Money Talks is the first publication to bring together a thematic grouping of Kruger's work. The subject chosen could not be more apt--not only because of current politics and economic realities, but also because this is the subject Kruger has repeatedly returned to throughout her career.

Barbara Kruger: Money Talks

Arts & Photography

Phillips, LIsa

Individual Artists

Skarstedt

In 1990, when Keith Haring died of AIDS at the age of 31, The New York Times detailed a "meteoric career" that was built around a "cartoonish universe inhabited by crawling children, barking dogs and dancing figures, all set in motion by staccatolike lines." This volume, published in honor of the fiftieth anniversary of the artist's birth, serves as a survey of some of Haring's best known works--taking the viewer through the three stylistic turning points of his short yet impressive career. First, we are presented with the cartooning influences, where thick bold lines are laid down with ink on paper or drawn directly onto empty subway posters. Next come Haring's most iconic works, fully developed by the mid-1980s, when he began to work directly on canvas. Finally, we come to work that hints at Haring's own social awareness and fight against AIDS--the depiction of intentionally unfinished canvases and devil-like figures, for example.

Keith Haring

Sussman, Elisabeth

History & Criticism

Celebrated for his appropriation of advertising images and photographs during the early 1970s, Richard Prince (born 1949) began in the 1980s to explore the relationship between image and language, pairing jokes from books and magazines with referential and non-referential imagery. In the 1990s, his Joke paintings transformed from rigidly composed works into freefloating combinations of jokes and stripped-down layered imagery. The White Paintings are raw and energetic in comparison to his earlier work. Here, handwritten and printed jokes mingle with gestural marks, silkscreened imagery and graphic fragments, all strewn across a white-pigmented backdrop. Prince’s hand is present in these works, with their painterly white texture, spirited whorls and handwritten elements. In this series, he uses appropriation in a new way, as he pays homage to great American abstract painters such as Cy Twombly and Robert Rauschenberg. This volume reproduces a selection from this series.

Richard Prince: White Paintings

This catalogue was published on occasion of the exhibition Tigris by Lucien Smith, it contains an accompanying text by David Rimanelli. Skarstedt presents the gallery's first exhibition of Lucien Smith, featuring 13 large-scale paintings from the artist's most recent series, Tigris. In this body of work after a great river, Smith employs processes, including the pouring of paint, which convey an organic sensibility that evokes the fluid movement of rivers and rain. In Tigris, Smith continues a practice that explores memories from the natural world filtered through painterly abstraction. This new body of work demonstrates an awareness of art historical past, with references to Andy Warhol's camouflage paintings and the veil paintings of Morris Louis, while presenting these canonical ideas through a contemporary lens.

Lucien Smith, Tigris

David Rimanelli

Published on the occasion of the exhibition Rift Raft, this catalogue features full plate images and details of works from Eric Fischl's new body of work. The catalogue also features an essay, Eric Fischl: The Art of Narrative by Tim Adams. In Rift Raft, Eric Fischl further develops his study of human nature by confronting the viewer with the reality and ultimate disconnect between art and the environment in which it is situated. Both intrigued and appalled by the concept, Fischl began to visit fairs to observe the crowd, taking his camera with him to capture snapshots of the characters that roam the booths. The figures Fischl paints are not portraits, rather they represent archetypes of the people at fairs: the shrewd dealers in suits, the eccentric art fans, the wearied group sitting by the refreshments area, almost all of them engrossed in their cell phones. Fischl observes: "Same crowd, different clothes. Always the same experience." While Fischl's paintings appear satirical, they are only partially so. They are essentially tragic comedies in which people's desires and needs are thwarted by a system incapable of satisfying their deepest cravings. These works are not a "comment" on the art world but an existential condition most clearly articulated by the art world's irreconcilable conflict between spiritual and commercial values.

Eric Fischl, Rift Raft

Tim Adams

Albert Oehlen: Fn Paintings

Aya Takano, Reintegrating Worlds

In 1975, Andy Warhol undertook a series of portraits of New York City transvestites, most of whom were recruited by Bob Colacello from a club called The Gilded Grape. The method for making these portraits followed Warhol’s customary formula: a Polaroid portrait of the sitter was silkscreened onto a canvas, which was then embellished with synthetic polymer paint in a bright array of red, pinks, yellows and pastels. Warhol’s transvestites are portrayed in a fairly classical fashion, neck-up, often at a three-quarter angle, and beckon at the viewer with a variety of expressions, from the plaintive to the coquettish to the triumphant. This beautifully produced monograph features 40 spot-varnished color reproductions of the Ladies and Gentlemen series, and reprints the Italian film-maker and poet Pier Paolo Pasolini’s fascinating and unusual take on Warhol and on the series.

Andy Warhol: Ladies and Gentlemen

Pasolini, Pier Paolo

Famed for her LED message boards and the declarative, politicized cast of her linguistic materials, Jenny Holzer (born 1950) has in fact employed a great variety of media in her subversions of dominant ideologies. Among these media are granite and marble benches, enamel signs and even, as this handsome catalogue for Holzer’s 2010 show at Skarstedt Gallery reveals, a sarcophagus. Jenny Holzer: Retro covers a decade of Holzer’s oeuvre from the late 1970s to the late 1980s, underlining the diversity of media in some of the artist’s most iconic works. It shows how each medium elicits differing types of language composition, from the direct provocations of the ephemeral LED message boards to the horrific cracked narratives of the stone benches with their rhetoric of enshrinement and permanence. Surveying works that vary thus from the fleeting to the fixed, Retro also underscores the temporal scale of Holzer’s bold and influential oeuvre.

Jenny Holzer: Retro

Levine, Cary

One of the most versatile and prolific artists of the postwar era, Martin Kippenberger (1953–1997) has been the subject of numerous major exhibitions since his premature death at the age of 44. The last exhibition in his lifetime took place at the Städtisches Museum Abteiberg, in Mönchengladbach, Germany, and was titled Der Eiermann und seine Ausleger (The Eggman and his Outriggers). This publication focuses on nine paintings, a group of drawings and one sculpture that formed the center of this final exhibit, all of which were made in the last three years of Kippenberger’s life. These works explore the motif of the egg--a key theme throughout the artist’s career, deployed to variously reference rebirth, reproduction and circularity, and also used as a comic device: in one self-portrait, Kippenberger depicts himself as an eggman whose torso has expanded well beyond its youthful contours.

Martin Kippenberger: Eggman II

Licht, Alan

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