Using foam core, hot glue, plywood, steel, scavenged street lumber, asphalt, a radar gun, liquor, turntables and LPs, Tom Sachs has built a 4,000-square-foot installation that links the idealistic modernism of Le Corbusier with the commercialized modernism of McDonald's. Remote-control cars and their racetrack form the connective tissue that binds the disparate parts of Nutsy's together, from the ghetto and Modernist art park to the bong-hit station and piss station. Representing the culmination of Tom Sachs's studio activity over the past two years, Nutsy's was originally inspired by Le Corbusier's 1952 Unit d'Habitation housing block--a massive 12-story structure which has come to symbolize both the integrity of modernism as well as its subsequent corruption. In thinking about modernism's ideals, Sachs--ever the bricoleur--was driven to explore its other side. Modernism and bricolage act as a kind of foil for each other in Nutsy's, with the resourcefulness of bricolage standing in contrast to the grandiosity of Modernism.

Tom Sachs: Nutsy's

Arts & Photography

Hanhardt, John G.

Sachs, Tom

O´Brien, Glenn

Villaseñor, Maria-Christina

History & Criticism

Guggenheim Museum

Published by SITE Santa Fe – 36 pages, 14 color plates, softback with vellum cover, 9 3/4 inches x 7 1/2 inches – Introduction by Louis Grachos, Essay by David Clemmer – 1999.

Tom Sachs: Sony outsider = [autosaidā]

SITE, Santa Fe

Disputes over free expression in the arts have always loomed as struggles between creativity and repression, transgression and outrage, candor and hypocrisy. But while high-profile shootouts at art museums and less visible skirmishes at schools, libraries, and theaters persist, overt censorship is no longer the only, or the most dire, threat to free expression. On the one hand, society has become more accepting of provocative imagery, with media conglomerates often leading the way in the depreciation of taboos. On the other hand, artists, while enjoying some unprecedented liberties, are hemmed in by new constraints that often fall beyond the range of First Amendment protection. The current terrain bears little resemblance to the culture wars of a decade ago, much less to what the First Amendment's Framers could have imagined. And since Sept. 11, 2001, the frontlines of the free-expression debate have been shifting once again. Based on a Columbia University conference organized by the National Arts Journalism Program, The New Gatekeepers explores the reconfigured ranks of those who decide what the public gets to see, hear and read, from struggles over intellectual property and copyright, to continuing debates about acceptable and offensive content in the cultural marketplace, to the less visible biases of the arts funding system. This heavily illustrated book also includes a historical overview of censorship and contributions by 40 scholars, artists, experts and journalists from around the United States. Discussed and participating artists include Edouard Manet, Jake and Dinos Chapman, Robert Mapplethorpe, Richard Serra, Damien Hirst, Jeff Koons, Andres Serrano, Carolee Schneemann, Dread Scott, Gran Fury, Joel-Peter Witkin, Kara Walker, Jock Sturges, Chris Ofili, and Tom Sachs.

The New Gatekeepers: Emerging Challenges to Free Expression in the Arts

Menand, Louis

Manet, Édouard

Walker, Kara

Schneemann, Carolee

Mann, Charles

HIRST, Damien

Newman, Roger

SERRA, Richard

Chapman, Jake

Brenson, Michael

Koons, Jeff

Becker, Carol

Sunstein, Cass

Ofili, Chris

RODIN, Auguste

Adler, Amy

Cahill, Timothy

Gurstein, Rochelle

Tepper, Steven

Godfrey, Marian

Chapman, Dinos

Ferguson, Laura

Scott, Dread

Serrano, Andres

National Arts Journalism Program

The owner's/operating manual for Tom Sach's monumental new sculpture, "The Island," a modified working model of the radar tower of the USS Enterprise CVN-65, "The world's first and finest nuclear powered aircraft carrier." Sachs writes, "'The Island' is a process. There is nearly always something broken or in need of repair. This book is designed to help you cope with managing the many issues associated with ownership/operation of 'The Island.' It is helpful to get an understating of what 'The Island' needs, what it does, and what it can do; as a clubhouse it can provide a safe environment for good times--just add people. Of course people are messy and break things. So it's important to clean up and maintain systems and maintain supply levels. Just like the Enterprise of the U.S. Navy, whose painting crew paints continuously for 35 years of operation, there is always something that needs your attention on 'The Island.'"

Tom Sachs: The Island: Guide

Allied Cultural Prosthetics

Japanese animation, or anime, which has attained cult status among young people globally during the past several decades, is increasingly breaking into the mainstream. My Reality: Contemporary Art and the Culture of Japanese Animation, investigates the influence of this form of pop culture on today's art in Japan, other Asian countries, and the West.

My Reality: Contemporary Art And The Culture Of Japanese Animation

Nara, Yoshitomo

Fleming, Jeff

PATTERSON, RICHARD

White, Charlie

Murakami, Takashi

McCarthy, Paul

Mori, Mariko

Moffatt, Tracey

Essenhigh, Inka

Benedict, Matthew

Bul, Lee

Chiezo, Taro

Esber, James

Inamoto, Masakatu

Kato, Mika

Klein, Micha

Manetas, Miltos

Torimitsu, Momoyo

Yanobe, Kenji

Collections, Catalogs & Exhibitions

Independent Curators International, New York

Art at the Edge of the Law examines the fine line that artists have often trod between the legal and the legally ambiguous. Frequently the transgression is conceptual rather than directly confrontational, as in Richard Prince's copyright infringements or Gregory Green's pirate station, though no less powerful for that (Barton Lidice Benes's assemblages involving his own HIV-infected blood, for example). Among the artists included are Janine Antoni, Gregory Green, Dennis Oppenheim, Richard Prince, Tom Sachs, Fred Tomaselli and Tom Friedman.

Art At The Edge Of The Law

Green, Gregory

Thompson, Michael

Oppenheim, Dennis

Klein, Richard

Friedman, Tom

Lombardi, Mark

Tomaselli, Fred

Antoni, Janine

PRINCE, Richard

Russ, Lawrence

Boggs, JSG

de Luna, Michael

Hatfield, Jeffrey

Kerbel, Janice

Tourlentes, Stephen

The Aldrich Museum of Contemporary Art

The multi-dimensionality of our daily experiences is reduced by the television and internet media to the surface of a flat screen. Thus reality loses more and more of its spatial qualities, even as theoretical physicists develop increasingly sophisticated models to better understand the structures of time and space. As they employ an ever-growing number of dimensions in this endeavor, the mode of our sensual reception continues to become as flat and one-dimensional as the monitors of the computers at which we work. Throughout the history of art, sculpture has been prized as one of the foremost artistic expressions in western culture, one that employs far less illusionism than, for instance, painting. The works included in Sculptural Sphere are analyzed based on their spatial parameters. Their dimensions prove useful in defining the sculptural sphere that surrounds our bodies, as well as our reception of our multi-dimensional spatial environment.

Sculptural Sphere (German and English Edition)

DEMAND, THOMAS

Roberts, Liisa

Boyce, Martin

Manders, Mark

Pernice, Manfred

Sammlung Goetz

Friuli Venezia Giulia is a region in the north-east of Italy, bordered by Austria and Yugoslavia, and dotted with vineyards, seaside resorts, Gothic duomos, Romanesque towns, grottoes, contemporary art, and Roman ruins. Many of these elements in the landscape have been around for hundreds of years, but one has not: contemporary art. Yet throughout this region works by Marina Abramovic, John Armleder, John Baldessari, Mike Bidlo, Louise Bourgeois, Paul McCarthy, Enzo Cucchi, Jenny Holzer, Tom Sachs, Andres Serrano, and Lawrence Weiner amongst others have occupied castles, squares, gardens, churches, landmark buildings, basements, and kitchens. The result is a subtly transformed landscape worth visiting, be it in reproduction or in Italy. The book itself is a fantastic object, realized with a semi-flexible plastic cover, held together by screws, and filled with an array of gadgets.

Pulcherrimae Strade: Contemporary Art in Historical Spaces

Abramovic, Marina

Baldessari, John

Holzer, Jenny

Weiner, Lawrence

Cucchi, Enzo

Armleder, John

Bourgeois, Louise

Bidlo, Mike

Charta

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