401 Monographies (s) d'artistes (s)

Between 1947 and 1998, Dieter Roth made 524 prints, culminating in one of the richest and most diverse printmaking oeuvres ever. Many are unique prints, created by the inventive manipulation of the various stages in the printmaking process, achieving remarkable editions in which not one print is identical. The artist used all known--and some newly invented--printmaking techniques including woodcuts (relief printing), etching, engraving, aquatint (intaglio printing), lithography, offset (planographic printing), screenprinting (stencil printing), pressings (objects flattened by vertivally exerted pressure), and squashings (objects flattened by horizontally exerted pressure). Often various methods were combined. Roth's creativity and ingenuity pushed printmaking beyond all known borders. All his prints are reproduced here in full color, and, in many cases, several examples of the unique prints are shown. A text by the curator Dirk Dobke and a text based on an interview with Richard Hamilton accompany the book.

Le premier catalogue rétrospectif d'Allen Ruppersberg : contient une chronologie raisonnée des œuvres de l'artiste de 1967 à 1996, une bibliographie et des textes d'Yves Aupetitallot, de Catherine Quéloz, de Dan Cameron et de Ruppersberg lui-même.

Jeff Wall est né en 1946 à Vancouver. Il associe dans un projet critique les techniques les plus sophistiquées du cinéma et de l'affiche publicitaire et la tradition de la peinture d'histoire (sujet, composition, éclairage). Ces images souvent visionnaires de la société contemporaine confrontent réalité et fiction.

This is the most comprehensive publication ever produced on the work of American artist Barbara Kruger. Kruger, one of the most influential artists of the last three decades, uses pictures and words through a wide variety of media and sites to raise issues of power, sexuality, and representation. Her works include photographic prints on paper and vinyl, etched metal plates, sculpture, video, installations, billboards, posters, magazine and book covers, T-shirts, shopping bags, postcards, and newspaper op-ed pieces. This book serves as the catalog for the first major one-person exhibition of Kruger's work to be mounted in the United States. The book, designed by Lorraine Wild in collaboration with the artist, contains texts by Rosalyn Deutsche, Katherine Dieckmann, Ann Goldstein, Steven Heller, Gary Indiana, Carol Squiers, and Lynne Tillman on subjects associated with Kruger's work, including photography, graphic design, public space, power, and representation, as well as an extensive exhibition history, bibliography, and checklist of the exhibition.

Kruger's practice reflects the discovery, evident throughout contemporary art, of the formative power of images, the capacity of signs to affect deep structures of belief. Her art is concerned with positioning of the social body, with the ways in which out thoughts, attitudes and desires are determined by society's dictates.

Publié à l'occasion des expositions à Dijon (avril-juillet 2002) et à Marseille (novembre 2002-février 2003) cet ouvrage propose une compilation et une analyse des œuvres de cette artiste coréenne, qui après les poissons en décomposition, les sculptures-vêtements, a entrepris la création de cyborgs blancs, réminiscence de la statuaire de l'époque classique selon une imagerie de films d'animation.

The British-born Mexican surrealist Leonora Carrington (1917–2011) spent a lifetime exploring the esoteric traditions of diverse cultures, and incorporated their ideas and symbols into her artistic and literary oeuvre. Tibetan Buddhism, the Kabbalah, ancient Egyptian and Mesopotamian magic, Celtic mythology, witchcraft, astrology and the Tarot were filtered through her feminist lens to create a visionary, woman-centered worldview.

Carrington created a spectacular Major Arcana Tarot deck sometime during the 1950s, laying gold and silver leaf over brilliant color. Exhibited for the first time during her centennial exhibition Leonora Carrington: Magical Tales in 2018, this extraordinary work was a revelation for the public and inspired the publication of The Tarot of Leonora Carrington. This second, considerably expanded edition—encouraged by the overwhelmingly positive reception of Fulgur’s publication in 2020—explores further the central position that the Tarot held in Carrington’s work. The volume includes an introductory text by her son Gabriel Weisz Carrington, who recalls his mother’s long involvement with the Tarot, followed by a revised and more extensive essay by scholar Susan Aberth and curator Tere Arcq, including detailed analysis of each card: their color symbolism, their relationship to other works and their iconographic origins in ancient esoteric beliefs, including the Mesoamerican influences of her adopted country.

This new edition also reproduces previously unpublished photographs and images, as well as exciting new research into Carrington’s influences, emphasizing the authors’ claim that her work on the Major Arcana represents an esoteric roadmap to Carrington’s feminist vision and wish for a new global gender equality toward a better ecological future for our planet.

Dans son livre Léviathan, Paul Auster a créé un personnage de fiction du nom de Maria qui emprunte beaucoup à la propre vie de Sophie Calle. Elle a été séduite par ce double et a eu envie d'expérimenter ses différences et de mêler à sa façon la réalité et la fiction.

Published to accompany thirteen sculptures and installations by Katinka Bock at the Henry Art Gallery in Seattle, six of which were specially commissioned, this book presents the pieces formally, but also explores the context of their creation. Using natural and found materials, such as clay, wood, stones, sheet metal, steel beams and urban detritus, Bock’s work is multi-layered, delving into site, origin and process to uncover spatial, historical and archaeological inquiries. Meditations on the processes that shape materials – oxidation, exposure, stress, heat, erosion – they are an encounter with transformation. With texts by Luis Croquer, Thomas Clerc and Marie-Cécile Burnichon. 0 Exhibition: Henry Art Gallery, Seattle, USA. (01.02-04.05.2014).

R. Tiravanija, d'origine thaïlandaise, développe depuis le début des années 1990 des œuvres nécessitant la participation active du spectateur. Il met en place ici un concept expérimental en revisitant ses œuvres créées entre 1989 et 2002 sans présenter les objets eux-mêmes. Au choix le visiteur de l'exposition écoutera un récit autobiographique, un texte de P. Parreno ou un texte de B. Sterling.

Un panorama des créations de la sculptrice d'origine pakistanaise qui s'intéresse aux représentations de la figure humaine dans des œuvres monumentales utilisant une combinaison de matériaux plus ou moins identifiables. Son travail explore des thèmes tels que le colonialisme, la guerre, l'exil et le souvenir.

From May to October 2003 two enormous inflatable sculptures will loom above visitors to Tate Modern and those strolling along the riverbank. The first, Blockhead, revisits one of McCarthy's trademark characters, a mutant cartoon character with a Pinocchio nose emerging from its cuboid head. At 35 meters, it towers as high as the fourth level of Tate Modern. The second sculpture is named Daddies Bighead. This 16-meter high figure has a body constructed from a giant replica of a ketchup bottle. McCarthy has frequently used ketchup in his performances and installations as a stand-in for blood and other bodily excretions. Much of his work has courted controversy, dealing as it does with iconic imagery taken from childhood and popular culture combined with sexually charged and transgressive elements. McCarthy has exhibited widely across the United States, Europe and Japan, and has undertaken collaborations with artists including Mike Kelly and Jason Rhoades. His works are in numerous major collections. A unique record of an artistic event, Paul McCarthy at Tate Modern includes a new interview with the artist, brand new dramatic installation photography, working drawings and models, and essays that will place this incredible work in the context of McCarthy's career.

Los-Angeles-based artist Paul McCarthy (b.1945) creates Disneyesque installations, sculptures of animal/vegetable/human hybrids and slapstick performances in a purge of a national subconscious. The psycho-sexual desires and anxieties induced by the media and the built environment of contemporary America emerge in his collisions of plastic prosthetic limbs and condiments that stand in for bodily fluids. These works have been variously deployed: through live actions, often documented on video, and more recently in outsized figures and artificial rural environments, combined in overtly sexual ways. McCarthy's work echoes that of European artists such as Joseph Beuys or the Viennese Aktionistes, but gives 'action art' a postmodern twist. This is the first comprehensive survey of over twenty years of work by a profoundly influential artist whose work is in the collections of the world's most important museums. Ralph Rugoff, curator, critic and author of Circus Americanus, has created an important critical framework for contemporary West Coast art. In the Survey he identifies key themes in McCarthy's oeuvre and sets them within a broader cultural context. Expert on live arts and co-editor of Theories and Documents of Contemporary Art, Kristine Stiles talks with the artist about his performances. Giacinto Di Pietrantonio, celebrated for his writings in Flash Art and his curating of public art projects in Italy, focuses on McCarthy's Pinocchio Pipenose Householddilemma, a nineteenth-century tale told in a post-Disney world. For the Artist's Choice, McCarthy has spliced together various fragments from Jean-Paul Sartre's Nausea, creating his own non-linear rendition of this classic existential novel. The book also includes interviews and previously unpublished notes and poems towards sculptures, performances and videos.

Présente le travail de Peter Fischli et David Weiss, deux artistes dont le monde est leur modèle qu'ils recomposent à l'aide de photographies, de films, de sculptures en terre ou en polyurthane. Cet art, chargé d'humour et de dérision, s'inscrit directement dans la ligne de dada.