1960s, he established a procedure of making small sketches using oil paint on Masonite board, which he would enlarge and modify, then make into paper cartoons to transfer to the canvas. He produces one or more small sketches for every large painting. 
Although Katz considers the large works to be his major productions, small-scale paintings are the underpinning of his work, revealing his initial passion for a subject--a love at first sight before it has fully matured. While his big paintings are akin to a public performance, the small paintings are rehearsals that reveal not only how he works but more importantly why he is interested in a particular subject. This volume focuses on the achievement and significance of Katz's small paintings.

Alex Katz: Small Paintings

Self, Dana

Weinberg, Adam D.

Katz, Alex

Addison Gallery of American Art

Kemper Museum of Contemporary Art

Artforum magazine said of Barnarby Furnas's debut solo show that ""the real drama lies not so much in the kissing, shooting, and running figures that populate Furnas's pictures as in the artist's knowing investigation of painterly form. Revisiting the dichotomies at the heart of modernist painting, Furnas manipulates the boundaries between figure and ground, form and formlessness, and figuration and abstraction."" His often violent oil paintings and watercolors also investigate the human condition, evoking fantasies and nightmares of love, death and conflict in a style influenced by special effects and video game animation. Subjects range widely, but a unity of theme prevails: John Brown portrays the legendary antislavery militant; Suicide, a man's head exploding into fireworks. Furnas is based in Brooklyn, and has exhibited to great acclaim in both the UK and the United States, where he is represented by Marianne Boesky Gallery in New York. This, his first monograph, includes an essay by critic Martin Herbert and an in-depth interview with the artist.

Barnaby Furnas

HERBERT, Martin

Furnas, Barnaby

Baltic Ctr for Contemporary Art

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Books by MOMIN, Shamim M.