Mike Kelley’s burlesque masterpiece, Day Is Done, is a work in progress conceived in three hundred and sixty-five separate chapters. Chapters 2 to 32 were staged as a complex and spectacular mixed-media installationwhich Kelley scripted, scored, shot and sculptedat Gagosian Gallery, New York, in 2005. To mark the first stage of this ambitious project, Kelley has edited an elaborate visual catalogue of Chapters 2-32. This richly illustrated book includes video stills and installation views, Kelley's libretto and selected writings and notes on key aspects of the project, and a critical review by John Welchman. Each video chapter imaginatively reconstructs scenes from photographs of extracurricular activity” that Kelley found in high school yearbooks. Over many years he has collected hundreds of such images and grouped them into categories referring to common forms of folk entertainment: plays, thematic costume days, holiday festivities, religious spectacles, hazing rituals, and so on. Though not a standard narrative, Day Is Done features recurring characters and some semblance of narrative flow in a provocative look at the formative effects of school on the adolescent psyche.

Mike Kelley: "Day Is Done"

Arts & Photography

KELLEY, MIKE

Welchman, John

Individual Artists

GAGOSIAN GALLERY

On January 26, 1957, Richard Hamilton wrote a now-famous letter outlining his definition of what Pop Art Is.” This volume celebrates the fiftieth anniversary of Hamilton’s prophetic document, presenting the works of more than forty artists from his own generation of Pop artists (among them Hamilton himself, Robert Rauschenberg, Jasper Johns, and Andy Warhol) and from artists of subsequent generations who have contributed to the development and dissemination of Pop Art (Jeff Koons, Richard Prince, Mike Kelley, Damien Hirst, and others). A text by Greil Marcus, a photographic essay by Louise Lawler, and an interview with Robert Venturi and Denise Scott Brown by Dan Graham are included in the book, which illuminates the powerful, international impact of Pop Art throughout the second half of the 20th century. Pop represented a sudden and dramatic expansion of often-contradictory possibilities, and for this reason and others the concept of Pop remains vital in contemporary art.

Pop Art Is

MARCUS, Greil

History & Criticism

This book is devoted to Tom Friedman’s exceptional body of work over the past nineteen years. Starting with commonplace objects like plastic cups, construction paper and Hefty garbage bags, this prolific artist transforms the often overlooked into playfully philosophical works that are ordinary and extraordinary at the same time.
Friedman forces his viewers to reconsider the criteria for what is called art” by exploring the material qualities of the object and the experiential process of making art through repetition, mutation, and dimension. While his work can demand a level of trust and reflection, it often rewards the viewer by sparking a childlike curiosity that sets one free to the beautifully endless potential of the everyday.
The book features over 250 color illustrations and encompasses 200 artworks that reflect Friedman’s humor, his painstaking craftsmanship, and the unending inventiveness that distinguishes his work.

Tom Friedman

In the summer of 1961, Lichtenstein embarked on a series of iconic images of women, taken directly from newspaper clippings and the romance comic books prevalent in post-war America. The anonymity of mass-produced, cheap comics helped him capture specific impressions of real life, while maintaining the necessary degree of aesthetic distance afforded by what he understood to be the "high restrictive quality of art". The "Girl" paintings, together with the war images (or "Boy" paintings), established him as the major protagonist of the American Pop Art movement. His amalgamation of text and image, high and low culture, and his strategy to involve appropriated images continues to be a rich source of inspiration for subsequent generations of artists, from Richard Prince, Jeff Koons, and Raymond Pettibon to John Currin and Elizabeth Peyton. A conversation between Jeff Koons and Dorothy Lichtenstein opens the catalogue. The publication also brings together and exceptional collection of over 130 images of paintings, drawings, sources, and documentary photographs. Included in these images are 22 full-colored plates of the "Girl" paintings, 18 of which are featured in the exhibition. The catalogue closes with a select chronology of Roy Lichtenstein's life, pinpointing important exhibitions and occasions. An artist's book response to the "Girl" paintings created by Richard Prince is also included as an insert.

Roy Lichtenstein: Girls

An immense contribution to scholarship on Ed Ruscha and his pioneering artistic practice, offering thorough documentation of his works on paper This highly anticipated book—the first in a series of three—comprehensively chronicles the first two decades of Ed Ruscha’s (b. 1937) work on paper, which comprises the largest component of his production of original works. Over 1,000 works on paper are documented, all created between 1956 and 1976, and they encompass a wide range of formats, materials, themes, and styles. Included are collages, ephemeral sketches, preparatory studies for paintings, oil on paper works, and drawings executed in a variety of inventive materials, including gunpowder and organic substances. Ruscha came to prominence in the early 1960s as part of the Pop art movement, although his work equally engages the legacies of Dada, Surrealism, and Abstract Expressionism as well as the Conceptual art that emerged later in the decade. He has long enjoyed international standing and admiration, and his work is widely known. Despite this recognition, this volume contains hundreds of works that have infrequently, or never, been exhibited or published. Each work is catalogued with a color reproduction, collection details, full chronological provenance, exhibition history, and bibliographic references. Essays by Lisa Turvey and Harry Cooper complete this extraordinary survey, which expands and enriches our understanding of Ruscha’s pioneering exploration of the written word as a subject for visual art and his witty assessment of the iconography of Los Angeles, both real and imagined.

Edward Ruscha: Catalogue Raisonné of the Works on Paper, Volume One: 1956–1976

Volume 2 of this exceptional catalogue raisonné project compiles the unique works on paper that Edward Ruscha (b. 1937) made between 1977 and 1997, the artist’s midcareer period, during which he achieved international renown. More than 1,000 works are documented, among them hundreds that have rarely, or never, been exhibited or published. Highlights include Ruscha’s inimitable word and phrase works, made in organic materials, pastel, or acrylic; compositions featuring signature images (windows, ships, silhouetted objects and figures, and film closing credits); and drawings and studies related to important public commissions for the Miami-Dade Public Library, the Denver Central Library, and the Getty Center. Each work is catalogued with a beautiful color reproduction, collection details, full chronological provenance, exhibition history, and bibliographic references. Essays by Lisa Turvey and Gwen Allen complete the volume, providing critical frameworks and historical context for the art within.

Edward Ruscha: Catalogue Raisonné of the Works on Paper, Volume Two: 1977–1997

This third volume of the catalogue raisonné of Ed Ruscha’s works on paper documents more than 1,000 works created between 1998 and 2018\nThe third volume of this extraordinary catalogue raisonné project compiles the unique works on paper that celebrated American artist Edward Ruscha (b. 1937) made between 1998 and 2018. There are 1,068 works documented, hundreds of which have rarely, or never, been exhibited or published. Drawing is the mode in which Ruscha is most prolific, poetic, and experimental. In this period, he further developed some of his iconic subjects, among them film titles, gasoline stations, mountains, and of course words and phrases. He also expanded into new thematic territory in palindrome drawings, map-like representations, and “swiped word” works that incisively reflect the contemporary moment. Included are pencil, dry pigment, pastel, and acrylic drawings on paper, board, and assorted unconventional supports; collages and photo-based works; and sketches and studies for various contemporaneous paintings, commissions, and miscellaneous projects. Each work is catalogued with a beautiful color reproduction, collection details, full chronological provenance, exhibition history, and bibliographic references.\nDistributed for Gagosian

Edward Ruscha: Catalogue Raisonne of the Works on Paper, Volume Three: 1998-2018 (Catalogue Raisonne of the Works on Paper, 3)

With cover artwork specially created by Ruscha, this book documents hundreds of projects and miscellaneous ephemera produced by the artist alongside his main oeuvre—including installations, films, painted book covers, contour gauge profiles, and more\nIntroducing readers to the stunning breadth of Edward Ruscha’s (b. 1937) creative output over the course of his entire life, this book includes materials dating back to his childhood and extending to his present-day output. The projects featured here fall outside Ruscha’s production of paintings, drawings, prints, and artists’ books. Many of these are unknown and most are reproduced here for the first time. Composed of three sections—Projects and Ephemera; Contour Gauge Profiles; and Painted Book Covers—the book offers Ruscha enthusiasts and scholars a hitherto unknown aspect of Ruscha’s practice, while also showing how these projects coincide with, and sometimes even prefigure, the artistic work for which he is best known. The approximately 270 painted book covers, begun in 1990, utilize found books as support for small paintings and drawings. The 57 contour gauge profiles are silhouette-like profiles made using a mechanical device for reproducing contours. The largest section, Projects and Ephemera, consists of installations, sculpture and objects, films, book and poster design, utilitarian works, and more.\nDistributed for Gagosian

Ed Ruscha: An Archive of Projects

A handsome volume of the renowned photographer’s work from 2005 to 2021\nBest known for his large-scale photographs, carefully constructed “near documentaries” created in collaboration with the subjects, Jeff Wall (b. 1946) is one of the most influential photographers of the late twentieth and early twenty-first centuries. Often displayed as backlit color transparencies, Wall’s works have helped define the use of color and painterly sensibilities in contemporary art photography. This volume collects over fifteen years’ worth of new work from Jeff Wall in a lavish presentation that includes multiple gatefolds to better convey the scale of Wall’s work. As a collection of Wall’s most recent work, this volume will include numerous pieces that are as-yet unfamiliar to many of his fans. Chevrier’s essay deftly summarizes the varied directions of Wall’s recent work and contextualizes them within the body of work that precedes this volume; de Duve’s and Campany’s wide-ranging conversations with the artist cover the role of performance and the effects of spontaneity and scale, respectively.\nDistributed for Gagosian

Jeff Wall: Catalogue Raisonne 2005-2021

Yves Klein: Sponge Reliefs

Yves Klein

See the best price to sell, buy or rent books by the GAGOSIAN GALLERY publisher. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by GAGOSIAN GALLERY