A catalog of the first American exhibition of Rudolf Steiner's blackboard drawings at the University of California, Berkeley Art Museum. The drawings were created by the scholar and mystic during his lectures from 1919 to 1924, and were preserved in the form of color chalk on black paper. Each color illustration is accompanied by a quote from the lecture during which the drawing was made. Includes two introductory essays, and a checklist of the exhibition. No index. Annotation c. by Book News, Inc., Portland, Or.

Knowledge of Higher Worlds: Rudolf Steiner's Blackboard Drawings

Arts & Photography

Rinder, Lawrence

Kugler, Walter

Berkeley Art Museum/Pacific Film Archive

STEINER, RUDOLF

Drawing

Univ of Washington Pr

This is the first major exploration of the works of American abstract painter and watercolorist Suzan Frecon (b. 1941), critically acclaimed for her sensitive arrangement of color, form, and texture, and for the philosophical resonance of her art. By restricting herself to nonrepresentational forms, earth-based colors, and, in the case of her watercolors, “found” pieces of paper, Frecon achieves an unequaled sense of balance and openness in her work. The book features ten oil paintings and thirty watercolors dating from the late 1990s to 2007. 
form, color, illumination celebrates the uniqueness of Frecon's painting and articulates how her work distinguishes itself within the history of abstract painting. The authors describe in-depth how her artistic process and materials are an integral part of her focus and aesthetic. Included is an essay revealing the "ethics” of her aesthetics––an argument for abstraction and an attention to truth that is not divorced from social and environmental concerns.

form, color, illumination: Suzan Frecon painting

Eckhardt, Sarah

Loock, Ulrich

Helfenstein, Josef

Frehner, Matthias

History & Criticism

The Menil Collection

"Not restricted by a single theme, the 2002 Biennial will expose multiple, sometimes conflicting currents, as well as extraordinary works that fall outside of any conventional aesthetic definition." —Lawrence R. Rinder 
The "2002 Biennial Exhibition" is the 71st in the Whitney Museum's signature series highlighting the most significant developments in American art over the past few years. Throughout its history of support for the development of 20th- and 21st-century American art, the Whitney Museum has fostered contemporary artistic innovation and diversity through its acclaimed and often controversial Biennial. Countless prominent artists have made their museum debut at these diverse surveys of painting, sculpture, works on paper, film and video, performance, and installation. The current exhibition includes works by more than 100 artists in traditional Biennial mediums, as well as new inclusions such as web-related, digital, and sound art.

Whitney Biennial 2002: 2002 Bennial Exhibition

Harry N.Abrams, Inc.

Depicts drawings by an artist better known for her sculpture, and features interviews and comments by the artist

Louise Bourgeois: Drawings and Observations

Bourgeois, Louise

Individual Artists

Bulfinch

Bold and necessary in both critical approach and geographical range, Beyond Preconceptions: The Sixties Experiment provides a look at parallel art developments in Eastern and Western Europe and in North and South America in the late 1960s and early 1970s. This richly illustrated catalogue and its five revelatory essays show how a small, forward-thinking group of artists translated similar concepts into a variety of approaches based on their specific cultural context. These artists include Joseph Beuys, Marcel Broodthaers, Lygia Clark, Hanne Darboven, Victor Grippo, Eva Hesse, Ilya Kabakov, Jiri Kolar, Bruce Nauman and Helio Oticica. The new models of artistic practice developed by these artists continue to shape what a younger generation of artists is creating today, particularly where institutional critique and concepts of authorship are concerned.

Beyond Preconceptions: The Sixties Experiment

Independent Curators International (ICI)

Sophie Calle: Proofs

Merrill, Kathleen

Photography & Video

Hood Museum of Art

Entertaining, lyrical and informative, Art Life is a selection of essays by well-known contemporary art curator Lawrence Rinder, all written since 1991. Rinder's work is distinguished by a concern for art's role in reflecting and shaping daily life. Informed by history, philosophy and popular culture, these essays provide keys to understanding a broad range of contemporary practices--from painting and drawing to net art and video installation. In each of these texts, Rinder muses on how the intersection of material, image and idea creates meaning in some of the most compelling artworks of the past few decades. Among the many artists discussed are Luc Tuymans, Sophie Calle, Martin Creed, Ara Peterson, Jim Drain, Louise Bourgeois, Mark Lombardi, Jack Smith and Irit Batsry. All of the essays in Art Life are unified by Rinder's clear writing style--seamlessly interspersed with a selection of images--and his consistent engagement with the experience of art and art's relevance to our daily lives. Ideal for scholars and students alike.

Art Life: Selected Writings 1991-2005

Gregory R. Miller & Co.

Combining studio, classroom, library, gallery and stage, The Possible offered a new model of museum exhibition. Rather than presenting existing artworks, artist/curator David Wilson hosted over 100 artists and collectives--with “artist” understood in the broadest sense. The BAM/PFA galleries were transformed into studios that were used by both guest artists and museum visitors. The exhibition made itself during its four-month run, as works created in the studios were exhibited in an adjacent gallery. The catalogue is conceived in a similar vein, as one of the experiments of The Possible created by guest artists Luke Fischbeck and Lauren Mackler of Public Fiction, a Los Angeles–based project space and journal. Created partially onsite, it is inspired by the exhibition’s spirit of improvisation and collaboration. It gathers essays, photographic documentation and printed artifacts generated in the exhibition itself.

The Possible

WILSON, David

Mackler, Lauren

Fischbeck, Luke

University of California, Berkeley Art Museum and Pacific Film Archive

One of the most original artists working today, San Francisco–based Ron Nagle (born 1939)―the enfant terrible of abstract expressionist ceramics―has made stunning, colorful, entirely unique small clay sculptures since the 1950s. In his sculpture, Nagle mixes allusions to modernism, middlebrow culture and the special pop sensibility of Northern California, making ceramic vessels no bigger than a few inches that draw on everything from Japanese tea ceremonies to Krazy Kat. Made with an overarching sense of playfulness and linguistic humor, a bodily and architectural sensibility, and Nagle’s keen attention to color, these finely tuned, pitch-perfect sculptures condense sensory pleasure into perfect packages of experience and feeling. Their miniature scale makes these odd, elegant, sensual and sometimes abject little abstract sculptures endlessly charming models for the imagination. Lushly illustrated, Ron Nagle: Handsome Drifter is the most comprehensive and scholarly publication on the artist to date, with essays by curator Apsara DiQuinzio and Berlin-based art critic and theorist Jan Verwoert. A lively conversation about Nagle’s studio practice and unique process with curator and director Dan Byers of Harvard’s Carpenter Center for the Visual Arts rounds out this unmissable book.

Ron Nagle: Handsome Drifter

University of California, Berkeley Art Museum/Pacific Film Archive

Beloved by collectors and scholars alike, Steven Leiber’s beautiful bookseller catalogs shaped the canon of publications by artists
Steven Leiber was a pioneering San Francisco art dealer, collector and gallerist who specialized in the dematerialized art practices of the 1960s and 1970s and the ephemera and documentation spawned by conceptual art and other postwar movements. To sell this material, Leiber produced a series of 52 iconic catalogs between 1992 and 2010. Far from your ordinary dealer catalog, Leiber’s catalogs paid homage to the kind of historic printed matter that he bought and sold, mimicking iconic publications like Wallace Berman’s Semina journal and the exhibition catalog for Documenta V (1972). Leiber’s reputation spread via these unique volumes, which included works by John Baldessari, Lynda Benglis, Ray Johnson, Lucy Lippard, Allan Kaprow, Yayoi Kusama, Claes Oldenburg, Ed Ruscha, Lawrence Weiner and many more. Across 252 pages, this book documents the full set of 52 dealer catalogs produced by Steven Leiber between 1992 and 2010. Inspired by Leiber’s often humorous borrowing for his catalog designs, the book’s format references Sol LeWitt’s Autobiography and includes an essay and contextual notes by SFMOMA Head Librarian David Senior. Additional contributors include Ann Butler, Christophe Cherix, Marc Fischer, Adam Michaels, Tom Patchett, David Platzker, Marcia Reed, Lawrence Rinder and Robin Wright. Steven Leiber (1957–2012) began to buy and sell ephemera while working as a private dealer selling prints, drawings and multiples in the early 1980s. Scrupulously organized and cataloged, Leiber’s collection―housed in his grandmother’s basement―became an important resource for scholars, curators and other enthusiasts. The collection included the work of some 1,000 artists and represented practically every major movement within late 20th-century avant-garde practice, including Fluxus, conceptual art, land art, mail art, performance and video.

Steven Leiber: Catalogs

Patchett, Tom

Fischer, Marc

FITZPATRICK, Chris

Butler, Ann

Inventory Press/RITE Editions

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