Amy Adler: The Rainbow Hour

Heidi Zuckerman Jacobson

Aspen Art Press

Taking Neil Young's often-quoted line from the song "Pocahontas" on his 1979 masterwork, Rust Never Sleeps, English artist Jeremy Deller's exhibition Marlon Brando, Pocahontas, And Me explores some wide-ranging themes shared by Deller and Young, including American identity, history, politics, war, medical innovation, information technologies and music. This volume presents installation shots of the exhibition at the Aspen Art Museum--which incorporates work from a diverse roster of historical and contemporary artists including Jeff Blankfort, George Catlin, Paul Chan, Mark Dion, Sam Durant, Joseph Clarence Fornelli, Ilka Hartmann, William Henry Jackson, Koba (Wild Horse), An-My Lê, Alfred Jacob Miller, Charles Pollock and Sean Snyder--as well as reference illustrations and an interview between Deller and Aspen Art Museum Director and Chief Curator Heidi Zuckerman Jacobson.Jeremy Deller was born in London in 1966. He won the Turner Prize in 2004 for Memory Bucket, his documentary about George W. Bush's hometown, Crawford, Texas.

Jeremy Deller: "Marlon Brando, Pocahontas, And Me"

Arts & Photography

Jeremy Deller

Heidi Zuckerman Jacosbon

Collections, Catalogs & Exhibitions

Playing with the legacy of German Romanticism, German artist Friedrich Kunath works in a variety of media, including sculpture, painting and photography. This is the artist's first monograph, published concurrently with his first solo museum exhibition in the U.S. at the Aspen Art Museum.

Friedrich Kunath: Rising Vs. Setting

Jansen, Gregor

Zuckerman Jacobson, Heidi

Grande, Anna

Individual Artists

Each new work by Belgian artist Kris Martin puts a fresh spin on the roles of process and duration in art. In this artist's book, Martin has written out the entirety of Fyodor Dostoyevsky's The Idiot, substituting his own name for that of the book's hero, Myshkin, in an extreme act of adulation and identification with Myshkin's desire for spiritual transformation.

Kris Martin: Idiot (ASPEN ART PRESS)

Thompson, Matthew

Drawing on unconventional means of transformation, such as alchemy and magic, as a way to examine the metaphysical changes that occur when materials are used to conceptualize complex ideas, Now You See It--which includes work by Walead Beshty, Alexandra Bircken, Ceal Floyer, Tom Friedman, Felix Gonzalez-Torres, Wade Guyton, Wolfgang Laib, Robert Morris, William O'Brien, Mitzi Pederson, Dieter Roth, Robert Ryman, Fred Sandback, Anna Sew Hoy, Gedi Sibony, Rudolf Stingel, Lawrence Weiner, Jennifer West and Erwin Wurm--proffers the notion that visual recognition alone is insufficient to determine an object's materiality. In this volume, published concurrently with an exhibition at the Aspen Art Museum, the question of materiality is recontextualized--through insightful essays by Aspen Art Museum Director Heidi Zuckerman Jacobson and Peter Eeley, Visual Arts Curator of the Walker Art Museum--as more than a mere struggle between content and form. Other contributions are by Paul Valéry and Jeremy Sigler.

Now You See It

History & Criticism

Restless Empathy examines the complex process of projecting into the interior world of another―whether artist, viewer or object―and seeking to make a connection. For the exhibition, the Aspen Art Museum has invited eight artists―Allora & Calzadilla, Pawel Althamer, Marc Bijl, Lara Favaretto, Geof Oppenheimer, Lars Ramberg, Frances Stark and Mark Wallinger―to propose projects sited throughout the museum and town of Aspen. While diverse in practice, these artists create and explore empathy in unexpected ways. With recent works grouped under Relational Aesthetics, the viewer becomes instrumentalized within the work itself. Rather than use people as a medium, however, the artists in Restless Empathy make generous gestures toward the public, marked by a deep sincerity and moments of intimate surprise. Subverting expectations of permanence and monumentality in art that addresses the public, Restless Empathy broadly explores relationships between aesthetics, space, locality and modes of address.

Restless Empathy

Swedish painter Mamma Andersson works between domestic interiors and the Nordic landscape, often layering imagery to create subtly haunting, dreamlike atmospheres. Drawing from a variety of sources--from the narrative suggestiveness of cinematic imagery to the physical space of theatrical sets--Andersson employs disjointed perspectives and mismatched spatial relationships to create an eerie sense of the otherworldly. Her palette is seductive yet muted, applied in both soft washes and thick brushstrokes, with blank areas sometimes left on the surface of the painting. Andersson's imagery often includes windows, reflections and depictions of other paintings, to further destabilize the spaces she paints. This volume is published on the occasion of Andersson's first one-person U.S. museum show at the Aspen Art Museum and provides a broad overview of her work.

Mamma Andersson

Hoptman, Laura

Molon, Dominic

The pervasive use of photography by Conceptual artists--and a generation later by artists of the so-called Pictures Generation--effectively ended any debate about the validity of photography operating legitimately within the sphere of contemporary art. Photography's undefined, in-between status--as a medium, a tool, an object, a practice or, more often than not, some combination thereof--is still however, unresolved. The Anxiety of Photography examines the growing number of artists--some of whom self-identify as photographers, others for whom photography is central to their work--who embrace photography's plasticity, having internalized an expanded collage aesthetic and digested various ideas of appropriation. Among the artists included in this volume are Liz Deschenes, Roe Ethridge, Matt Keegan, Annette Kelm, Elad Lassry, Anthony Pearson, Sara Greenberger Rafferty, Erin Shirreff, Sara VanDerBeek and Mark Wyse.

The Anxiety of Photography (ASPEN ART PRESS)

Photography & Video

The paintings and drawings of Los Angeles artist Mark Grotjahn (born 1968) collide abstract and figurative elements into spider-webbed splinters that skew traditional perspective and dazzle the eye. This fully illustrated catalogue constitutes the first survey of his work from the late 1990s to the present and features essays by the art critic Barry Schwabsky and Aspen Art Museum Director Heidi Zuckerman Jacobson. The catalogue chronicles Grotjahn’s series of Butterfly paintings and drawings, in which he combines varying schemes of one-point perspective and a systematic investigation of color to mesmerizing effect; his penetrating flower and face paintings; and a recent series of “mask” sculptures that extend Grotjahn’s idiosyncratic investment in process and ritual in painting into three dimensions.

Mark Grotjahn (ASPEN ART PRESS)

Schwabsky, Barry

Jacobson, Heidi Zuckerman

Lucio Fontana: Sculpture

Best known for the slashed and cut canvases--and related spatial environments--of the Concetti spaziali that he created primarily in the 1950s and 60s, Argentine–Italian artist Lucio Fontana (1899–1968) trained as a sculptor at the Academy of Fine Arts of Brera and used ceramics and clay modeling to explore larger problems in sculpture and painting. Lucio Fontana: Sculpture is published in conjunction with the first U.S. museum exhibition dedicated solely to the artist’s groundbreaking ceramic work, and explores the innovative and often contrarian ways in which Fontana made use of the medium. With a foreword by Aspen Art Museum CEO and Director, Chief Curator, Heidi Zuckerman Jacobson, the publication collects landmark text by Jan van der Marck, Paolo Campiglio and Lucio Fontana himself, and features thoughts on Fontana’s influence from contemporary sculptors Kathy Butterly, Charles Long and Katy Schimert.

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