Drawing Ambience: Alvin Boyarsky and the Architectural Association
Igor Marjanović and Jan Howard with contributions by Nicholas Boyarsky, Beau Johnson, and Sarah Rovang
This richly illustrated volume showcases the impressive collection of architectural drawings assembled by Alvin Boyarsky during his tenure as chairman of the Architectural Association School of Architecture in London from 1971 until his death in 1990. A unique opportunity to consider rarely seen drawings by some of the most prominent architects and artists of our time—including Frank Gehry, Zaha Hadid, Daniel Libeskind, Mary Miss, Rem Koolhaas, Eduardo Paolozzi, Bernard Tschumi, and Shin Takamatsu, among others—this book offers the first extensive examination of Boyarsky's collection within the context of a time when the imaginative spirit of drawing emerged as a key instrument in the production of a blossoming international culture of architecture.
Tomás Saraceno: Cloud-Specific
Edited by Meredith Malone and Igor Marjanović with contributions by Inés Katzenstein, Tomás Saraceno, and Denis Weaire
Drawing inspiration from clouds, bubbles, spider webs, and other natural structures, artist Tomás Saraceno creates visionary installations that capture the imagination and ask pointed questions about the sociopolitical conditions in which we live, as well as our capacity to change them. This thought-provoking catalog approaches Saraceno’s uniquely experimental, cross-disciplinary, and collaborative practice from a variety of angles and features a visual essay of texts and images that have informed his work. Documenting the related exhibition at the Mildred Lane Kemper Art Museum and more broadly examining the artist’s working process, this book is among the first to investigate Saraceno’s practice and its place at the intersection of art, architecture, engineering, and the natural sciences in a globalized world.
In the Aftermath of Trauma: Contemporary Video Installations
Sabine Eckmann with contributions by Rakhee Balaram, Svea Bräunert, and Ila N. Sheren
The history of the twentieth and early twenty-first centuries is one that is scarred by incomprehensibly violent events with far reaching effects. It is an era of world wars, totalitarian mass terror, social and ethnic cleansing, revolutions, civil wars, radical uprootings, and terrorism. In the Aftermath of Trauma: Contemporary Video Installations examines the work of five video artists from around the world who employ their medium to explore individual and collective memories of traumatic occurrences. Deeply invested in the human subject and its status in today’s world, the themes and aesthetic strategies of these videos are directly tied to violent political histories that challenge belief in an enlightened and emancipated humanity.
Balázs Kicsiny: Killing Time
Hungarian artist Balázs Kicsiny is known for his mesmerizing large-scale installations that draw on the languages of theater, philosophy, and the visual arts. Balázs Kicsiny: Killing Time documents his installation at the Mildred Lane Kemper Art Museum, a culmination of his residency as the 2011–12 Henry L. and Natalie E. Freund Visiting Artist in the Sam Fox School of Design & Visual Arts. The book features twenty-six full-color images of the exhibition and an essay and interview of the artist by exhibition curator Robert Gero.
Sharon Lockhart: Lunch Break III
Sabine Eckmann with contributions by Elizabeth Finch, Neus Miró, and Katy Siegel
Known for collaborating with remote or marginal communities such as blue-collar workers in the twenty-first century, acclaimed video artist and photographer Sharon Lockhart blurs the line between photography, video art, and documentary. The results are simultaneously staged and artificial, yet at the same time intimate and deeply human. This third volume in her Lunch Break series incorporates artworks and utilitarian objects made by others, expanding upon earlier forms of institutional critique. The book includes essays by curators and scholars who provide an international perspective on the artist's evolving practice, accompanied by thirty color and black-and-white illustrations.
Georges Braque and the Cubist Still Life, 1928–1945
Karen K. Butler with Renée Maurer and contributions by Patricia Favero, Uwe Fleckner, Gordon Hughes, Narayan Khandekar, Erin Mysak, and Éric Trudel
Featuring five essays and two newly translated texts by Braque’s contemporaries Jean Paulhan and Carl Einstein, this fully illustrated color catalog offers the first in-depth scholarship on Georges Braque’s still-life paintings within the cultural and political context of Europe leading up to and during World War II. In the process the book recounts Braque’s early popularity in the United States, including his first major retrospective in America, and the critical reception of his work in Europe. Also included are the findings of a team of conservation scientists who closely examined select paintings, shedding new light on Braque’s lifelong investigation into the materials and process of painting.
Frederick Hartt and American Abstraction in the 1950s: Building the Collection at Washington University in St. Louis
Karen K. Butler with contribution by William E. Wallace
In the 1950s, esteemed Renaissance scholar Frederick Hartt served as curator of the Washington University art collection and professor in what was then known as the Department of Art and Archaeology. Hartt greatly expanded the collection’s holdings during his tenure, acquiring a number of significant examples of vanguard American modernism, including seminal works by Stuart Davis, Willem de Kooning, Arthur Dove, Lyonel Feininger, Arshile Gorky, Marsden Hartley, and Jackson Pollock. This book offers a unique view into the development of the Mildred Lane Kemper Art Museum’s permanent collection at a critical moment when American avant-garde practices entered the world art scene.
Precarious Worlds: Contemporary Art from Germany
Sabine Eckmann with contributions by Svea Bräunert
Published to accompany the exhibition of large-scale new acquisitions by the Mildred Lane Kemper Art Museum, this book explores thematic connections among some of Germany’s most influential contemporary artists. By artists Franz Ackermann, Cosima von Bonin, Thomas Demand, Isa Genzken, Charline von Heyl, Sergej Jensen, Michel Majerus, Manfred Pernice, Wolfgang Tillmans, and Corinne Wasmuht, the featured artworks investigate issues relating to digitization, material instability, and the individual’s attachment to—and detachment from—historical notions of place.
Cosima von Bonin: Character Appropriation
Meredith Malone with contributions by Dirk von Lowtzow
This catalog accompanies an exhibition of work by this leading international contemporary artist that spans the last decade of her creative production, including a selection of her signature textile “paintings,” architectural sculptures, and outsized stuffed animals. The book features an essay by Meredith Malone, associate curator at the Mildred Lane Kemper Art Museum at Washington University in St. Louis, as well as a new installment in a series of scripted “conversations” between Cosima von Bonin and Daffy Duck, written by von Bonin’s longtime collaborator Dirk von Lowtzow, a Berlin-based musician and art critic.
Ghost: Elizabeth Peyton
Hilton Als, Sabine Eckmann and Beate Kemfert with contributions by Hilton Als, David Lasry, and Elizabeth Peyton
American contemporary artist Elizabeth Peyton is celebrated as one of the most important painters of her generation. This first major monograph of Elizabeth Peyton’s prints is an in-depth exploration of the artist as a critical printmaker. Featuring more than seventy full color illustrations, the catalog includes an essay by exhibition curator Sabine Eckmann and contributions by critic Hilton Als and printer David Lasry, as well as an interview with the artist conducted by Beate Kemfert of the Opelvillen.
Focus on Photography: Recent Acquisitions
Karen K. Butler
Published in conjunction with the exhibition of a selection of photographs recently acquired by the Mildred Lane Kemper Art Museum, this brochure presents historical works by photographers who defined the standards of photographic practice as well as an international array of contemporary practitioners who examine and expand the parameters of the medium, including Doug Aitken, Sophie Calle, Louise Lawler, and John Stezaker.
Sharon Lockhart: Lunch Break II
This book evolved from an archive of images collected by artist Sharon Lockhart while researching her project Lunch Break—a series of films and photographs she produced from a long-term collaboration with the workers of Bath Iron Works in Maine, whom she portrayed as they took their lunch break, a classic workday ritual. A companion volume to that project, this publication offers a stunning array of images drawn from a variety of sources, including WPA documentary photographs, Old Master oil paintings, contemporary art, and photographs by Lockhart herself. The result is a rich visual narrative that explores the pursuit of leisure in the context of work.
Allison Smith: Needle Work
Allison Smith with an essay by Wendy Vogel and interviews with Allison Smith and Lauren Adams
Contemporary artist Allison Smith’s diverse creative practice critically engages with popular forms of historical reenactment through a variety of mediums. As the inaugural Henry L. and Natalie E. Freund Visiting Artist in the Sam Fox School of Design & Visual Arts, the artist created contemporary revisions of historical gas masks and a range of related masklike forms in which the ghoulish and the foolish, the horrific and the playful intertwine, drawing into question essential notions of camouflage and masquerade. Featuring an essay by Wendy Vogel in which she considers Smith’s project in relation to key notions put forth by Peter Sloterdijk in his Terror from the Air, the volume also includes interviews with the artist and with exhibition curator Lauren Adams.
Sharon Lockhart: Lunch Break
Sabine Eckmann with essays by Mark Godfrey and Matthias Michalka and contributions by James Benning, Frank Escher, Ravi GuneWardena, and Andras Palffy
American artist Sharon Lockhart is well known for her formally strict and conceptually precise films and photographs. Lunch Break, her newest solo exhibition, is the product of more than a year spent at the Bath Iron Works shipyard in Bath, Maine, observing and engaging with the shipbuilders during breaks from their daily routines. The resultant two film installations and three series of photographs present images that are devoid of sentiment yet deeply humane, intimate in their focus on everyday situations while reflective of broader global conditions through their historically grounded approach. The catalog includes over one hundred images in full color, essays by exhibition curator Sabine Eckmann and art historian Matthias Michalka, and an interview with Lockhart conducted by filmmaker James Benning.
Meredith Malone with essays by Susan Laxton and Janine Mileaf, and contributions by Bradley Bailey and Emily Hage
Winner of the Midwest Art History Society Award for Outstanding Catalogue for 2009, Chance Aesthetics embraces the role played by chance in modernist art from the beginning of the twentieth century through the early 1970s. Published to accompany a major exhibition at the Kemper Art Museum, this volume brings together a broad range of artistic practices that replace active decision-making with the unexpected possibilities inherent in accident and random influence. Dropping pieces of cut paper onto a surface and gluing them down where they lay; dripping or flinging paint across a canvas; letting the progressive decay of organic materials determine a composition; and flipping coins to compose a musical scores—these are some of the processes used by artists included in the volume that both tap into the creative potential of chance and control its operation.
Metabolic City surveys work by the British collective Archigram; the Japanese Metabolists (whose members include Fumihiko Maki, architect of the Kemper Art Museum); and the Dutch painter Constant Nieuwenhuys, an early member of the Situationist International. This publication explores these groups’ plans, models, and conceptual projects.
Thaddeus Strode: Absolutes and Nothings
Sabine Eckmann and Meredith Malone with contribution by Benajmin Weissman
Thaddeus Strode's vibrant large-scale paintings are universes unto themselves: wild mash-ups of California surf and skateboard culture, Zen philosophy, rock music, literature, film, and comic books. Absolutes and Nothings marks the artist's first major museum show, presented as part of the Kemper Art Museum's Contemporary Projects series. Strode's images draw on a wealth of motifs inspired by a broad range of sources in popular culture, freely combined with the artist's own creations. The strength and visual pleasure of Strode's aesthetic come from his self-reflexive combination of painterly styles and incongruous elements, in which enigmatic texts, phantoms, monsters, and castaways play off one another to produce cryptic—and captivating—fantasies. Including over two dozen full-color images of works from 2001 to the present, as well as essays by Sabine Eckmann, Meredith Malone, and Benjamin Weissman, Absolutes and Nothings is a fascinating premier monograph from one of our most vital and exciting contemporary visual artists.
The Barbizon School and the Nature of Landscape
Rejecting the traditional artistic conventions of academic landscape painting, such as the Ideal, the Pastoral, and the Heroic, artists in the Barbizon School strived instead to depict an unmediated vision of nature. This brochure explores how the Barbizon region of France appealed to these artists for both its diverse landscapes and its reputation as an unspoiled natural haven. Color illustrations are featured of Museum works by Corot, Durand, Inness, and others.
On the Margins
Carmon Colangelo with essays by Eleanor Heartney and Paul Krainak
War and disaster have shaped the first years of the twenty-first century, both in the United States and throughout the world. On the Margins brings together a culturally diverse group of international artists whose work addresses contemporary social and political conditions through a wide spectrum of styles and media. Through a range of aesthetic strategies and effects—from the confrontational, to the humorous, to the quietly elegiac—they consider the ways in which war and conflict around the world impact—or fail to impact—our everyday life. A diverse lineup of artists is included: Adel Abidin, Laylah Ali, Paolo Canevari, Enrique Chagoya, Willie Cole, Luis Cruz Azaceta, Willie Doherty, Jane Hammond, Martha Rosler, and Do-Ho Suh. The exhibition catalog includes essays by Eleanor Heartney and Paul Krainak addressing the themes and artworks in the exhibition, as well as an illustrated checklist and artist biographies.
Beauty and the Blonde
As an icon of beauty and object of desire, the blonde has captivated the American public for nearly a century. Beauty and the Blonde critically examines representations of the blonde during three formative decades of American cultural history. The brochure investigates how representations of blondeness in popular culture were appropriated and reexamined by American artists in painting, sculpture, film, and photography.
Andrea Fraser, "What do I, as an artist, provide?"
Since the mid-1980s, Andrea Fraser has achieved a certain renown for her work in critiquing institutions and dramatizing the relationship between art and its audiences. Influenced by feminism, psychoanalysis, appropriation, and site-specificity, Fraser's practice has often centered on sociological performance and discursive analysis of various art world positions: the docent, the curator, the visitor, the dealer, the collector, the critic, the art historian, and, as the title of this exhibition suggests, the artist. This exhibition brochure includes ten images and an essay from curator Meredith Malone exploring the themes and impact of Fraser's work.
Window | Interface
Sabine Eckmann and Lutz Koepnick with contribution by Anne Fritz
Windows both connect and divide interior and exterior, public and private spaces. Interfaces update the function of the window in today's world of omnipresent screens and digital information. Window | Interface explores how artists such as Olafur Eliasson, Cerith Wyn Evans, Monika Fleischmann, Kirsten Geisler, Pierre Huyghe, Richard Long, and others have addressed the role of windows and interfaces as mediums of perception and transport. The book investigates art that explores the limits of the body in relation to the surrounding world and reveals the embodied character of human experience.
Reality Bites: Making Avant-garde Art in Post-Wall Germany
Edited by Sabine Eckmann with essays by Diedrich Diederichsen, Beate Kemfert, Gertrud Koch, Lutz Koepnick, Iain Whyte, and Sabine Eckmann
The fall of the Berlin Wall in November of 1989 instigated a new era of German history, rapidly—yet profoundly—altering everyday German life. Reality Bites investigates the effect of that historical context, identifying the new kinds of work that have grown out of it, full of strategies and materials borrowed from and referring back to one kind of recent German reality or another, aesthetic exploration of experience in which the themes of reality and history take on increased meaning. This representative selection of about seventy pieces created since 1989 includes work from Franz Ackermann, Kutlug Ataman, Cosima von Bonin, Sophie Calle, Tacita Dean, Thomas Demand, Bernhard Garbert, Isa Genzken, Beate Gütschow, Rudolf Herz, Sabine Hornig, Christian Jankowski, André Korpys & Markus Löffler, Ulrike Kuschel, Eva Leitolf, Via Lewandowsky, Michel Majerus, Mariele Neudecker, Olaf Nicolai, Marcel Odenbach, Manfred Pernice, Daniel Pflumm, rude_architecture (Friedrich von Borries, Gesa Glück, Tobias Neumann), Silke Schatz, Gregor Schneider, Collier Schorr, Renata Stih & Frieder Schnock, and Wolfgang Tillmans.
[Grid < > Matrix]
Sabine Eckmann and Lutz Koepnick with contributions by Gwyneth Cliver and Patience Graybill
[Grid < > Matrix] traces two different but closely related modes of organizing the visible world and its aesthetic representations. In analog cultures, the notion of the grid empowers the production of images that claim universal authority. Most often static in nature, grid-like structures, spaces, and images approach the viewer as immediately recognizable and hence devoid of unwanted surprises. Digitally-based matrices, by way of contrast, set the modernist grid into motion. They have the ability to catalyze visual expressions and experiences that, in spite of their algorithmic foundations, aim at open-ended and often unpredictable transformation. Grid and matrix, as presented in this exhibition, form a central dialectic of modernist and postmodernist culture. Featuring two essays, one by each of the exhibition curators, the publication's aim is not to tell a story of linear historical progress, but to explore continuities and ruptures between the analog and the digital, between the organizational principles of older and newer media.
Models and Prototypes
As a preparatory step, models have always occupied a special place in the context of artistic production. This changed in the twentieth century when many artists set out to redefine the parameters of art and artistic production. With new artistic objectives, structural and conceptual models emerged as complete and viable works of art in and of themselves. Beginning in the 1910s, the model—conceived as a system defined by a set of rules—became increasingly important, as did boxes, model-scale display cases, and architectural maquettes. Marcel Duchamp and many Conceptual artists of the 1960s radically challenged existing definitions of the artwork with the help of structural and conceptual models and the emergence of an emphasis on multiples. The centrality of models for contemporary artists, many of whom are also interested in social and historical issues, presses the question of why they became and remain such compelling subject and tool. Models and Prototypes includes artwork by Mark Bennett, Joseph Beuys, Daniel Buren, Thomas Demand, Marcel Duchamp, Isa Genzken, Jenny Holzer, Wassily Kandinsky, Claus Oldenburg, Edward Ruscha, and Katrin Sigurdadottir, among others.
Inside Out Loud: Visualizing Women's Health in Contemporary Art
Janine Mileaf with contributions by Barbara Baumgartner, Isabelle Graw, Jodi Kovach, Zoe Leonard, Catherine Lord, Claire Ruud, and Claire Vancik
The full-color exhibition catalog, Inside Out Loud: Women's Health in Contemporary Art, features a central essay by Mileaf, “The Subjects of Women's Health,” and a forward by Mark S. Weil, PhD, the E. Desmond Lee Professor for Collaboration in the Arts and director of both the Kemper Art Museum and the Sam Fox Arts Center. The volume also includes a 10-page timeline—organized by Barbara Baumgartner, PhD, associate director of the Program in Women and Gender Studies in Arts & Sciences—of women's health over the last 400 years; excerpts from Catherine Lord's online diary The Summer of Her Baldness: A Cancer Improvisation; and the first English translation of a 1991 interview with artist and activist Zoe Leonard.
H. W. Janson and the Legacy of Modern Art at Washington University in St. Louis
Sabine Eckmann with contributions by Bradley Fratello, George V. Speer, and H. W. Janson
This catalog accompanies the exhibition H. W. Janson and the Legacy of Modern Art at Washington University in St. Louis. The exhibition highlights paintings and sculptures by such artists as Beckmann, Gris, Picasso, Alexander Calder, Paul Klee, and Joan Miró that were instrumental to Janson's understanding of modern art, as well as later purchases including works by Dubuffet, Pollock, Arshile Gorky, and Mardsen Hartley. The catalog illustrates the works in the exhibition as well as many other objects Janson acquired. In addition to Sabine Eckmann's essay on H. W. Janson, it includes texts that explore the reception of modern art, and a lecture heretofore unpublished by the late H. W. Janson.
A Gallery of Modern Art at Washington University in St. Louis
Joseph Ketner with essays by contributing authors
This publication surveys Washington University's outstanding art collection, by focusing on 85 "masterpieces" which document the collection's most significant 19th- and 20th-century artworks. There are essays by 53 scholars interpreting artwork by Breton, Corot, Daumier, and others.